Come, Ye Disconsolate

For innumerable evils have compassed me about: mine iniquities have taken hold upon me, so that I am not able to look up;
they are more than the hairs of mine head: therefore my heart faileth me.
Be pleased, O Lord, to deliver me:
O Lord, make haste to help me.
~ (Psalm 40:12-13)



Every person, at some point (and probably many) in life, will know profound sorrow and anguish. It may be the passing of a loved one, some material or financial devastation, or a diagnosis of serious illness. It may be the dashing of one's hopes and dreams: the failure of a business venture, or worse, the breakup of a marriage. Or it may be the guilt, shame, and regret that usually follow upon gravely sinful conduct. Whatever it is, the sufferer may be crushed by feelings of loneliness, helplessness, and hopelessness--unless he or she finds someone who can sympathize, ease the burden, and provide encouragement and hope.

One of the most precious truths we know is that such comfort is available to every person, without condition, 24/7: our very own Savior and brother Jesus Christ. He entreats us to  "Come unto me, all ye that labour and are heavy laden, and I will give you rest." (Matthew 11:28)  He is our advocate with the Father, our "great high priest, that is passed into the heavens, Jesus the Son of God . . . we have not an high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as we are, yet without sin. Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need." (Hebrews 4:14-16)

So we are reminded in one of the greatest hymns of reassurance, Come, Ye Disconsolate. The text was written in 1816 by Thomas Moore (1779-1852), an Irish-born poet, singer, songwriter, and entertainer. Under the title "Relief in Prayer," it was first published that same year in Moore's Sacred Songs, Duets and Trios, one of 32 hymn texts in that collection.

Thomas Moore, 1817

We don't often see the word "disconsolate" in modern American usage; it has been defined as "without consolation or solace; hopelessly unhappy; inconsolable."  At least outwardly, Thomas Moore's career  was not of the sort one would expect to engender despair.  Son of a Dublin grocer, Moore initially studied law but achieved fame, even as a young man, once he turned his talents to poetry, music, and the performing arts. He married an actress, traveled extensively in Europe and America, and was a widely read poet, playwrite, songwriter, biographer, novelist, and social critic. He also became a popular society figure in London, hobnobbing with the Prince of Wales and performing for the future Queen Victoria. He is still fondly remembered today for the lyrics to the Irish patriotic song The Minstrel Boy, as well as those to such romantic songs as The Last Rose of Summer and Believe Me, if All Those Endearing Young Charms. Nevertheless, his personal life was dogged by tragedy, including the deaths of all his five children within his lifetime, and a stroke in later life, which disabled him from performances--the activity for which he was most renowned.

Thomas Hastings

While Moore's career flourished, "Relief in Prayer" remained obscure until it was reworked in 1831 by American composer and choir master Thomas Hastings (1784-1872). He was born in Connecticut, moving with his family at the age of two to Clinton, Oneida County, New York. There, amid rough frontier life, his opportunities for education were small; but at an early age he developed a taste for music, and began teaching it in 1806. Seeking a wider field, he went, in 1817, to Troy, then to Albany, and in 1823 to Utica, New York, where he directed the Oneida County Choir and was editor of a religious magazine, The Western Recorder. In 1832 Hastings was invited by twelve churches to come to New York City to improve their psalm singing. He stayed there the rest of his life, composing, writing, teaching, and directing. He was a prolific writer of hymn tunes, and what fellow hymnist Lowell Mason called the "simple, easy, and solemn" style of his music remains a major influence on the hymns of the Protestant churches to this day. Hastings is best remembered today as the composer of TOPLADY, the tune for the hymn Rock of Ages.

Hastings made a few minor changes to the first and second stanzas of Moore's text, and substituted his own third stanza, when he published the hymn under the title Come, Ye Disconsolate in Spiritual Songs for Social Worship (Utica, New York: 1831-32), compiled by Hastings and Lowell Mason. It is generally agreed that these changes made Moore's poem easier to sing and more suitable for evangelical church use. [See Kenneth W. Osbeck, Amazing Grace: 365 Inspiring Hymn Stories for Daily Devotions, Kregel Publications 1990, 2002, p. 199]

Samuel Webbe, Sr.

