Spiritual Melody [Annotated]


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Spiritual Melody [Annotated]

I was present at all sessions and at the final selection of the hymns when the cardinal error was made of inviting — and — to 'help' in the assessment. I witnessed on that occasion a demonstration of vindictiveness against authors they disliked that it has ever been my misfortune to behold.

This caused me later to resolve that I would avoid any element of vindictiveness in any future proceedings in which I might be involved. Your implication that the four hymns mentioned in your No. The fact that at least twelve hymns remain upholding this principle completely negates this suggestion.

Most of the hymns you list in No. After the division of it became quite inconsistent to sing the words of , "all merge in perfect oneness", that came from the writer who was the chief architect in this country of what was destructively divisive.


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I finally versified it but never felt happy about it being a spontaneous production. That you suggest that the eight hymns you list in No.

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I wonder at your boldness in thus presuming to judge of persons who are in no way inferior to you in their appreciation of the precious ministries of JT, FER and JBS. We take comfort in Paul's assertion in 1 Corinthians 4: 4, "He that examines me is the Lord".

by Percy Bysshe Shelley

The preface was writen by Mr. Gardiner and although I am one of the four brothers mentioned in its opening paragraph, I could not conscientiously include it in the edition because the book bore too heavily the impress of the dictatorship of ——, which led in some quarters for it to be known as the "spite hymn book".

I marvel at your attempts to underwrite and approve of Apart from the two errors that were in the original version, most find it difficult to sing "remove from us unfaithfulness and fear", coming as it does from the pen of a man who instilled more than any other these very things into the hearts of the saints. In order to arrive at a judgment you only require to refer to some of his blasphemous and obscene utterances at Aberdeen and compare them with this hymn.

Then read what James says in chapter 3: , "Out of the same mouth goes forth blessing and cursing. It is not right my brethren that these things should be thus. Does the fountain out of the same opening pour forth sweet and bitter? It is a private edition for the use of some who use the edition, judging it to be the best collection available in print. While esteeming them as brethren in Christ, the compiler and those who use this supplement are not 'in fellowship', as we speak, with those who publish, or others who use, the edition.

GAR The following hymns [], except for , have all appeared in earlier — and prior — editions of the Hymn Book. They are given here in their latest form, with the following exceptions. Hymns and were originally one hymn, as were and ; this required a minor change in There is also a minor change in hymn For ever warm and still to be enjoy'd, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy'd, A burning forehead, and a parching tongue.


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  5. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn?

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    And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. O Attic shape! Fair attitude! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.

    This was a subject of particular interest to Wordsworth. It should be noted that life in the late 18th and early 19th Century life during the time of King George III, known — ironically given the terrible social conditions of the time — as the Romantic Era.

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    Check out our "Form and Meter" section for the full story. It's not just singing, it's expressing its emotions. The speaker doesn't just come out and say that this bird or this "Spirit" has feelings like a person, but he's hinting at that. When you give an animal or a thing human qualities, we call that personification. Bottom line: most birds don't pour their hearts out, but this one does. Remember, this is a special bird. Line 5 In profuse strains of unpremeditated art.

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    We get a few tricky words in here, so let's nail those down first: "Profuse" just means that there's a lot of something; it's abundant. And "unpremeditated" means not planned in advance. So, putting that all together, it means that this bird sings a lot of little improvised melodies. That last phrase "unpremeditated art" is really important. Just like the speaker is making art in this poem, the skylark is too.

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    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated] Spiritual Melody [Annotated]
    Spiritual Melody [Annotated]

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