Praise for the Lord #157
Words: Folliott S. Pierpoint, 1864
Music: DIX, Conrad Kocher, 1838; arr. William H. Monk, 1861
To the American ear, a man named Folliott Sandford Pierpoint (1835-1917) must be either an aristocrat or the offspring of parents with an unusual sense of humor. The former is certainly the case with this hymnwriter, whose first and middle names came from his maternal grandfather, the Esquire of the Isle of Up Rossall (today known simply as The Isle near Shrewsbury) (Burke 1187). The first (de) Sandford came to England with William the Conqueror, and the family held important positions in Shropshire during the later Middle Ages (Burke 1184). When Folliott S. Pierpoint went to visit grandfather, it was to the pleasant country estate outside Shrewsbury known simply as "The Isle" (so called because of its location on a horseshoe bend of the Severn).
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| The Isle Estate, today a highly rated bed & breakfast. Thanks to Roz & Edward for use of the pictures! |
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| Sunset at The Isle in the Shropshire countryside |
The Pierpoints were an old family of Cheshire, but Folliott's father William Horne Pierpoint (1779-1867) was descended through a less prosperous branch. William was born in the Blackfriars district of the City of London when it was still a mixture of housing, business offices, and small manufacturers, and though he was listed as a man of "independent means" in the 1841 census (National Archives), he was part of the "working nobility." Like many an entrepreneur of the time he settled in the resort city of Bath, where the 1861 census lists him as "proprietor of land & houses" (National Archives). Our hymnwriter Folliott Sandford Pierpoint was born at Spa Villa on Bathwick Hill (Julian 2:895), a creation of Bath's famous architect John Pinch and registered today in the National Heritage List. The listing notes that "it is a restrained but unusual example of Pinch's Neoclassical villa design," and that "the principal architectural effort went not into the street front but the less public, more picturesquely orientated elevation" (9, Bathwick Hill). In the picture below, Spa Villa is the house in the center in the shade of the large tree; the green top of the wall is a sculpted hedge that encloses the landscaped back garden, with the gate overarched by the hedge making a portal into the wilder meadow beyond.
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| Bathwick Meadow #4 by Neetzy Nocturnal on Google Maps. See other work by this photographer here. |
Little Folliott would have stepped through into Bathwick Meadow, a public green space famous for its views of the city. Was it the incredible beauty of his surroundings growing up that brought out the poet, or did the poet simply notice what others took for granted?
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| Bathwick Meadow #1 by Neetzy Nocturnal on Google Maps. |
Folliott S. Pierpoint attended Bath Grammar School along with his brothers ("Aged cleric"), and by his teens showed a precocious talent for poetry. In 1853 a collection of his poetry was published locally, The Chalice of Nature and Other Poems. A reviewer for The Youth's Miscellany of London said,
They are very creditable, rhyme smoothly, contain thoughts and express emotions which few schoolboys of sixteen care anything about; and, although they may not make the author’s name very famous, afford reason for believing, that by and by he will do greater things ("Evenings with the editor").
The opening work, "The Chalice of Nature" itself, is a lengthy poem but worth quoting in full because of its obvious connection with the themes Pierpoint would later cover in "For the Beauty of the Earth":
BRIGHTLY the sun is shining
On the green fields on either hand
Bright on the hill-tops and meadows
And dells of my father-land.And gaily the feathered songsters
Are singing their gladsome lays;
All nature is pealing upwards
One mighty hymn of praise.And pleasantly under the shadow
Of the leafy tree we lie,
And list to the voices of Nature,
Her choral harmony.Dreamily gazing upwards,
And watching the clouds that fly,
Like the manifold shapes of a vision,
Over the deep-blue sky.We have lost ourselves in heaven,
Gone up in a chariot of thought,
As Elijah of old in the fire-car
To the heaven of heavens was caught.We are drinking the nectar of Beauty,
The Beauty that filleth up
The mighty chalice of Nature,
Her everlasting cup.The nectar that God Almighty,
The Mercy, the great All-love,
Gives to His earthly children
To lift their thoughts above.Gaze on the heaven above thee,
And gaze on the earth below,
And quaff deep draughts of the beauty
That through God's works doth flow.There is a Spirit that ever
Floats thro' the mighty SEEN,
And its name is writ on the meadows
In letters of living green.And in letters of living sunlight,
It is writ in the heavens by day,
And in letters of golden star-beams
When the sunlight fadeth away.It is the UNSEEN Spirit,
The Spirit of Holy Love,
That is as the soul to the body,
To the earth and the heavens above.Creation is full of Godhead,
And Godhead dwelleth there;
For God is the Love and the Beauty
And the Soul of all things fair.And he that quaffeth the beauty
That filleth the Infinite,
And learneth the lesson of Nature,
His soul is full of light.And he drinketh in God within him,
And his finite soul grows great,
And getteth still from the Infinite
A getting that cannot sate.For what is man but a god-spark?
