The hymn which lifted the soul of the imprisoned bishop above his immediate surroundings came from the singing spirit of Charles Wesley, and appeared in 1740 in his “Hymns and Sacred Poems.” The hymnology of both British and American Methodism is enriched by the inclusion of this song of worship; and it is also found in the _Hymnal_ of the Protestant Episcopal Church, _The Hymnal_ (Presbyterian), _The Hymnary_ (of the United Church of Canada), _The Inter-Church Hymnal_, etc. The three verses will be found “full of the sunshine of which they sing,” observed Dr. Charles S. Robinson. Lovers of literature will be especially interested in a comment made by Dr. James Moffatt, where he says, “George Eliot uses this hymn in _Adam Bede_ describing how Seth Bede, the young Methodist, on leaving his brother one Sunday morning in February, ‘walked leisurely homeward, mentally repeating one of his favorite hymns.’ _It was this one._” Easy is it, therefore, for us to imagine Bishop Wilson, the liberty-loving Englishman, confined to a sunless prison in a foreign country, catching a glimpse of “a blaze of leafage on some trees,” then refreshing his singing spirit by mentally repeating the lines which he had often joined with others in publicly singing when a youth in his homeland: “Dark and cheerless is the morn Unaccompanied by Thee; Joyless is the day’s return Till Thy mercy’s beams I see; Till they inward light impart, Cheer my eyes and warm my heart.” “Stone walls do not a prison make” when one has a song in his soul. And he who knows his hymnal well has one for every occasion. CHAPTER III SUNSET SONGS “In the night I sang of him.” (_Psa. 42:10, Moffatt_). “One of the most successful numbers sung in the series of Sunday evening concerts, which for several years it was my privilege and pleasure to sponsor, was that old English hymn, ‘Now the Day is Over.’ That hymn marked the close of each Sunday night concert, and the thousands of letters I received from listeners throughout the country gave sure evidence that this old religious song struck a responsive chord in the heart of listeners everywhere.” —_A. Atwater Kent in a broadcast on “Radio’s Influence on Music.”_ A group of young men from an English theological college, the “Cliff College Trekkers,” went, during the summer of 1936, to Morecambe, and there this band of energetic youth held Sunday services on the slipway. Evening prayer was also held by them at the slipway, and one who was present expressed gratitude through the press for the privilege of sharing these moments of quiet devotion. Following prayers, the entire company united in singing: “All hail the power of Jesus’ name.” People who had listened to the inspirational hymn were doubtless singing in their hearts, as they walked to their seaside residences, the glowing words: