But Jesus, oh! how can it be That but so few will think of Thee And of that tender, wondrous love Which drew Thee to us from above? O draw us little children near To Thee, our Friend and Brother dear, That each of us so heartily In faith and love may cling to Thee. Let not the world lead us astray That we our Christian faith betray, But grant that all our longings be Directed always unto Thee. Then shall the happy day once come When we shall gather in Thy home And join the angels' joyful throng In praising Thee with triumph song. We gather now about Thee close Like leaves around the budding rose, O grant us, Savior, that we may Thus cluster round Thy throne for aye. His Christmas hymns were so well received that Brorson was encouraged to continue his writing. During the following year he published no less than five collections bearing the titles: _Some Advent Hymns_, _Some Passion Hymns_, _Some Easter Hymns_, _Some Pentecost Hymns_, and _Hymns for the Minor Festivals_. All of these hymns were likewise kindly received and therefore he continued to send out new collections, publishing during the following years a whole series of hymns on various phases of Christian faith and life. In 1739, all these hymns were collected into one volume and published under the title: _The Rare Clenod of Faith_. This now famous book contains in all 67 original and 216 translated hymns. The arrangement of the hymns follows in the main the order of the Lutheran catechism, covering not only every division but almost every subdivision of the book. Brorson, it appears, must have written his hymns after a preconceived plan, a rather unusual method for a hymnwriter to follow. _The Rare Clenod of Faith_ fails as a whole to maintain the high standard of the Christmas hymns. Although the language, as in all that Brorson wrote, is pure and melodious, the poetic flight and fresh sentiment of his earlier work is lacking to some extent in the latter part of the collection. One reason for this is thought to be that Brorson, on locating at Toender, had come into closer contact with the more extreme views of Pietism. The imprint of that movement, at least, is more distinct upon his later than upon his earlier work. The great preponderance of his translated over his original hymns also affects the spirit of the collection. He was not always fortunate in the selection of the original material for his translations. Some of these express the excessive Pietistic contemplation of the Savior's blood and wounds; others are rhymed sermons rather than songs of praise.