And God but infinite man?
God the line of Eternity,
And man the limited span.But if thou would'st drink in Godhead,
If thy soul would drink and be great,
Thou must not go to the fountain
With a cup of ungodlike Hate.If thou hatest another,
How canst thou drink in love?
And Love is the God that dwelleth
In the earth and the heavens above.If thou hatest another,
Thou art out of the sphere of God;
A comet's unblessed orbit
Is the path that thou hast trod,And the path thou art treading ever,
Till thou seekest Holy Love,
And learnest of Him who is Mercy,
And his emblems, the lamb and the dove.Then with love in thy heart to all things,
Come to the sunny dell,
And gaze on the love of Nature,
The Spirit that loveth well.And it shall be that thy spirit
Shall drink of God's spirit there
And the love that is in thee grow greater
From the Love that is everywhere.
It is very much of its time, and there are some less-than-inspired lines, but it is obviously an impressive work for a teenager. Theologically speaking, Pierpoint may not have thought through the implications of some statements--is "God but infinite man"? But he already showed a nuanced view of Nature, shifting from creation as objective testimony of God "to lift their thoughts above" to the idea of creation as God's active working all around us: "Creation is full of Godhead, / And Godhead dwelleth there; / For God is the Love and the Beauty / And the Soul of all things fair." It is the difference between "The heavens are telling the glory of God; and the firmament proclaims His handiwork" (Psalm 19:1) and "all things were created through Him and for Him, and He is before all things, and in Him all things hold together" (Colossians 1:16b-17). The Romantic view of Nature hungered for an immanent rather than a transcendent God; at a very young age, Pierpoint saw the continuity between these aspects. As a more mature writer, and within the confines of writing a hymn for the divine service, he would express this even more clearly.
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| The Old Library at Queens' College Photo by Dvno Wombat |
During this time he was teaching (probably private tutoring, which was always his "fallback" employment), but also turned his hand to further writing. He contributed to The Progressionist, a London monthly, during its brief run from August 1863 to January 1864 (Livres anciens 103), and according to the biographical notes in the Hymns Ancient and Modern Historical Edition, he was involved in the anonymous translations of the hymns for the canonical hours in John Mason Neale's The Hymnal Noted (presumably for the expanded second edition of 1863, not the first edition completed in 1854) (825). Pierpoint was excellent in Latin, and won the Hughes Prize for best-in-class work in the subject when he returned to Cambridge (Cambridge Calendar 1870, 355). It would be interesting to know how he became involved with The Hymnal Noted, which has been described as "the most important volume in the revival of plainsong in Anglican churches and the restoration of an English Catholic hymnody" (Drain).
By 1868 Pierpoint had returned to Queens' College, Cambridge, where he was again a freshman at the age of 32. This time he had a scholarship, and at the conclusion of the year was the Prizeman in classics (Cambridge Calendar 1869). He went from strength to strength academically, winning the Hughes Prize in Latin and the Penny White Prize in classics, each awarded to the highest-scoring examinee of the year (Cambridge Calendar 1870, 348-349, 355). His education was complete with the awarding of a Classical Honours B.A. in 1871 (Julian 2:895). Following this effort he took up residence for some years in Torquay, a seaside town in Devon. The 1871 census places him as a lodger on Belgrave Road, where he lived with the previously mentioned Henry Pierpoint, possibly his son (1871 England Census, Newton Abbot, Torquay, 32). An 1874 advertisement in the Pall Mall Gazette (27 April 1874, page 14) gives a good overview of how he made his living:
A Cambridge man in Classical Honours, late Senior Scholar, for three consecutive years Penny-White Classical Exhibitioner, and Prizeman (thrice) of Queen’s College, Cambridge, can offer SPECIAL ADVANTAGES to BOYS PREPARING for the UNIVERSITIES, WOOLWICH [location of the Royal Military Academy--DRH], the CIVIL SERVICE, and public examinations generally. -- Address Mr. F. S. Pierpoint, 3 and 4, Prospect-terrace, Babbacombe, Torquay.
