and one a askin' questions, all fa'r and squar', to know the way and whether it's goin' to lead thar straight or not, and the other answerin'. And he was a tinkerin' 'way up on the foremast. George Oliver and the rest of us was astern, and I'll hear to my dyin' day how his voice came a floatin' down to us thar, chantin' like it was, cl'ar and fearless and slow. So he asks, for findin' Jesus, ef thar's any marks to foller by; and George, he answers about them bleedin' nail-prints, and the great one in his side. So then that voice comes down agin, askin' if thar's any crown, like other kings, to tell him by; and George, he answers straight about that crown o' thorns. Then says that other voice, floatin' so strong and cl'ar, and if he gin up all and follered, what should he have? What how? So George, he sings deep o' the trial and the sorrowin'. But that other voice never shook 'a askin', and what if he helt to him to the end, what then should it be — what then? George Oliver answers: 66 Forevermore, the sorrowin' ended - Death gone over." Then he sings out, like his mind was all made up, “And if he undertook it, would he likely be turned away?" "And it's likelier," George answers him, "that heaven and earth shall pass." So I'll hear it to my dyin' day, his voice a floatin' down to me from up above thar, askin' them questions that nobody could ever answer like, so soon he answered 'em for himself.""

26-VENI CREATOR SPIRITUS.

FOR nine hundred years this hymn has been in constant use in the West. It has been ascribed to Charlemagne, St. Ambrose, and Gregory the Great. It has been translated by Dryden, Luther, Bishop Cosin, and innumerable other singers. Ekkehard, the Monk of St. Gall, says that the groaning of a water-wheel, whose supply of water was running short, suggested to Notker, who was lying sleepless in an adjoining dormitory, the possibility of setting its melancholy moaning to music.

He succeeded so well that he produced the Sequence on the Holy Spirit, which, being sent by him to Charles (the Fat, not Charlemagne), led the latter to compose the "Veni Creator Spiritus." A strange legend as to the origin of a hymn that, among its other achievements, has the singular good fortune of being the only hymn in the English Prayer Book. Eishop Cosin's version of the hymn has been used for over two hundred years at the Consecration of Anglican bishops and priests. In the Roman Church it was appointed for use at the Creation of a Pope, the Election of a Bishop, the Coronation of Kings, and the Elevation and Translation of Saints. The Latin version is that now in use in the Roman Church. It differs slightly - chiefly in the order of the words from the original version.

OME, Holy Ghost, our

souls inspire,

And lighten with celestial fire ;

Thou the anointing Spirit art,

Who dost Thy sevenfold gifts impart :
Thy blessed unction from above
Is comfort, life, and fire of love.

Enable with perpetual light

The dullness of our blinded sight:
Anoint and cheer our soilèd face
With the abundance of Thy grace:
Keep far our foes, give peace at home;
Where Thou art Guide no ill can come.

Teach us to know the Father, Son,
And Thee, of Both, to be but One;
That through the ages all along
This may be our endless song,
Praise to Thy eternal merit,
Father, Son, and Holy Spirit.

Amen.

VENI

VENI, Creator Spiritus,
Mentes tuorum visita,
Imple superna gratia,
Quæ tu creasti pectora.

Qui diceris Paraclitus,
Altissimi donum Dei,
Fons vivus, ignis, charitas,
Et spiritalis unctio.

Tu septiformis munere,
Digitus Paternæ dexteræ,
Tu rite promissum Patris,
Sermone ditans guttura.

Accende lumen sensibus,
Infunde amorem cordibus,

Infirma nostri corporis,

Virtute firmans perpeti.

Hostem repellas longius,
Pacemque dones protinus;
Ductore sic te prævio
Vitemus omne noxium.

Per te sciamus da Patrem,
Noscamus atque Filium,
Teque utriusque Spiritum
Credamus omni tempore.

TUNE

-

"VENI CREATOR, No. 1."

The Primate of Scotland says that he uses this hymn more than daily, and loves it beyond all others. Professor Barrett, speaking of his own experience, says: "There is no hymn which dwells so vividly in my memory as this, nor do I think any has been more stirring and helpful to me."

IV. Times and Seasons.

27--CHRISTMAS.

ADESTE FIDELES.

THE use of this Christmas hymn only dates from the close of the last century, although it may have been composed a century earlier.

COME, all ye faithful,

Joyful and triumphant,

O come ye, O come ye to Bethlehem;
Come and behold Him

Born, the King of Angels;
O come, let us adore Him,
O come, let us adore Him,

O come, let us adore Him, Christ the Lord.

God of God,

Light of Light,

Lo! He abhors not the Virgin's womb;
Very God,

Begotten, not created;

O come, let us adore Him, etc.

Sing, choirs of Angels,

Sing in exultation,

Sing, all ye citizens of Heav'n above:

66

Glory to God

In the highest;"

O come, let us adore Him, etc.

Yea, Lord, we greet Thee,
Born this happy morning;
Jesu, to Thee be glory given;
Word of the Father,

Now in flesh appearing;

O come, let us adore Him,

O come, let us adore Him,

O come, let us adore Him, Christ the Lord. Amen.

ADESTE, fidéles,

Læti triumphántes;

Veníte, veníte in Bethlehem;

Nátum vidéte

Regem angelórum ;

Veníte adorémus,

Veníte adorémus,

Veníte adorémus Dominum.

Deum de Deo,

Lúmen de Lúmine,

Gestant puellæ viscera :
Deum vérum,

Genitum non fáctum :

Veníte adorémus, etc.

Cantet nunc Io
Chorus angelórum;

Cantet nunc aula cœléstium,

Gloria in excelsis Deo:
Veníte adorémus, etc.

Ergo qui nátus

Die hodiérna,

Jesu, Tibi sit glória:

Patris aeterni

Verbum caro factum :

Veníte adorémus, etc.

TUNE-"ADESTE FIDELES."