And guarding, calls not Thee to guard,
For frantic boast and foolish word
Thy mercy on thy people, Lord!
Had Kipling cared more for his poem, and kept it longer in hand, he might have revised a line or two that would possibly seem commonplace to 403 / 351 him—and corrected the grammar in the first line of the second stanza. But of so fine a composition there is no call for finical criticism. The “Recessional” is a product of the poet's holiest mood. “The Spirit of the Lord came upon him”—as the old Hebrew phrase is, and for the time he was a rapt prophet, with a backward and a forward vision. Providence saved the hymn, and it touched and sank into the better mind of the nation. It is already learned by heart—and sung—wherever English is the common speech, and will be heard in numerous translations, with the wish that there were more patriotic hymns of the same Christian temper and strength.
Rudyard Kipling was born in Hindostan in 1865. Even with his first youthful experiments in the field of literature he was hailed as the coming apostle of muscular poetry and prose. For a time he made America his home, and it was while here that he faced death through a fearful and protracted sickness that brought him very near to God. He has visited many countries and described them all, and, though sometimes his imagination drives a reckless pen, the Christian world hopes much from a man whose genius can make the dullest souls listen.
THE TUNE.
The music set to Kipling's hymn is Stainer's “Magdalen”—(not his “Magdalina,” which is a common-metre tune)—and wonderfully fits the 404 / 352 words and enhances their dignity. It is a grave and earnest melody in D flat, with two bars in unison at “Lord God of Hosts, be with us yet,” making the utterance of the prayer a deep and powerful finale.
John Stainer, Doctor of Music, born June 6, 1840, was nine years the chorister of St. Paul's, London, and afterwards organist to the University of Oxford. He is a member of the various musical societies of the Kingdom, and a Chevalier of the Legion of Honor. His talent for sacred music is rare and versatile, and he seems to have consecrated himself as a musician and composer to the service of the church.
Every civilized nation has its patriotic hymns. In fact what makes a nation a nation is largely the unifying influences of its common song. Even the homeless Hebrew nation is kept together by its patriotic Psalms. The ethnic melodies would fill a volume with their story. The few presented in this chapter represent their range of quality and character—defiant as the Marseillaise, thrilling as “Scots' wha hae,” joyful as “The Star-spangled Banner,” breezy and bold as the “Ranz de Vaches,” or sweet as the “Switzers' Song of Home.”