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| Clyde St. School, Deptford (School Board Report 1897, 380) |
PRIVATE TUTOR.Mr. FOLLIOTT SANDFORD PIERPOINT, B.A., Classical Honours, late Scholar, Classical Exhibitioner, and prizeman (nine times) of Queen’s College, Cambridge, first of his College each year in Classical list. Prepares for Universities, Public School, etc. 8. West Hill, St. Leonards.
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| Lyme Regis, where Folliott S. Pierpoint presumably lived when he wrote "For the beauty of the earth." It is also a setting in Jane Austen's Persausion. Photo by Lewis Clarke from geograph.org.uk. |
"For the Beauty of the Earth" first appeared in the collection Lyra Eucharistica, a volume subtitled "Hymns and Verses on the Holy Communion, Ancient and Modern." Thus it was, in fact, a Communion hymn in its original form. Shipley placed it in the "Miscellaneous Hymns" section, but it seems most suggestive of the ritual of Offertory at the beginning of the Anglican Eucharistic Service, during which the congregation presents its offerings prior to receiving Communion. The line "to Thee we raise / This our sacrifice of praise" reflects a collective sense of obligation to return something to God in light of His blessings; it may also prefigure the traditional exchange before the Eucharistic Prayer when the priest says "Lift up your hearts," and the congregation responds, "We lift them up unto the Lord."
Owing to its original purpose, the text was also originally addressed directly to Christ, with the next-to-last line reading "Christ, our God, to Thee we raise" instead of "Lord, our God, to Thee we raise." A few other stanzas (generally omitted today) reference the Crucifixion directly. John Julian, writing only a few decades later, noted that it was usually found in an altered form with four or sometimes five stanzas, and that it was typically used for Flower Services or as a children's hymn (2:895). Interestingly, the Historical Edition of Hymns Ancient and Modern notes that "the alterations . . . have the approval of the author" (455). Hymnwriters often object to their work being altered and abridged--and often with good reason!--so it is pleasant to see a mutually agreeable adaptation that made the author's work better known and more widely useful.
Stanza 1:
For the beauty of the earth,
For the beauty of the skies,
For the love which from our birth
Over and around us lies:
Lord of all, to Thee we raise
This our sacrifice of praise.
The photographs above give ample evidence of the "beauty of the earth" that Folliott Sandford Pierpoint saw out his window from the day of his birth. I did not grow up in such idyllic surroundings as Bath; the picture below more or less sums up the landscape near my home town in northern Oklahoma, at least in the spring (the rest of the year the lower half is brown):
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| Photo by Billy Hathorn |
I will argue, though, that there is beauty in a tall crop of grain or a herd of fine cattle, and a grandeur in the Great Plains that makes one feel properly small in the face of the creation--not to mention the Creator! We also make a strong showing in the "beauty of the skies" category, since there is nothing to block the view:
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| Photo by Christopher Neel & U.S. Geological Survey |
The earth on which we live is an expression of God's power, but also of His love, as Pierpoint brought out in his earlier poem "The Chalice of Nature." The sun warms the earth and stirs the winds and clouds, which cause the rain that falls to nourish the food we eat. The green plants that grow around us process the air we breathe. Every day we take from the earth, in one way or another, what we need to live, and it continues to provide. Let us enjoy its beauty and riches, and always remember that it is an expression of God's love for humanity, as "He did not leave himself without witness, for He did good by giving you rains from heaven and fruitful seasons, satisfying your hearts with food and gladness" (Acts 14:17). Though so many of His children do not recognize the One "in whose hand is your breath" (Daniel 5:23), He "makes His sun rise on the evil and on the good, and sends rain on the just and on the unjust" (Matthew 5:45). What can we do but praise Him?
Stanza 2:
For the beauty of each hour
Of the day and of the night,
Hill and vale, and tree, and flow'r,
Sun and moon, and stars of light:
Lord of all, to Thee we raise
This our sacrifice of praise.
