domingo, 1 de diciembre de 2013

He Hideth My Soul

                       A wonderful Savior is Jesus, my lord,                                                                                   A wonderful Savior to me;
hhe hideth my soul in the cleft of the rock,
Where rivers of pleasure I see.

He hideth my soul  in the cleft of the rock,                                                                                That shadows a dry, thirsty land;                                                                                         He hideth my life in the depths of His love,                                        
                                     And covers me there with His hand,                                                        And covers me there with His hand.

A wonderful Savior is Jesus my Lord,
He taketh my burden away,
He holdeth me up and I shall not be moved,
He giveth me strength as my day.

With numberless blessings each moment He crowns,
And filled with His fullness divine,
I sing in my rapture, oh, glory to God!
For such a Redeemer as mine.

When clothed with His brightness transported I rise
To meet Him in clouds of the sky,
His perfect salvation, His wonderful love,
I’ll shout with the millions on high.

Letra por Frances Jane Crosby(1820-1915)
Fanny Crosby
Fanny Crosby.jpg
Crosby was "the most prolific of all nineteenth-century American sacred song writers". By the end of her career she had written almost 9,000 hymns, using scores of noms de plume assigned to her by publishers who wanted to disguise the proliferation of her compositions in their publications. It is estimated that books containing her lyrics sold 100 million copies. However, due to the low regard for lyricists in the popular song industry during her lifetime, and what June Hadden Hobbs sees as "the hypocrisy of sacred music publishers" which resulted for Crosby in "a sad and probably representative tale of exploitation of female hymn writers", and the contemporary perception that "Crosby made a very profitable living off writing songs that were sung (and played) by the masses", "like many of the lyricists of the day, Crosby was exploited by copyright conventions that assigned rights not to the lyricist but to the composer of the music... Crosby was paid a flat fee of one or two dollars a hymn". In her 1906 autobiography, Crosby insisted that she wrote her hymns "in a sanctified manner", and never for financial or commercial considerations, and that she had donated her royalties to "worthy causes". Crosby set a goal of winning a million people to Christ through her hymns, and whenever she wrote a hymn she prayed it would bring women and men to Christ, and kept careful records of those reported to have been saved through her hymns.
Referring to Crosby's songs, the Dictionary of American Religious Biography indicated: "by modern standards her work may be considered mawkish or too sentimental. But their simple, homey appeal struck a responsive chord in Victorian culture. Their informal ballad style broke away from the staid, formal approach of earlier periods, touching deep emotions in singers and listeners alike. Instead of dismissing her words as maudlin, audiences thrilled to them as the essence of genuine, heartfelt Christianity". Crosby's hymns were popular because they placed "a heightened emphasis on religious experiences, emotions, and testimonies" and reflected "a sentimental, romanticized relationship between the believer and Christ", rather than using the negative descriptions of earlier hymns that emphasised the sinfulness of people.
Ann Douglas argues that Crosby was one of the female authors who "emasculated American religion" and helped shift it from "a rigorous Calvinism" to "an anti-intellectual and sentimental mass culture". Feminist scholars have suggested that "emphases in her hymns both revealed and accelerated the feminizing of American evangelicalism".

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