For the hymn's tune, Hastings adapted one originally set for solo voice to the Marian hymn "Alma redemptoris mater" by English composer and organist Samuel Webbe, Sr. (1740-1816) in his Collection of Motetts or Antiphons (1792).  The tune is now generally known as CONSOLATION, although it is sometimes given as ALMA or CONSOLATOR.

The version of the text below, found in modern hymnals, incorporates the changes to Moore's original words (which can be read here) made by Thomas Hastings:

Come, ye disconsolate, where’er ye languish,
Come to the mercy seat, fervently kneel.
Here bring your wounded hearts, here tell your anguish;
Earth has no sorrow that heaven cannot heal.

Joy of the desolate, light of the straying,
Hope of the penitent, fadeless and pure!
Here speaks the Comforter, tenderly saying,
"Earth has no sorrow that Heaven cannot cure."

Here see the Bread of Life, see waters flowing
Forth from the throne of God, pure from above.
Come to the feast of love; come, ever knowing
Earth has no sorrow but heaven can remove.

Here is Come, Ye Disconsolate as it appeared in Hastings' 1831 collection Spiritual Songs for Social Worship:

  

 Here is a presentation in a more modern notation style:

REFLECTIONS

Come, Ye Disconsolate is an invitation, a call for sufferers and sinners to come to Christ and find healing (st. 1), hope, and comfort (st. 2), and to enjoy spiritual sustenance in the feast of the Lamb (st. 3). The text emphasizes the consolation that Christ offers to those who turn to him in faith. To Him we may bring our anguish, and cast upon Him all our cares (1 Peter 5:7). Comfort and salvation are promised to sinners who approach Him in repentance (2 Cor. 7:10; John 14:16-18). Indeed, Jesus Himself is the bread of life who gives life unto the world (John 6:32-33); it is through Him that we can see the waters flowing from the throne of God (Rev. 22:1-2) and are able to participate in the "feast of love," the bounty of joy in oneness with God that looks forward to the eternal marriage feast (Rev. 19:9). Come, Ye Disconsolate surely ranks as one of the most moving hymns of consolation and reassurance, along with such treasures as It is Well With My Soul.

COMFORT IN THE DARKNESS OF WAR

We know the great impact that hymns can have on the lives of individuals: sparking eternal insights, stirring emotions, creating precious memories of childhood, family, and home. Sometimes, one hymn can have a deep and lasting effect on the lives of many who hear it at the same time, and thus on history itself. And so it was with Come, Ye Disconsolate.

On the night of July 2, 1863, at the height of the American Civil War, as many as four thousand dead and wounded soldiers carpeted the 26 acres of the (now) infamous "Wheat Field," where some of the most vicious fighting of the Battle of Gettysburg had just taken place between the Army of the Potomac (Union) and and the Army of Northern Virginia (Confederate). As darkness gathered, the field became a macabre “no-man’s land” between the exhausted armies. As reported by Cpt. George Hillyer of the Ninth Georgia Infantry regiment, which spent the night lying within earshot of the Wheat Field after being beaten back from the nearby hill known as Little Round Top, one of the men between the lines began to sing, loudly enough to be heard on both sides.

“He was probably a boy raised in some religious home in the South,” Hillyer recalled later, “where the good old hymns were the standard music.” There were “thousands of desperately wounded men lying on the ground within easy hearing of the singer,” the captain observed,“ and as his voice rang out like a flute . . . not only the wounded, but also five or ten thousand and maybe more of the men of both armies could hear and distinguish the words.”  The lines that they heard had been penned four decades earlier by an Irish poet named Thomas Moore and then set to music and published in 1831:

Come, ye disconsolate, where’er ye languish; / Come to the mercy seat, fervently kneel; / Here bring your wounded hearts, here tell your anguish; / Earth has no sorrow that heav’n cannot heal.

