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Richard Farrant

1525 - 1580 Person Name: Richard Farrant (1536-1581) Hymnal Number: C3 Composer of "[God be merciful unto us, and bless us]" in Songs of Praise Like many composers of his day, the early years of Richard Farrant’s (c.1525- November 30, 1580) life are not well documented. The first acknowledgment of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525. Although, that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded the first Blackfriar Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named, Richard. As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as organist at St. George’s Chapel at Windsor. For Farrant, the post at at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November of 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he passed away, having left his house to his wife. Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems "When as we sat in Babylon" and "Call to remembrance" and "Hide not thou thy face." --en.wikipedia.org/wiki/

Thomas Norris

1741 - 1790 Person Name: Charles Norris (1740-1790) Hymnal Number: C10 Composer of "[Praise the Lord, O my soul]" in Songs of Praise

William Boyce

1711 - 1779 Person Name: William Boyce (1710-1779) Hymnal Number: C13 Composer of "[O come, let us sing unto the Lord]" in Songs of Praise William Boyce (baptised 1711 – d. 7 February 1779) was an English composer and organist. See also in: Wikipedia

Benjamin Williams

1725 - 1795 Person Name: Rev. Benjamin Williams Hymnal Number: 29 Author of "Holy, holy, holy Lord! Be thy glorious name adored" in Songs of Praise Williams, Benjamin, 1725-1795. Presbyterian minister at Salisbury, who in addition to a volume of Sermons, 1770, and the Salisbury Hymn Book, 1778, published The Book of Psalms as translated, paraphrased or imitated by some of the most eminent English poets, &c. Salisbury, 1781. His best known hymn, "Holy, holy, holy Lord," in celebration of the Divine Goodness, is in his own Collection, Kippis, Martineau’s Hymns for the Christian Church and Home, Martineau’s Hymns of Praise and Prayer, and Belfast Collection. --John Julian, Dictionary of Hymnology (1907)

Harry H. Beadle

1828 - 1902 Person Name: Harry Hobart Beadle (1828- ) Hymnal Number: 79 Composer of "VICTORY" in Songs of Praise Harry Hobart Beadle was born in Wallingford, Connecticut. He was a member of the South Congregational Church in Brooklyn and for nearly thirty years he served as organist and also as clerk. In 1861 what was known as the Carroll Guard was organized in the church. It became Company F of the Thirteenth Regiment. Beadle was the Second Lieutenant, then became Captain and then Colonel. He was President of the Thirteenth Regiment Veteran Association. New York Times obituary, December 4, 1902

