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O deem not they are blest alone
Author: Bryant Appears in 67 hymnals Used With Tune: NAZARETH
O deem not they are blest alone
Oh, deem not they are blest alone
Author: William C. Bryant Hymnal: The Church School Hymnal with Tunes #155 (1903) Languages: English Tune Title: [Oh, deem not they are blest alone]
Oh, deem not they are blest alone
O, deem not they are blest alone
Author: William Cullen Bryant Hymnal: The Seventh-Day Adventist Hymn and Tune Book #691 (1886) Lyrics: 1 O, deem not they are blest alone
Whose lives a peaceful tenor keep;
For God, who pities man, hath shown
A blessing for the eyes that weep.
2 The light of smiles shall fill again
The lids that overflow with tears,
And weary hours of woe and pain
Are promises of happier years.
3 There is a day of sunny rest
For every dark and troubled night,
And grief may bide an evening guest,
4 Nor let the good man's trust depart,
Though life its common gifts deny;
Though with a sad and broken heart,
He sees his hopes most cherished die.
5 For God has marked each sorrowing day,
And numbered every secret tear,
And heaven's long age of bliss shall pay
For all his children suffer here. Topics: The Christian Comfort and Encouragement Tune Title: MELCOMBE
O, deem not they are blest alone
Oh, deem not they are blest alone
Hymnal: Book of Worship (Rev. ed.) #386 (1870) Meter: 8.8.8.8 Lyrics: 1 Oh, deem not they are blest alone,
Whose lives a peaceful tenor keep;
For God, who pities man, hath shown
A blessing for the eyes that weep.
2 The light of smiles shall fill again
The lids that overflow with tears;
And weary hours of woe and pain
Are promises of happier years.
3 There is a day of sunny rest
For every dark and troubles night;
And grief may bide an evening guest,
But joy shall come with early light.
4 Nor let the good man's trust depart,
Though life its common gifts deny;
Though with a pierced and broken heart
And spurn'd of men he goes to die.
5 For God has mark'd each sorrowing day,
And number'd every secret tear,
And heaven's long age of bliss shall pay
For all His children suffer here. Topics: Affilction; Christians their life and experience; Goodness of God a ground of trust; Hope in troubles; Resignation Languages: English
Oh, deem not they are blest alone
William Cullen Bryant
1794 - 1878 Author of "O, deem not they are blest alone" in The Seventh-Day Adventist Hymn and Tune Book Bryant, William Cullen. First in order of time of the great American poets, Bryant was born at Cummington, Mass., Nov. 3, 1794, and was educated at Williams College. In 1815 he'was called to the Bar, and practised for a time at Great Barrington. In 1825 he retired from the Bar, settled at New York, and devoted himself to literary pursuits, founding the New York Review, and editing for a short time the New York Evening Post. He died June 12, 1878. His poetical and other works are well known. His hymns were written at intervals during his long life. They were collected and privately printed in 1869, and number over 20. Those in common use are:—
1. Almighty, listen while we raise. Praise. This is given as "Almighty hear us,” &c, in the Unitarian Hymn and Tune Book, Boston, 1868. It was introduced into Great Britain through Beard's Collection, 1857.
2. Deem not that they are blest alone. Mourning. In this form it is in Beard's Collection, 1837. It is best known as "0 deem not they are," &c, and in this form it is No. 964 in Songs for the Sanctuary, N. Y., 1865-72, No. 452, in Dr. Martineau's Hymns of Prayer and Praise, Lond., 1873, &c.
3. Father, to Thy kind love we owe. God's Lovingkindness. This is given in several modern collections, including the Unitarian Hymn and Tune Book, Boston, 1868, Martineau, 1873, &c.
4. 0 God, whose dread and dazzling brow. Compassion desired. Is No. 57 in the Boston Hymn and Tune Book, 1868, as above.
5. When he who from the scourge of wrong. Hope of the Resurrection. This is seldom found in modern hymnals. Text in Lyra Sacra Americana, 1868.
The above hymns (1-5) appeared in Dr. H. D. Sewall's (Unitarian) Psalms & Hymns for Social and Private Worship, 1820, and were written at the instance of a Miss Sedgwick. Following as near as possible the chronological order of the hymns we have next:—
6. O Thou Whose own vast temple stands. Opening of a Place of Worship. Written in 1835 for the Dedication of a Chapel in Prince Street, N. Y. This is the most widely known of this author's hymns. It was introduced into Great Britain as early as 1837, when it was included in Beard's Collection, No. 405. It is in 4 stanzas of 4 lines. Orig. text in Songs for the Sanctuary, N. Y., 1865, No. 1017, and Martineau, 1873, No. 727. Another form of the hymn is "Thou, Whose unmeasured temple stands," This is No. 569 in the American Presb. Psalms and Hymns, Richmond, 1867, Horder's Congregational Hymns, Lond. 1884, No. 747, and others.
7. All that in this wide world we see. Omnipresence. This is dated 1836. In his Collection in 1837, No. 17, Beard gives it as an original contributed thereto, thus fixing its first publication.
8. Thou unrelenting past. The Past. Dates from 1836. Also in Martineau, 1873, No. 508.
9. Not in the solitude. God in the City. Dates from 1836, and is No. 26 in Martineau, 1873.
10. Whither, midst falling dew. Divine Guidance. This, in common with Nos. 8 and 9, is more a poem than hymn. It is addressed "To a Waterfowl," and dates from 1836. In Martineau, 1873.
11. Dear ties of mutual succour bind. Charity Sermons. No. 905 in the Amer. Methodist Episcopal Hymnal, 1878. It dates from about 1836.
12. 0 Thou whose love can ne'er forget. Ordination. Given (but not as an original contributed thereto) in Beard's Collection (Eng.), 1837.
13. Mighty One, before Whose face. Ordination. This is dated 1840 (but is probably earlier), and is given in several collections, including Mr. Beecher's Plymouth Collection, 1855, and others.
14. Look from Thy sphere of endless day. Home Missions. This hymn has also attained to considerable use both in Great Britain and America. It dates from 1840. It is in the Song. for the Sanctuary, N. Y., 1865, Horder's Congregational Hymns, 1884, &c.
15. Lord, who ordainest for mankind. Thanks for a Mother's love. Written at Dr. Osgood's suggestion, and printed in his Christian Worship, 1862. It is repeated in Martineau, 1873.
16. All praise to Him of Nazareth. Holy Communion. Dr. Hatfield in his Church Hymn Bk., 1872, No. 736, gives this in 3 stanzas of 4 lines. In the Songs for the Sanctuary it is in its full form of 5 stanzas. It dates from 1864.
17. As shadows cast by cloud and sun. Epiphany. In the Methodist Episcopal Hymnal, N. Y., 1878. It was contributed to that Hymnal, 1877, but was composed for the Semi-Centennial Celebration of the Church of the Messiah, Boston, March 19, 1875.
18. When doomed to death the Apostle lay. On behalf of Drunkards. Also in the Methodist Episcopal Hymnal, 1878.
In addition to the above the following hymns by Bryant are in limited use:—
19. All things that are on earth. Love of God. In Beard's Collection, 1837.
20. Close softly, fondly, while ye weep. Death. In Mr. Beecher's Plymouth Coll., 1855.
21. How shall I know thee in the sphere which keeps? The Future Life. In the Supplement to the Boston Hymns for the Church of Christ, 1853.
22. Standing forth in life's rough way. On behalf of Children. In Dr. Alton's Children's Worship, 1878; Horder's Congregational Hymns, 1884, and others.
23. When this song of praise shall cease. Death anticipated. In his Hymns, 1869, and W. R. Stevenson's School Hymnal, 1880, No 313.
24. When the blind suppliant in the way. Opening the eyes of the blind. In the Methodist Episcopal Hymnal, 1878, N. Y., No. 201. It dates from 1874.
25. Wild was the day, the wintry sea. The Pilgrim Fathers. In Hymns of the Spirit, by Longfellow and Johnson. Boston, 1864.
In 1869, Hymns by W. C. Bryant, 12mo, were privately printed. In this work the texts of many of the older hymns are altered. The dates of his hymns are difficult to determine, and many of those given above are approximate only. Bryant's genius was cool, meditative, and not distinguished by lyric fire. His hymns are correct and solid, but none reach the highest rank. [Rev. F. M. Bird, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
William Cullen Bryant
Virgil Corydon Taylor
1817 - 1891 Person Name: Virgil Corydon Taylor (1817- ) Composer of "LOUVAN" in Carmina Sanctorum, a selection of hymns and songs of praise with tunes
Virgil Corydon Taylor
Lowell Mason
1792 - 1872 Arranger of "HAMBURG" in New Manual of Praise Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