When the unidentified man finished singing, thousands of soldiers on both sides clapped and cheered.  [See Robert Tracy McKenzie, "The Battlefield at Gettysburg–Final Reflections" (November 1, 2013);  Allen C. Guelzo, Gettysburg: The Last Invasion (Vintage Books, 2013), p. 570]

Union dead at on the Gettysburg battlefield

VIDEO PRESENTATIONS

Several high-quality video renditions of Come, Ye Disconsolate can be found online, although there seems to be a trend to re-arrange the Webbe-Hastings tune or give the hymn an entirely new musical setting. This writer prefers the hymn as originally set, but the modern efforts are also impressive.

In the video below, the hymn is sung beautifully to the traditional tune CONSOLATION, by an unidentified choir. The Moore-Hastings text is included, so it's easy to follow along.



The performance below is by Freddie Ashby, Hope Shepherd, and Daron Bradford to a more reflective, plaintive arrangement. The video itself is beautiful and moving, as is the orchestration:



Yet another touching modern arrangement, by contemporary Christian composer and producer Rob Gardner, is sung in the video below by Loni Hawkins.

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And God shall wipe away all tears from their eyes;
and there shall be no more death,

neither sorrow, nor crying,
neither shall there be any more pain:

for the former things are passed away.

(Rev. 21:4)

Battle Hymn of the Republic

Irish Brigade Monument, Antietam National Battlefield

A couple of weeks ago (May 27) people in the United States observed Memorial Day, on which we  remember and honor those who gave their lives while serving our country in the armed forces.  In less than a month (July 1-3), we will mark the 150th anniversary of the Battle of Gettysburg, the costliest and, perhaps, most decisive engagement in the American Civil War.  Dark clouds of wars past, as well as the "wars and rumors of wars" today, are on our minds.  For centuries, people have resorted to sacred music as a way to find meaning, comfort, and inspiration amidst the terrible trials that wars produce. Sometimes a hymn will reflect on what has been lost in past conflicts, especially fallen warriors, and at other times (and often in the same hymn) on the causes for which the war was fought.

War, for a Christian, is among the most troubling features of life in this world. We believe that our God is loving and merciful, yet untold millions of innocent  human beings have been killed, maimed, starved, enslaved, and otherwise suffered in countless wars down through history, a scourge which seems to have no end. God commands us not to kill (Exodus 20:13), but legions of professing Christians have taken up arms, and still do, to defend their homelands or way of life--and too often in the past, most regrettably, to engage in conquest and even to war against each other.  We pray fervently for peace and look forward to the blessed day when "they shall beat their swords into plowshares, and their spears into pruning hooks: nation shall not lift up sword against nation, neither shall they learn war any more." (Isaiah 2:3-4)  And yet, we "put on the whole armour of God" (Ephesians 6:11) and sing rousing hymns that are full of military imagery, such as Onward Christian Soldiers, Who Is on the Lord’s Side?, and Stand Up, Stand Up for Jesus, Ye Soldiers of the Cross. Ultimately, perhaps, war is but one facet of the opposition and conflict that came into the world with sin, and will be our lot until Christ returns and banishes Satan forever.

This view suffuses one of Christendom's (and the world's) most famous hymns, The Battle Hymn of the Republic.  This remarkable work may be less of a "hymn" as commonly understood, than an anthem, for it became the inspirational "theme" music for the Union (or perhaps more precisely, the abolitionist) cause in the American Civil War. While it reflects on the issues that gave rise to that war and invokes images common to the 19th century soldier's experience, the Battle Hymn elevates the conflict to a higher, sacred plane and speaks to what many Christians believe about evil, the destiny of the world, and our role in fulfilling that destiny.