Benjamin Gough

1805 - 1877 Person Name: Benjamin Gough, 1805- Hymnal Number: 286 Author of "Awake, awake, O Zion" in Songs of Praise Gough, Benjamin, was born at Southborough, Kent, in 1805, and died Nov. 28,1877. He was engaged in mercantile pursuits in London for some years. After retiring from business he resided at Mountfield, Faversham. He was a member and lay preacher of the Wesleyan denomination. His poetical works include:— (1) Lyra Sabbatica, Lon., 1865; (2) Kentish Lyrics, London, 1867; (3) Hymns of Prayer and Praise, London, 1875; and several minor publications, the most important being (4) Protestant Hymns & Songs for the Million, Lon., 1878; (5) Songs from the Woodlands, and Other Poems, Lon., 1872; and (6) Christmas Carols and New Year's Songs, Lon. (n.d.). Of Mr. Gough's hymns, about 20 are in common use in Great Britain and America, and of these the most popular and widely used is "Awake, awake, O Zion," q.v. Although possessing many features of popularity, his hymns do not rank high as literary productions. His works are also marred by numerous and feeble imitations of the great lyrics of the Church. Many of his earlier hymns were rewritten for his Hymns of Prayer & Praise, very much to their disadvantage. In addition to those which are annotated under their first lines the following are in common use:— 1. Be thou faithful unto death. Faithfulness. Appeared in his Lyra Sabbatica, &c, 1865, p. 77, in 3 stanzas of 8 lines, and entitled "Christian Fidelity." In 1867 it was transferred to the People's Hymnal, and again, in 1875, to the New Mitre-Hymnal, No. 151. 2. Blessed are the dead who die. Burial. Appeared in his Lyra Sabbatica, 1865, p. 89, in 4 stanzas of 8 lines and headed "For the dead in Christ." In Hatfield's Church Hymn Book, N. Y., 1872, it is slightly altered. 3. Christ is risen from the dead. Easter. In Lyra Sabbatica, 1865, p. 96, in 6 stanzas of 8 lines, as "An Easter Carol;" but in his Hymns of Prayer & Praise, 1875, p. 49, this is changed to "An Easter Hymn." In the New Mitre-Hymnal, 1875, stanzas iv., v. are omitted. 4. Come, children, and join with ardour divine. Missions. In his Lyra Sabbatica, 1865, p. 159, in 9 stanzas of 3 lines, and entitled, "Children's Missionary Hymn" and the Hymns of Prayer & Praise, 1875, No. 39, in 4 stanzas of 6 lines. In the latter work it is rewritten, very much to its disadvantage. The 1865 text is followed in the Methodist Sunday School Hymn Book, 1879, No. 562. 5. Come to Bethlehem and see. Christmas. Appeared in his Christmas Carols, &c, n.d., p. 21, in 5 stanzas of 8 lines. In the New Mitre-Hymnal, 1875, No. 26, it is dated 1873. 6. For all the [Thy] saints in heaven and earth. All Saints. From his Lyra Sabbatica, 1865, p. 119, in stanzas of 8 lines into Snepp's Songs of Grace & Glory, 1872, No. 148. 7. God the Father, full of grace. Holy Trinity, or Public Worship. Appeared in his Kentish Lyrics, 1867, p. 97, in 4 stanzas of 6 lines; and rewritten in a far less acceptable form, in his Hymns of Prayer & Praise, 1875, p. 80, in 4 stanzas of 6 lines. No. 8 in the Methodist Sunday School Hymn Book, 1879, is from the 1867 text. 8. Ho, every one that thirsteth. Invitation. Published in his Lyra Sabbatica, 1865, p. 83, in 5 stanzas of 8 lines; and, altered to its disadvantage, in his Hymns of Prayer & Praise. 1875, p. 33, in 5 stanzas of 8 lines. No. 291 in Methodist Sunday School Hymn Book, 1879 is from the 1865 text. 9. How beauteous on the mountains. Missions. In Lyra Sabbatica, 1865, p. 23, in 5 stanzas of 8 lines; and his Hymns of Prayer & Praise, 1875, p. 20. In Hatfield's Church Hymn Book, N. Y., 1872, No. 1246, is composed of stanzas i.-iii. 10. In Thy temple we adore Thee, gentle, pure, and holy Child. Christmas. In his Christmas Carols, &c, n.d., p. 39, in 3 stanzas of 4 double lines. In the New Mitre-Hymnal, 1875, No. 30, it is dated 1873, and begins, “In Thy cradle we adore Thee." 11. Jesus, full of love divine. Love of Jesus. Written in 1874, and published in the New Mitre-Hymnal, 1875, No. 84. 12. Lift the gospel banner. Missions. This is attributed to B. Gough, on the authority of Mrs. Gough. It is not in his published works, and its first appearance is unknown. In the Methodist Sunday School Hymn Book, 1879, No. 394, it is in 4 stanzas of 8 lines. 13. 0 Jesus, behold the lambs of Thy fold. Sunday. From his Lyra Sabbatica, 1865, p. 103, in 9 stanzas of 3 lines into the Methodist Sunday School Hymn Book, 1879, No. 511, with the omission of stanza ii. 14. Quicken, Lord, Thy Church and me. Whitsuntide. Appeared in his Lyra Sabbatica, 1865, p. 16, in 6 stanzas of 6 lines; and in his Hymns of Prayer & Praise, 1875, p. 6; and headed "For another Pentecost." It is No. 363, in Snepp's Songs of Grace & Glory, 1872. 15. Sing we merrily to God. Praise. Appeared in his Lyra Sabbatica, 1865, p. 65, in 5 stanzas of 8 lines, and his Hymns of Prayer & Praise, 1875, p. 27. In the New Mitre-Hymnal, 1875, No. 138, st. iii. is omitted. 16. There is a land of rest. Heaven. From his Lyra Sabbatica, 1865, p. 105, in 4 stanzas of 8 lines into the New Mitre-Hymnal, 1875, No. 155, where it is appointed for St. Mark's Day. 17. There is no condemnation. Peace. In his Lyra Sabbatica, 1865, p. 25, and his Hymns of Prayer & Praise, 1875, p. 22, in 3 stanzas of 8 lines, and headed "No Condemnation." In Snepp's Songs of Grace & Glory, 1872, it is No. 682. 18. Uplift the blood-red banner. Missions. In his Lyra Sabbatica, 1865, p. 155, and his Hymns of Prayer & Praise, 1875, p. 37, in 4 stanzas of 8 lines, and headed “For the Conversion of the World." It is No. 408 in the People's Hymnal, 1867; No. 88 in the New Mitre-Hymnal, 1875, &c. -- John Julian, Dictionary of Hymnology (1907)

Martha A. W. Cook

1806 - 1874 Person Name: Mrs. Mary Ann Woodbridge Cooke, 1807-1874 Hymnal Number: 310 Author of "In some way or other the Lord will provide" in Songs of Praise Martha Elizabeth Duncan Walker Cook USA 1806-1874. Born in Northcumberland County, PA, she married Rev. Parsons Cook, editor of a Boston paper called “The Puritan Recorder”. She contributed to, and for a time, was editor of the “Continental Monthly”. She translated “The life of Chopin”, by Franz Liszt, from the French in 1863. She also translated “Undivine comedy” by Zygmund Krasinski in 1875. She died in Hoboken, NJ. John Perry

