Works
Lyte's first composition was Tales in Verse illustrative of Several of the Petitions in the Lord's Prayer (1826), written at Lymington and commended by John Wilson in the Noctes Ambrosianae. Lyte next published Poems, chiefly Religious (1833), and in 1834, a small collection of psalms and hymns entitled The Spirit of the Psalms. After his death, a volume of Remains (1850) with a memoir was issued, and the poems contained in this, with those in Poems, chiefly Religious, were afterward published in one volume (1868). Three of Lyte's best-known hymns are paraphrases of psalms, published in The Spirit of the Psalms: “Praise, my soul, the King of heaven” (Psalm 103), “God of Mercy, God of Grace” (Psalm 67), and “Pleasant are thy courts above” (Psalm 84).
Lyte's best known hymns are:
- Abide with me! fast falls the eventide
- Jesus, I my cross have taken
- Praise, my soul, the King of Heaven
- Pleasant are Thy courts above.
- Agnes.
Of these hymns, "Abide With Me" is the best known. According to the traditional story given in the Remains, Lyte wrote it a few hours after conducting the final service at his church, which was probably 5 September 1847. More likely the hymn was actually written in July or August of that year. Lyte himself created for the hymn what his biographer has disparaged as "a dull tune." When Hymns Ancient and Modern was published in 1861, the editor, William H. Monk—whose three-year-old daughter had just died—composed his own tune, "Eventide," for Lyte's poem. The hymn became a favorite of George V and George VI and was sung at the former's funeral. The hymn also inspired Field Marshal Herbert Kitchener and General Charles "Chinese" Gordon, and it was said to have been on the lips of Edith Cavell as she faced a German firing squad. "Abide with Me" has been sung at the FA Cup finals since 1927 when the association secretary substituted the hymn for the playing of "Alexander's Ragtime Band."
Read more about this topic: Henry Francis Lyte
Famous quotes containing the word works:
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
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“My first childish doubt as to whether God could really be a good Protestant was suggested by my observation of the deplorable fact that the best voices available for combination with my mother’s in the works of the great composers had been unaccountably vouchsafed to Roman Catholics.”
—George Bernard Shaw (1856–1950)