THE HISTORY BEHIND THE HYMN

The text of the Battle Hymn was written in 1861 by Julia Ward Howe (1819–1910), a prominent American social activist and wife of Samuel Gridley Howe (1801–1876), a famed scholar in education of the blind. Samuel and Julia were both deeply involved in the anti-slavery or "abolitionist" movement, in which thousands of Americans had, for more than thirty years, worked tirelessly to end the practice of slavery in the United States through religious and moral persuasion, political agitation, and even spiriting slaves away to the Northern states and Canada from their places of bondage in the South. Many abolitionists had exhausted their fortunes and risked (and some suffered)  prison or death in the cause. The movement grew out of the American religious revival known as the the Second Great Awakening in the 1820s and 1830s, and its most passionate and committed members were motivated by the conviction that "all people were equal in God's sight; the souls of black folks were as valuable as those of whites; [and] for one of God's children to enslave another was a violation of the Higher Law, even if it was sanctioned by the Constitution." (James Brewer Stewart, Holy Warriors: The Abolitionists and American Slavery (1976)). They were also convinced, as were most zealous believers since the Second Great Awakening, that the Millennium was near and that Jesus Christ would return to the earth soon to usher it in. That society could and should be transformed for the better in furtherance of God's purpose, and that it was the Christian's duty to help bring about that transformation, was an article of faith among religious abolitionists and social reformers of that day.

John Brown

By the 1860s the abolition movement seemed--but for the liberation of some thousands of slaves through the "underground railroad"--to have borne little fruit but to set the Northern and Southern sections of the United States implacably against each other. The 1859 assault on the federal arsenal at Harpers Ferry, Virginia led by John Brown, a deeply religious abolition zealot who sought to spark a slave uprising--and which was funded in part by Samuel Gridley Howe--only hastened the rupture. Finally, five months after anti-slavery Republican Abraham Lincoln was elected President of the United States in November 1860, and several Southern states seceded from the Union, the conflict became an open and deadly Civil War.

According to various accounts, the Battle Hymn was born in the wake of a public review of federal troops outside Washington, D.C. in November 1861, which Julia Ward Howe attended along with her husband Samuel--now a member of President Lincoln's military Sanitary Commission--and the Rev. James Freeman Clarke. At some point the passing soldiers began singing John Brown's Body, a popular Union marching song that referred both to the famous antislavery martyr John Brown and to a certain irrepressible Union soldier of that name from Massachusetts. John Brown's Body itself originated from a popular religious camp-meeting song known as Canaan's Happy Shore or Brothers, Will You Meet Us?, which carried an old folk tune transcribed (and often attributed to) William Steffe (1830–1890), (of whom no known image exists) and published in about 1856. Although the words to John Brown's Body were thought by the more genteel people of the time as rather coarse and irreverent, Mrs. Howe and her party joined in the singing as the soldiers marched by. Reverend Clarke suggested to Mrs. Howe that she write some new lyrics to the familiar tune, and she resolved to do so. As she later recalled:

I went to bed that night as usual, and slept, according to my wont, quite soundly. I awoke in the gray of the morning twilight; and as I lay waiting for the dawn, the long lines of the desired poem began to twine themselves in my mind. Having thought out all the stanzas, I said to myself, 'I must get up and write these verses down, lest I fall asleep again and forget them.' So, with a sudden effort, I sprang out of bed, and found in the dimness an old stump of a pen which I remembered to have used the day before. I scrawled the verses almost without looking at the paper. [Howe, Julia Ward. Reminiscences: 1819-1899. Houghton, Mifflin: New York, 1899. p. 275]

Howe's Battle Hymn of the Republic was first published on the front page of the February 1862 issue of the Atlantic Monthly (editor James T. Fields (1817-1881), who paid Mrs. Howe $5 for the piece, is credited with having given the song the name by which it is known today). By the time federal forces  took the field for their spring campaigns, soldiers were already singing and marching to the song.

Since the Civil War, the Battle Hymn has become one of the USA's most beloved patriotic songs. It also appears in many hymnals, and is widely sung at church services on such national holidays as Memorial Day and Independence Day. It is probably second in eminence only to The Star Spangled Banner as an American patriotic anthem.

THE MEANING AND IMPORTANCE OF THE HYMN

One cannot fully appreciate the meaning and significance of the Battle Hymn without reading and pondering its text in detail:

    Mine eyes have seen the glory of the coming of the Lord:
    He is trampling out the vintage where the grapes of wrath are stored;
    He hath loosed the fateful lightning of His terrible swift sword:
    His truth is marching on.

