We have, however, no indication of precocious hymn-writing on the part of Charles Wesley, nor, indeed, of any poetic composition till he was seven-and-twenty, when he writes to convey a protest against his sister’s marriage. Probably he did not discover his special talent till he was in Georgia, where the Governor’s wife wrote, ‘Mr. Wesley has the gift of verse, and has written many sweet hymns, which we sing.’[109] But if Charles Wesley wrote little poetry before his American mission, he had received much of the training which was in due season to yield such abundant fruit. The gracious influences of the Lincolnshire rectory, of the Oxford Methodists, of his Moravian fellow passengers, all helped to mould his fervent spirit. The poet within him could not long be silent, and had already awoke when he received the baptism of the Holy Spirit on the Day of Pentecost, 1738. This was the time of his evangelical conversion, when he passed out of the state of the anxious and conscientious servant into the glorious liberty of the child of God. From that time the word of Christ dwelt in him richly. ‘The wealth of God’[110] was bestowed upon him, and out of the abundance of a heart enriched by the indwelling word he poured forth psalms, hymns, and spiritual songs in an almost ceaseless stream. Had Charles Wesley never passed through this experience he would have been one of our greatest ecclesiastical hymn-writers, and would have ranked with Heber and Keble, but there would have been no distinctively Methodist hymnody, and the Evangelical Revival would have been immeasurably poorer. Moreover, he did very much to preserve the standard of good taste, as well as the fervour of religious feeling, in primitive Methodism. Charles Wesley, a Christ Church student, came to add sweetness to this sudden and startling light. He was the ‘sweet singer’ of the movement. His hymns expressed the fiery conviction of its converts in lines so chaste and beautiful, that its more extravagant features disappeared. The wild throes of hysteric enthusiasm passed into a passion for hymn-singing, and a new musical impulse was aroused in the people which gradually changed the face of public devotion throughout England.[111]