An English religious writer and poet; born at Astley, Worcestershire, Dec. 14, 1836; died at Swansea, Wales, June 3, 1879. She began to write hymns and letters in verse at the age of seven, but did not publish anything until 1860. She was a frequent contributor to Good Words. Among over 30 publications, which once enjoyed considerable popularity, may be noticed: “The Four Happy Days” (1873); “Under the Surface” (1874), poems; “Royal Graces and Loyal Gifts” (6 vols. 1879); “Under His Shadow” (1879); and a number of posthumous works by various editors.
Personal
She received her education at English and German boarding-schools, and enjoyed exceptional advantages of culture and travel. In the midst of it all her Christianity became her predominant characteristic, and her piety was as attractive as it was profound. She mastered languages with great ease. French, German, Italian, Latin, Greek, and Hebrew were among her acquirements. She even learned enough Welsh from her donkey-girl to take part in the Welsh church services. The scholarly instinct was strong within her, and her Bible—noted and underlined—was one of the best of proofs that she applied herself earnestly to the noblest themes. She was also finely musical—a performer, vocalist and composer, whom Heller was glad to approve—and the “Songs of Grace and Glory” furnish good proof of this.
The last nine years of her life were very sad. She lost her father and beloved stepmother, and became an invalid herself, suffering fearfully from a painful and mortal disease. When very near her end her physician said, “Good-bye, I shall not see you again.” She asked, “Do you really think I am going?” When he said, “Yes, probably to-day,” she smiled and exclaimed, “Beautiful; too good to be true. It is splendid to be so near the gates of heaven.” She was thrown into fearful convulsions; when they ceased, she nestled down in the pillows, folded her hands on her breast and said, “There now, it is all over—blessed rest!”
General
In her little book of poems, entitled “Under the Surface,” we have groups of doctrinal verse, which ring out in all their clearness, and tell of “true metal;” while, in her little books of prose, we search in vain to find even one doubtful or meretricious sentence. Solid simple truth, offered to us in the attractive language of a child bringing us a message from her father; this is the general style of her writing, and as such we prize it…. Oh! that the inspired mantle of spiritual, prayerful, praiseful song might descend on some heart amongst us, for the continuation of the great work begun, by God’s almighty power, through the gifted pen and hallowed life of Frances Ridley Havergal!
Whilst it is true that Miss Havergal learned in suffering what she taught in song, it is also true that she had made her poetic purpose a subject of much reflection. It was owing to the fact that she very early apprehended that her poetical efforts must be strictly commensurate with her poetical strength, and that she correctly gauged her poetical capabilities, that we have received at her hands those hymns which for the rich quality of their music have not been surpassed; and which for chastity of thought, reverence of spirit, and piety of feeling, have not been excelled by any religious writer since the days of Keble. Her “song chalice” might be frail, but not less sure was she that it was a work divine…. The “Ministry of Song,” however, showed that Miss Havergal was not merely a writer of devotional lyrics, but a close observer of human life and character. If the book made it apparent that a new lyrist had arisen, it made it also distinctly apparent that one was moving in society who, having meditated a great deal on various problems of human life, was industriously taking notes of all she heard and saw therein. Her secular pieces bring us into direct contact with those subtle and hidden forces which go to the moulding and upbuilding of character; they also give language to those great unseen griefs and those terrible unuttered agonies that lie immediately below the surface of apparently tranquil lives. To this class of her writing belongs her fine poem “Wounded.” Although it is only the record of a drawing-room experience, yet it is impossible not to be struck by its inimitable literary precision, its animated force, and its truthful picturing of a too common incident.
Reverting again to the devotional lyrics of the present day, those of Frances Ridley Havergal take high rank, alike for their poetic beauty, their freshness and religious fervor. Her productions, which have been worthily collected into a volume, remind us sometimes of the muse of Keble and anon of Faber and of Adelaide Procter.
In poetry she was intensely religious, intensely subjective, and intensely sensitive to all beautiful or inspiring things. Many of her verses (like the “Moonlight Sonata,” of which, by the way, she was an almost unrivalled interpreter) are really autobiographic.
Her religious poetry became exceedingly popular in evangelical circles, and her hymns are to be found in all collections. In her poetical work there is a lack of concentration, and a tendency to meaningless repetition of phrase, but some of her hymns are excellent, and will permanently preserve her name. Her autobiography was published in “Memorials of Frances Ridley Havergal, by her Sister, M. V. G. Havergal,” 2nd edition, 1880. The influence of this book has been as remarkable as that of Miss Havergal’s poems. It presents a striking picture of an unusually eager, if somewhat narrow, spiritual life.
Among the writers of religious verse and song no one has won a more enduring place in the homes and hearts of English speaking people than Frances Ridley Havergal…. She learned through suffering to dedicate her gifts and her life to the service of Christianity and many a soul has found the long needed help and comfort through her words.
Miss Havergal’s verse owes its popularity more to its religious teaching than to its poetic merit—teaching which has been aptly described as “mildly Calvinistic without the severe dogmatic tenet of reprobation.” Without making any pretensions to the rôle of a poet, she gave lyrical expression to her own spiritual experiences and aspirations, and in doing so voiced the feelings and desires of others less able to express themselves. In this, though it cannot be said that she showed any marked originality of thought or felicity of expression, she at least fulfilled one of the offices of poetry. Many of her hymns have become widely popular, and have been included in various hymn-books in England and America. Her “Consecration Hymn,” beginning
| Take my life, and let it be | |
| Consecrated, Lord, to Thee, |