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        His truth is marching on.

    I have seen Him in the watch-fires of a hundred circling camps,
    They have builded Him an altar in the evening dews and damps;
    I can read His righteous sentence by the dim and flaring lamps:
    His day is marching on.

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        His day is marching on.

    I have read a fiery gospel writ in burnished rows of steel:
    "As ye deal with my contemners, so with you my grace shall deal;
    Let the Hero, born of woman, crush the serpent with his heel,
    His truth is marching on."

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        His truth is marching on.

    He has sounded forth the trumpet that shall never call retreat;
    He is sifting out the hearts of men before His judgment-seat:
    Oh, be swift, my soul, to answer Him! be jubilant, my feet!
    Our God is marching on.

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Our God is marching on.

    In the beauty of the lilies Christ was born across the sea,
    With a glory in His bosom that transfigures you and me:
    As He died to make men holy, let us die to make men free,
    While God is marching on.

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Our God is marching on.

    He is coming like the glory of the morning on the wave,
    He is Wisdom to the mighty, He is Succour to the brave,
    So the world shall be His footstool, and the soul of Time His slave,
    Our God is marching on.

        (Chorus)
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Glory, glory, hallelujah!
        Our God is marching on.

The Battle Hymn of the Republic is certainly different from most of the works featured in this or like collections of hymns, which tend to focus on the individual and his or her personal transformation through God and Jesus Christ. The Battle Hymn, on the other hand, focuses on the world and the injustice and evil within it, and its impending transformation by Christ, heralded by and working through the armies of His faithful.

The first stanza presents a clear vision of the Lord's return and the fearful judgment coming in its wake:  "glory of the coming of the Lord" (". . . the Son of man coming in the clouds of heaven with power and great glory." Matthew 24:30); "grapes of wrath" ("And the angel thrust in his sickle into the earth, and gathered the vine of the earth, and cast it into the great winepress of the wrath of God."  Revelation 14:19); "terrible swift sword" (". . . out of his mouth went a sharp twoedged sword . . ."  Revelation 1:16).

As has been noted elsewhere, the main element of the chorus--"Glory! Glory! Hallelujah!"-- was probably also inspired by the book of Revelation: " . . . I heard a great voice of much people in heaven, saying, Alleluia; Salvation, and glory, and honour, and power, unto the Lord our God . . ."  (Revelation 19:1).

In the second and third stanzas, the Lord is seen in "the watchfires;" His righteous sentence and His fiery gospel are read in "the dim and burning lamps" and in "burnished rows of steel" (ranks of polished musket barrels). These are things characteristic of soldier life, so the hymn suggests that the army itself constitutes the Lord's "terrible swift sword" and, perhaps, the "Hero born of woman" which is to "crush the serpent" underfoot.

The fourth stanza's reference to the "trumpet that shall never call retreat" also invokes a familiar thing to soldiers of that day, the bugle, and suggests a stern call to duty and action, as well as to Judgment Day, "a day of the trumpet and alarm" (Zephaniah 1:14, 16). Tthat call is not one to be shirked or dreaded by a soldier in God's army, but embraced joyfully: "Oh, be swift, my soul, to answer Him! be jubilant, my feet!"

The fifth stanza is the true climax of the hymn, and reveals its core inspiration: Christ, the beauty and glory of his Person. As He died to free all people  from sin, so should we be ready to give our lives to bring freedom to others ("As He died to make men holy, let us die to make men free"). While the word "slavery" is never used in the Battle Hymn, its implication is unmistakable, given the times and the circumstances of the hymn's author and authorship.

In thus replacing the words to the earthy marching song John Brown's Body, Mrs. Howe clearly intended to give the soldiers' agonizing work a new and higher meaning: not just the conquest of a menacing adversary, not just restoration of the Union, but a deliverance of millions of helpless souls from the crushing evil of bondage, and redemption of the whole nation from guilt for that terrible sin. As another perceptive observer explains: "[Mrs. Howe's] hymn was an attempt to frame [the soldiers'] sacrifice, to place it within the context of a great and glorious cause. . . . the advance of God’s Kingdom on earth."

