![]() The chorus first appears in three-part harmony over a simple accompaniment, which is followed by a transition to a new key by the piano. The second stanza has the same simple accompaniment but the first trombone plays harmony over the top of the two other parts. This arrangement begins with a very sparse piano accompaniment and the three trombones playing the first stanza in unison. Appearing in most English-language hymnals across denominational lines, it is a hymn of devotion that is very popular during communion and Good Friday services. Doane's tune NEAR THE CROSS was written specifically for the Fanny Crosby hymn lyrics. Hawn is professor of sacred music at Perkins School of Theology, SMU.William H. The eschatological theme of “Near the Cross” captures the hope and joy of heaven that is so characteristic of Crosby’s hymns: “Till my raptured soul shall find rest beyond the river.”ĭr. Sensing this she is said to have replied, “If I could have one wish, I’d wish that I might continue blind the rest of my life.” Moody was taken back and asked, “How can you say that?” Crosby was said to have responded, “Because, after being blind for all these years, the first face I want to see now is the face of Jesus.” Moody was said to have asked Crosby the following question toward the end of her life: “If you could have just one wish granted, what would it be?” Many writers have commented on Fanny Crosby’s ability to employ the technique of hypotyposis-painting a vivid scene as if it were present-even though she was blinded soon after birth. Clephane, who in 1872 wrote “Beneath the Cross of Jesus” ( UM Hymnal, No. This image is reminiscent of another Romantic-era poet, Elizabeth C. Stanza three invites us to meditate upon the Cross-“bring its scenes before me.” The “shadow” of the Cross falls on my daily path. Though an instrument of cruel punishment and torture, the Cross is a source of a “healing stream” (stanza one) and a place where “the bright and morning star sheds its beams” on us (stanza two). From it flows a “precious fountain”-an image perhaps borrowed from the 18th-century poet William Cowper and his hymn “There is a fountain filled with blood” ( UM Hymnal, No. The Cross, a place where the pain of earth and the joy of heaven come together, is a kind of spiritual altar to which we might draw near for refuge and solace. The glory of the Cross, a theme of the refrain, is a common metaphor of Romantic-era hymnody. Young notes: “It is one of many texts by Crosby that combine vivid imagery (she was blinded in her childhood) and powerful biblical and evangelical metaphors: the Cross, a fountain of healing streams, free grace, the daily walk of faith, God’s pursuing love and mercy, Jesus, the Lamb of God, beyond the river of death-heaven with its golden streets-and rest for the post-Raptured souls.” Indeed, it was Doane who wrote the music and then gave it to Fanny Crosby to add the text-a practice that was not uncommon in their relationship. Allen, at least two of whom were famous writers of gospel song tunes. This hymn first appeared in the collection Bright Jewels (1869), compiled by Bradbury, Doane, W.F. British hymnals identify her as Frances Van Alstyne, her married name. She married blind musician Alexander Van Alstyne. Crosby composed under a number of pen names. ![]() Her texts were set to the compositions of some of the most prominent gospel song composers of the day including William Bradbury, William Doane and Ira Sankey. A friend of several presidents, Crosby became one of the most important advocates for the cause of the blind in the United States. She later became a teacher at the New York School for the Blind, where she was a student. ![]() Though blind at 6 weeks of age, Crosby began composing texts at age 6. Crosby (1820-1915) was the author of over 8,500 gospel songs.
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