Calvin S. Harrington

1826 - 1886 Person Name: Calvin Sears Harrington Hymnal Number: 310 Composer of "THE LORD WILL PROVIDE" in Songs of Praise Born: May 17, 1826, St. Johnsbury, Vermont. Died: February 16, 1886, at his home in Middletown, Connecticut. Buried: Indian Hill Cemetery, Middletown, Connecticut. Harrington graduated from Wesleyan University in 1852. From 1852 to 1855, he taught Latin at the New Hampshire Conference Seminary, Sanbornton Bridge, New Hampshire; from 1855 to 1860, he served as president of the seminary. From 1861 to 1863 he was a professor of Greek at Wesleyan University; from 1863 to his death, he was a professor of Latin there. --www.hymntime.com/tch/

Reginald Heber

1783 - 1826 Person Name: Bp. Reginald Heber, 1783-1826 Hymnal Number: 1 Author of "Holy, holy, holy, Lord God Almighty!" in Songs of Praise Reginald Heber was born in 1783 into a wealthy, educated family. He was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in the village of Hodnet near Shrewsbury in the west of England where he remained for 16 years. He was appointed Bishop of Calcutta in 1823 and worked tirelessly for three years until the weather and travel took its toll on his health and he died of a stroke. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today. -- Greg Scheer, 1995 ==================== Heber, Reginald, D.D. Born at Malpas, April 21, 1783, educated at Brasenose College, Oxford; Vicar of Hodnet, 1807; Bishop of Calcutta, 1823; died at Trichinopoly, India, April 3, 1826. The gift of versification shewed itself in Heber's childhood; and his Newdigate prize poem Palestine, which was read to Scott at breakfast in his rooms at Brazenose, Oxford, and owed one of its most striking passages to Scott's suggestion, is almost the only prize poem that has won a permanent place in poetical literature. His sixteen years at Hodnet, where he held a halfway position between a parson and a squire, were marked not only by his devoted care of his people, as a parish priest, but by literary work. He was the friend of Milman, Gifford, Southey, and others, in the world of letters, endeared to them by his candour, gentleness, "salient playfulness," as well as learning and culture. He was on the original staff of The Quarterly Review; Bampton Lecturer (1815); and Preacher at Lincoln's Inn (1822). His edition of Jeremy Taylor is still the classic edition. During this portion of his life he had often had a lurking fondness for India, had traced on the map Indian journeys, and had been tempted to wish himself Bishop of Calcutta. When he was forty years old the literary life was closed by his call to the Episcopate. No memory of Indian annals is holier than that of the three years of ceaseless travel, splendid administration, and saintly enthusiasm, of his tenure of the see of Calcutta. He ordained the first Christian native—Christian David. His first visitation ranged through Bengal, Bombay, and Ceylon; and at Delhi and Lucknow he was prostrated with fever. His second visitation took him through the scenes of Schwartz's labours in Madras Presidency to Trichinopoly, where on April 3,1826, he confirmed forty-two persons, and he was deeply moved by the impression of the struggling mission, so much so that “he showed no appearance of bodily exhaus¬tion." On his return from the service ”He retired into his own room, and according to his invariable custom, wrote on the back of the address on Confirmation 'Trichinopoly, April 3, 1826.' This was his last act, for immediately on taking off his clothes, he went into a large cold bath, where he had bathed the two preceding mornings, but which was now the destined agent of his removal to Paradise. Half an hour after, his servant, alarmed at his long absence, entered the room and found him a lifeless corpse." Life, &c, 1830, vol. ii. p. 437. Heber's hymns were all written during the Hodnet period. Even the great missionary hymn, "From Greenland's icy mountains," notwithstanding the Indian allusions ("India's coral strand," "Ceylon's isle"), was written before he received the offer of Calcutta. The touching funeral hymn, "Thou art gone to the grave," was written on the loss of his first babe, which was a deep grief to him. Some of the hymns were published (1811-16) in the Christian Observer, the rest were not published till after his death. They formed part of a ms. collection made for Hodnet (but not published), which contained, besides a few hymns from older and special sources, contributions by Milman. The first idea of the collection appears in a letter in 1809 asking for a copy of the Olney Hymns, which he "admired very much." The plan was to compose hymns connected with the Epistles and Gospels, to be sung after the Nicene Creed. He was the first to publish sermons on the Sunday services (1822), and a writer in The Guardian has pointed out that these efforts of Heber were