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| Meules, soleil voilé (1884) |
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| Meules (1885) |
Our sun, on the other hand, boggles human comprehension. It annihilates billions of tons of mass every second, converted to energy, but will not even show a sign of slowing down in any time-scale we can understand. Yet we know from the last several decades of deep space observation that it is really not even remarkable as stars go. And good for us that it isn't! There are many stars in the observed universe the diameters of which would engulf the Earth itself.
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| First deep field image from the James Webb Space Telescope |
Stanza 3:
For the joy of human love,
Brother, sister, parent, child,
Friends on earth, and friends above,
For all gentle thoughts and mild:
Lord of all, to Thee we raise
This our sacrifice of praise.
The ties of family are the oldest and deepest, from Adam and Eve down to our own earliest memories. Brothers and sisters may not always get along, but they have those ties that instantly bring them back to good times, whether it was the Friday night TV line-up or the silly sayings we had to drive each other (and our parents) crazy. It warms my heart to see the closeness between my daughter and son, who even now as adults are always there with an encouraging word for each other. The love of a parent for their child, of course, is another matter altogether. I was told to expect it--the second time, I even knew from experience--but each time I looked into the eyes of a tiny new human who carried my last name, I was shocked at how clearly I knew that this was a bond for life, that I would do whatever it took to keep this person safe and well.
Time and chance and choices do not always let families stay close. Jesus knew what it was to be at odds with His family--at first His own brothers did not believe in Him, and challenged Him to go up to Jerusalem to make His claims openly (John 7:4-5). In Mark chapter 3 we read that at least some of Jesus' family thought He was out of His mind (v. 21), and later in the chapter (beginning v. 31) we read that His mother and brothers came to where He was teaching, apparently to bring Him home. This gave Jesus the opportunity for a statement that comforts and reassures down through the ages: "For whoever does the will of God, he is My brother and sister and mother" (Mark 3:35). You may have lost those family relationships, or never had them to begin with, but Jesus promises:
Truly, I say to you, there is no one who has left house or wife or brothers or parents or children, for the sake of the kingdom of God, who will not receive many times more in this time, and in the age to come eternal life (Luke 18:29-30)
The apostle Paul proved the joy that can be had in this spiritual family again and again in his writings. We know little about his physical family; he definitely had a nephew (Acts 23:16), and some believe that the individuals Paul refers to as "kinsmen" in the last chapter of Romans were relatives, though his use of the same term in 9:3 to refer to Jewish persons in general weakens that argument. But of spiritual family he has plenty to say! Timothy is his "beloved and faithful child" (1 Corinthians 4:17); Phoebe is "our sister" (Romans 16:1); and to Paul, the mother of Rufus "has been a mother to me as well" (Romans 16:13).
"None of us lives to himself, and none of us dies to himself" (Romans 14:7); we all exist in a web of relationships that have brought us to this point, else we would not have made it here. Though these relationships are not always all that they should be, it is right to give thanks for the good we have received from them. Let us rejoice in what is good, and let us work to heal what can be better.
Stanza 4:
For Thy church that evermore
Lifteth holy hands above,
Off'ring up on ev'ry shore
Her pure sacrifice of love:
Lord of all, to Thee we raise
This our sacrifice of praise.
In this stanza Pierpoint turns again from the earthly toward the heavenly, offering thanks for Christ's church which bridges the two realms. The apostle Paul is again our example in this, frequently giving particular thanks for local gatherings of Christians:
Paul and Timothy, servants of Christ Jesus, To all the saints in Christ Jesus who are at Philippi, with the overseers and deacons: Grace to you and peace from God our Father and the Lord Jesus Christ. I thank my God in all my remembrance of you, always in every prayer of mine for you all making my prayer with joy, because of your partnership in the gospel from the first day until now (Philippians 1:1-5).
What does Christ's church really mean to us? (More importantly, what does it mean to Christ?) There are record numbers of young people today in the United States who describe their religious affiliation as "none"; but how many of these were in fact raised in families that saw the church as just another social activity, a family tradition, or cultural marker? The Roman emperor Constantine was arguably the first to use the church for this purpose, and though there are certainly worse things around which social cohesion can be maintained, this is hardly what Christ died for. If this is the kind of church that is dying out in the United States, it is no wonder, and it is not as much a loss as we may think. At the same time we see another kind of church that views this situation with such alarm that it is willing to rush into the arms of nationalist politicians to save it from its enemies, wanting to restore some imagined status quo ante by the force of law--a kingdom very much "of this world" regardless of what Jesus told Pilate.
