But the bird with a broken pinion
Never soars as high again.
In the tune an extra stanza is added—as if something conventional were needed to make the poem a hymn. But the professional tone of the appended stanza, virtually all in its two lines—
Then come to the dear Redeemer,
He will cleanse you from every stain,
—is forced into its connection. The poem told the truth, and stopped there; and should be left to fasten its own impression. There never was a more solemn warning uttered than in this little apologue. It promises “compensation” and “healing,” but not perfect rehabilitation. Sin will leave its scars. Even He who “became sin for us” bore them in His resurrection body.
Rev. Frank M. Lamb, composer and singer of the hymn-tune, was born in Poland, Me., 1860, and educated in the schools of Poland and Auburn. He was licensed to preach in 1888, and ordained the same year, and has since held pastorates in Maine, New York, and Massachusetts.
Besides his tune, very pleasing and appropriate music has been written to the little ballad of the broken wing by Geo. C. Stebbins.
UNDER THE PALMS.
In the cantata, “Under the Palms” (“Captive Judah in Babylon”)—the joint production of George F. Root* and Hezekiah Butterworth, several 301 / 255 of the latter's songs detached themselves, with their music, from the main work, and lingered in choral or solo service in places where the sacred operetta was presented, both in America and England. One of these is an effective solo in deep contralto, with a suggestion of recitative and chant—