"'Tis mystery all— the Immortal dies ! Who can explore his strange design? * * • 'Tis mercy all ! let earth adore: Let angel minds inquire no more.")
They were among the providential and gracious devel- opments of a period whose influences, at the end of a hundred years, are yet only beginning to show forth the high praises of their Master. See Wesley, John and Charles.
We have given more space to these celebrated hymn- writers because of their historical relations to the new aera of devotional and sanctuary song which they intro- duced. From that period the number, variety, and ex- cellence of the contributions to our Christian lyrics has
increased, until the hj'mnology of the English tongue is second only to that of Germany in volume and diver- sity. The literary character of these productions has been raised to a higher standard, and their scriptural and experimental value has been tested both by their denominational uses, and by that truly catholic spirit which has made them the property of the Church Uni- versal. Inferior compositions have been gradually dropped, and replaced by others of undoubted merit, un- til the collections of the various Christian churches have overflowed with the very best hymns of all ages. The most remarkable evidence of these statements is found in the recent attention given to the history and literature of our sacrtd poetry by English and American writers, who have patientlj' explored the whole field, and have garnered its treasures in many admirable col- lections. Referring our readers to these accessible pub- lications, we can devote the limited space left in this article onlj"^ to brief notices of the principal contributors to the volume of divine praises since the Wesleys died. Of their contemporaries, we can never forget Augus- tus Topladj' (1741-1778), and his almost inspired hymii, " Rock of Ages, cleft for me," and others of his excellent collection. See Toplady, Nor will the churches cease to sing the magnificent Strains of his theological oppo- nent, Thomas Olivers (1725-1799), in his judgment hymn, beginning " Come, immortal King of glorj'." See Olivers. Along with them came "\^'illiara Williams (1717-1791), the Methodist " Watts of Wales," sing- ing " O'er the gloomy hills of darkness," and " Guide me, oh thou great Jehovah ;" and John Cennick, the de- vout IMoravian, to whom we are indebted for two of the finest hymns ever written — " Rise, my soul, and stretch thy wings," and "Lo! he comes with clouds descending." The latter has been erroneously attributed to Olivers, in whose judgment hymn are stanzas which it resem- bles in some respects, but a close inspection shows them to be entirely different productions. Cennick's hymn first appeared in a "Collection of Sacred Hymns' in 1752. See Cexxick. Next in order appeared the col- lection of hymns by the Rev. Benjamin Beddome (1717- 1795), a Baptist clergyman, whom a London congrega- tion could not tempt to leave his little flock at Bourton, where he labored fifty-two years, and preached and sang of Jesus. He was the author of "Did Christ o'er sinners weep ?" " Faith, 'tis a precious grace," " Let par- ty names no more," etc. Thomas Haweis, chajlain to the countess of Huntington, a theological autlior of note, and one of the founders of the London IMisi-ionary Society (1739-1820), was the author of ovtr two hundred and fifty hymns, some of which are favorites still ; but to the countess herself, the patron and friend of Whitefield, and Berridge, and Romaine, we are indebted for such undying h^nnns as " Oh ! when my righteous judge shall come," " We soon shall hear the midnight cry." She died in 1791, at the age of eighty-four, having devoted her for- tune and life to the cause of Christ. Some of the sweet- est hymns for the Church and the home which this age produced were written by the daughter of a Baptist clergyman at Broughton, Miss Anne Steele (1710-1778). She withheld her name from her poems, but the Eng- Ush-speaking Christian world still sings from its myriad hearts and tongues, " Father, whate'er of earthly bliss," "Jesus, my Lord, in thy dear name unite All things my heart calls great, or good, or sweet," etc.; "Come, ye that love the Saviour's name ;" and some of her sacra- mental hymns are fine specimens of Christian song.
The next hymn-book of importance that appeared in Great Britain was the Olney Hymns, which is tlie joint production of those gifted and illustrious men, so differ- ent in their characters and lives, and yet so imited in the love of Christ — the Rev. John Newton and William Cowper. To this book Newton furnished two hundred and eighty-six hj'mns, and Cowjjcr sixty-t^vo. It was published first in 1779, before Cowper's reputation as a poet was made. The hymns were Avritten between 1767 and 1779, and doubtless would have contained
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more of Cowper's contributions but for a return of his insanity. The history of these noble coworkers for Clirist is too well known to require more than this allu- sion. Their deep personal experiences are written in many of their delightful verses, and reflected in the Christian life of succeeding generations. Who that re- members Newton's marvellous conversion, and his sub- sequent life of piety and distinguished usefidness, until his death at the age of eighty-two (1807), will not ap- preciate the fervor with which he sang,