The church Jesus built is "the pillar and buttress of the truth" (1 Timothy 3:15), "and the gates of hell shall not prevail against it" (Matthew 16:18). That promise is from the Lord Jesus Christ, whose church it is after all, and not to be confused with the flimsy promises of social acceptance or political power. The church of Christ has stood through the ages and will continue to stand whether this nation or any other stands or falls; the job of Christians is to realize that and do our bit to further our Lord's work while we are here,
To bring to light for everyone what is the plan of the mystery hidden for ages in God, who created all things, so that through the church the manifold wisdom of God might now be made known (Ephesians 3:9-10).
Now comes the hard part--the church right here and now is made up of, well, us. People just as flawed and fallible as we can be although redeemed and forgiven, born again but still learning how to be these "new creatures" (2 Corinthians 5:17 in the KJV). But look at what a glorious church Jesus built, and to what holy service in it He calls us! Let us be patient with ourselves and each other; let us be grateful for the grace that covers our sins and those of our brothers and sisters; and let us work together for as long as we are here, until all the saints of this kingdom from all ages are called up together to give our sacrifice of praise "in person" around His throne.
About the music:
The tune DIX came by its name from association with another hymn altogether, "As with gladness men of old," written by William Chatterton Dix (thus having nothing at all to do with the French term for "ten" or "Dixie" as Americans might otherwise imagine). William Henry Monk (1823-1889), music editor of Hymns Ancient and Modern and best known as the composer of EVENTIDE ("Abide with me"), set Dix's hymn to music adapted from a German chorale tune by Conrad Kocher (1786-1862). The subsequent popularity of the pairing caused the tune to be named for the author of the text with which it was most associated.
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| From the Bayerische Staatsbibliothek, Munich |
And here is Monk's adaptation:
Like many German chorales, the text for which Kocher was writing has an odd number of lines in its second half; Monk simply omitted the first phrase after the double bar, finding the transition into the following phrase worked just as neatly.
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| Conrad Kocher, lithograph by C. Schacher (ca. 1860) |
In his 1823 book Die Tonkunst in der Kirche, Kocher describes the profound impact of two distinct experiences of a cappella music on his thinking about church music. During his years in St. Petersburg he first heard the richly harmonized singing of the Russian Orthodox church (Kocher 18); then during a trip to Rome he heard the contrapuntal music of Giovanni da Palestrina sung in the Sistine Chapel during Holy Week (19ff.). He said of the latter,
Only in moments of holy intuition could I dimly imagine such singing. I suddenly had to admit to myself that, though the art of music appears here to be an end, not a means, it still stands superior to everything that I had heard up to that time, and that it is not addressed in the pages of any of our textbooks. There my determination was fixed, to search out this singing and the principles upon which it is constructed . . . (20, own translation).
Kocher rejected what he called the "Theaterdudeleien" ("theatrical noodlings") of contemporary church music in the Classical and Romantic styles (loc. cit.), and devoted the rest of his career to a restoration of congregational singing using simpler tunes and harmonizations that ordinary members of the congregation could learn to sing.
Therefore the singing that is meant to be appropriate for education, and especially for the worship service, must be set with a simple and congregationally understandable tune, because only through this can congregational execution be possible; because what would be the use, for example, of church singing that would only be possible for the rich and distinguished people, and not also for the poorest country people, who have the same claims on the church and on its ordinances and blessings? If the question were asked, by what means has the art of music contributed more to the general ennobling of the heart: through the simple chorale melodies of Luther and others, or through the artificial musical games of a Bach, Mozart, or Haydn? then few would be inclined to settle for the former, without depriving the others of anything of actual worth (16, own translation).
Despite my love for the music of those three famous composers Kocher so easily dismisses, I find a kindred spirit in him when it comes to congregational singing in worship: sometimes the simpler is better. In the same vein, Isaac Watts is unlikely to displace the names of Alexander Pope or John Dryden from an anthology of 18th-century English literature, but his plainer, less artful style of writing has kept many of his texts on the lips of worshippers for more than three centuries now.
I have made a first draft of a translation of Kocher's treatise on church music, and hope to devote a separate post to it in the future.
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