Cowper is the one great hymn-writer who ranks with the greater poets. Montgomery, Heber, Milman, all wrote ‘poems,’ but their enduring poetic monument is in their hymns. Had Cowper never written a hymn, he would have had fame sufficient as a poet; had he never written a ‘poem,’ he would still have lived through the ages as the writer of immortal hymns. Lord Selborne says that Cowper’s contributions to the Olney collection ‘are, almost without exception, worthy of his name’; but, as a fact, many of them are prosaic and feeble, apparently written as task work, perhaps to meet a challenge of Newton’s, or to follow a particular sermon. Cowper’s choicest hymns are too well known for quotation— O for a closer walk with God. Hark, my soul, it is the Lord. Sometimes a light surprises. God moves in a mysterious way. Jesus, where’er Thy people meet. Newton’s best are— Glorious things of thee are spoken. How sweet the name of Jesus sounds. Quiet, Lord, my froward heart. Come, my soul, thy suit prepare. And the simple Spiritual songs— Begone, unbelief, my Saviour is near. Though troubles assail and dangers affright. Like Watts, Doddridge, Beddome, and many others, Newton wrote his hymns for use after preaching or for some special occasion, such as the opening of a room at the Great House for prayer-meetings and children’s services. It was for this event that Cowper wrote Jesus, where’er Thy people meet, and Newton a less effective hymn— Dear Shepherd of Thy people, hear, Thy presence now display; As Thou hast given a place for prayer, So give us hearts to pray. I do not suppose that the Olney hymns were often selected as a hymn-book for congregational use. The range of subjects is too narrow, and is so largely affected by the circumstances of composition, the sadness of Cowper’s prolonged illness, and the needs of the rustic worshippers, that it is, as a whole, more suited to private devotion than public worship, though from it may be gathered some of the most beautiful of the songs of Zion. From twelve to twenty of the Olney hymns have won a permanent place in our hymn-books, but what is left is very far from being ‘empty chaff well meant for grain.’ Indeed, there are very few hymn-books of the eighteenth century so _interesting_ as this. When you have picked out of Watts or Doddridge their best hymns, you find it a wearisome and profitless task to plod through the remainder. An outrageous rhyme is a pleasing break in the dull monotony of the sentiment, but the Olney hymns, even at their feeblest, have life and vigour, and are often provokingly easy to remember. Their influence on modern hymnody has been all in favour of the expression of personal, individual experience, in which regard they may not unfairly be compared with many of the sublimest Psalms.