the germs of the now familiar practice, developed through the Christian Year (perhaps following Ken's Hymns on the Festivals), and by Augustus Hare, of welding together sermon, hymnal, and liturgy. Heber tried to obtain from Archbishop Manners Sutton and the Bishop of London (1820) authorization of his ms. collection of hymns by the Church, enlarging on the "powerful engine" which hymns were among Dissenters, and the irregular use of them in the church, which it was impossible to suppress, and better to regulate. The authorization was not granted. The lyric spirit of Scott and Byron passed into our hymns in Heber's verse; imparting a fuller rhythm to the older measures, as illustrated by "Oh, Saviour, is Thy promise fled," or the martial hymn, "The Son of God goes forth to war;" pressing into sacred service the freer rhythms of contemporary poetry (e.g. "Brightest and best of the sons of the morning"; "God that madest earth and heaven"); and aiming at consistent grace of literary expression.. Their beauties and faults spring from this modern spirit. They have not the scriptural strength of our best early hymns, nor the dogmatic force of the best Latin ones. They are too flowing and florid, and the conditions of hymn composition are not sufficiently understood. But as pure and graceful devotional poetry, always true and reverent, they are an unfailing pleasure. The finest of them is that majestic anthem, founded on the rhythm of the English Bible, "Holy, Holy, Holy, Lord God Almighty." The greatest evidence of Heber's popularity as a hymnwriter, and his refined taste as a compiler, is found in the fact that the total contents of his ms. collection which were given in his posthumous Hymns written and adapted to the Weekly Church Service of the Year. London, J. Murray, 1827; which included 57 hymns by Heber, 12 by Milman, and 29 by other writers, are in common in Great Britain and America at the present time. [Rev. H. Leigh Bennett, M.A.] Of Bishop Heber's hymns, about one half are annotated under their respective first lines. Those given below were published in Heber's posthumous Hymns, &c, 1827. Some of them are in extensive use in Great Britain and America; but as they possess no special histories they are grouped together as from the Hymns, &c, 1827:— 1. Beneath our feet, and o'er our head. Burial. 2. Creator of the rolling flood. St. Peter's Day, or, Gospel for 6th Sunday after Trinity. 3. Lo, the lilies of the field. Teachings of Nature: or, Gospel for 15th Sunday after Trinity. 4. 0 God, by Whom the seed is given. Sexagesima. 6. 0 God, my sins are manifold. Forgiveness, or, Gospel for 22nd S. after Trinity. 6. 0 hand of bounty, largely spread. Water into Wine, or, Gospel for 2nd S. after Epiphany. 7. 0 King of earth, and air, and sea. Feeding the Multitude; or, Gospel for 4th S. in Lent. 8. 0 more than merciful, Whose bounty gave. Good Friday. 9. 0 most merciful! 0 most bountiful. Introit Holy Communion. 10. 0 Thou, Whom neither time nor space. God unsearchable, or, Gospel for 5th Sunday in Lent. 11. 0 weep not o'er thy children's tomb. Innocents Day. 12. Room for the proud! Ye sons of clay. Dives and Lazarus, or, Gospel for 1st Sunday after Trinity. 13. Sit thou on my right hand, my Son, saith the Lord. Ascension. 14. Spirit of truth, on this thy day. Whit-Sunday. 15. The feeble pulse, the gasping breath. Burial, or, Gospel for 1st S. after Trinity. 16. The God of glory walks His round. Septuagesima, or, the Labourers in the Marketplace. 17. The sound of war in earth and air. Wrestling against Principalities and Powers, or, Epistle for 2lst Sunday after Trinity. 18. The world is grown old, her pleasures are past. Advent; or, Epistle for 4th Sunday in Advent. 19. There was joy in heaven. The Lost Sheep; or, Gospel for 3rd S. after Trinity. 20. Though sorrows rise and dangers roll. St. James's Day. 21. To conquer and to save, the Son of God. Christ the Conqueror. 22. Virgin-born, we bow before Thee. The Virgin Mary. Blessed amongst women, or, Gospel for 3rd S. in Lent. 23. Wake not, 0 mother, sounds of lamentation. Raising the Widow's Son, or, Gospel for 16th S. after Trinity. 24. When on her Maker's bosom. Holy Matrimony, or, Gospel for 2nd S. after Epiphany. 25. When through the torn sail the wild tempest is streaming. Stilling the Sea, or, Gospel for 4th Sunday after Epiphany. 26. Who yonder on the desert heath. The Good Samaritan, or, Gospel for 13th Sunday after Trinity. This list is a good index of the subjects treated of in those of Heber's hymns which are given under their first lines, and shows that he used the Gospels far more than the Epistles in his work. --John Julian, Dictionary of Hymnology (1907)

Charles Wesley

1707 - 1788 Person Name: Rev. Charles Wesley, 1707-1788 Hymnal Number: 5 Author of "Jesus, Lover of my soul" in Songs of Praise Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.