OUR CALL TO ACTION?

Perhaps it is well that the Battle Hymn omits specific reference to the racial slavery over which the Civil War was fought 150 years ago, for as it is written the hymn speaks eloquently to us today, and calls us to be defenders of the freedom God intended for all our brothers and sisters. No wonder that the Battle Hymn became an anthem of the 20th century's civil rights movement.  In his final sermon delivered in Memphis, Tennessee on the evening of April 3, 1968, the night before his assassination, Dr. Marin Luther King, Jr. closed with the first line of the Battle Hymn: "Mine eyes have seen the glory of the coming of the Lord!"  The Battle Hymn has also come to be associated with the American cause in confronting evil and oppression around the world. It was a favorite of British Prime Minister and World War II leader Winston Churchill, for example, and at his request was played at his funeral in 1965.

Some modern Christians are uncomfortable with the militancy of the Battle Hymn and its call to men and women for such deep and forceful involvement in worldly matters. In any such critique we need to be mindful of the social and religious currents, as well as of the desperate moral and political struggles, out of which it arose. Different conditions and attitudes prevail today, when the initiative for social reform has been largely assumed by, or ceded to, secular forces working through governments and their allied organizations. Moreover, and ominously, there is in our society a growing resistance to the involvement of religious elements in public life. Nevertheless, who but those inspired by the love and teachings of Christ are better suited to show the compassion and self-sacrifice today's world so desperately needs?  Do Christian believers simply stand aside and let the relentless tide of evil (violence, class/ethnic/sectarian enmity, abortion) wash over the world while we gaze upwards waiting for deliverance?  To put it in Civil War terms, should we yield the moral battlefield and ground arms until our General appears to do the fighting for us?  Or do we, in Christ's name and spirit, march forward now and do what we can, until He returns, to dispel Satan's lies and extend God's deliverance to all His beleaguered children?  Even if we do so with plowshares instead of swords, the Battle Hymn of the Republic would still be a perfect anthem for our efforts.

* * * * * * *

VIDEOS ABOUT THE HYMN

It's unusual to have multiple videos telling how a hymn came to be, and of its enduring significance--but the Battle Hymn is a very special piece. Here is the story of the hymn as told by the great actor and director Orson Welles:



Here is another fascinating video relating the story of the Battle Hymn by the great-great-great grandson of Julie Ward Howe:

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PERFORMANCES OF THE HYMN

There are many excellent (and some not so satisfactory) video renditions of the Battle Hymn. Most present only the first, second, and fifth stanzas. I suppose they're the best-known and easiest to understand and relate to for modern listeners, although the fourth stanza is just as clear and inspiring as the others, in my humble opinion.

Most modern renditions also substitute "live" for the original "die" in the third line of the fifth stanza, making the line read: "As He died to make men holy, let us live to make men free."  It is unclear when and why this change became commonplace. Perhaps it was in reaction against what some find to be the hymn's unsettling militancy. Others believe that "live" is preferable because it embraces commitment and potential sacrifice of one's whole being, in life as well as in death. Out of faithfulness to the original work I generally prefer its wording, but philosophically I prefer "live" for the reason just given. I find either formulation most inspiring.

Here is the video I thought most impressive musically and visually, featuring full orchestration and a large (though, unfortunately, unidentified) choir:



Good solo performances on video are harder to come by. Here is a good one by Judy Collins, joined by a U.S. Army chorus and the Boys Choir of Harlem in a 1993 concert televised live from Washington, D.C.:



For those who prefer a more spiritual, less military presentation, here's one featuring singer Jim Nabors along with images of Christ and scenes from His life and mission on Earth (in contrast to most other renditions, this one features the first, fourth, and fifth stanzas of the hymn):

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Triumph of Christ, by Gustave Dore (1868)

 . . . [T]hey shall see the Son of man coming in the clouds of heaven
with power and great glory.
And He shall send His angels with a great sound of a trumpet . . .
~  Matthew 24:30-31