This tragedy proved a turning point in Lina Sandell’s life. In the midst of her grief she sought comfort in writing hymns. Her songs seemed to pour forth in a steady stream from the depths of a broken heart. Fourteen of her hymns were published anonymously the same year (1858) in a Christian periodical, Budbäraren. Although she lived to write 650 hymns in all, these fourteen from the pen of the grief-stricken 26-year-old girl have retained a stronger hold on the hearts of her countrymen than most of her later productions. Among these “first-fruits” born in sorrow are such hymns as: “Saviour, O hide not Thy loving face from me,” “Others He hath succored,” and
Children of the heavenly Father
Safely in His bosom gather;
Nestling bird nor star in heaven
Such a refuge e’er was given.
The remarkable popularity which Lina Sandell’s hymns attained within a comparatively short time was due to a large extent to the music written for them by Oskar Ahnfelt, a “spiritual troubadour” of his day. Ahnfelt not only possessed the gift of composing pleasing melodies that caught the fancy of the Swedish people, but he traveled from place to place throughout the Scandinavian countries and sang them to the accompaniment of a guitar. Miss Sandell once said: “Ahnfelt has sung my songs into the hearts of the people.”
The inspiration for her songs came to Miss Sandell at sundry times and places. Sometimes in the midst of the noise and confusion of the city’s streets, she would hear the words of a new song. Sometimes she would awake in the still hours of the night with the verses of a hymn ringing in her ears. By her bedside she always kept a slate on which she might instantly record these heaven-born thoughts.
In 1867 Miss Sandell was married to a Stockholm merchant, C. O. Berg, but she continued to sign her hymns with the initials, “L. S.” by which she was familiarly known throughout Sweden. She died on July 27, 1903.
Not only Ahnfelt, but also Jenny Lind helped to make Lina Sandell’s hymns known. The “Swedish nightingale” was herself a Pietist and found great delight in listening to the preaching of Rosenius and the singing of Ahnfelt. At these conventicles the marvelous singer who had gained the homage of two continents sat with common workingmen on crude benches and joined with her sweet voice in singing the Pietist hymns. Ahnfelt, in visiting the home of the great singer, spoke of his ambition to publish these hymns. When Jenny Lind learned that financial difficulties stood in the way, she quickly provided the necessary funds, and so the first edition of “Ahnfelt’s Songs,” which in reality were mostly the hymns of Lina Sandell and Rosenius, was made possible.
Rosenius and Ahnfelt encountered much persecution in their evangelical efforts. King Karl XV was petitioned to forbid Ahnfelt’s preaching and singing. The monarch refused until he had had an opportunity to hear the “spiritual troubadour.” Ahnfelt was commanded to appear at the royal palace. Being considerably perturbed in mind as to what he should sing to the king, he besought Lina Sandell to write a hymn for the occasion. She was equal to the task and within a few days the song was ready. With his guitar under his arm and the hymn in his pocket, Ahnfelt repaired to the palace and sang: