Come ye sinners poor and needy, --and-- Come all ye chosen saints of God. Probably no two hymn-lines have been oftener repeated than-- If you tarry till you're better You will never come at all. The complete form of the original stanzas is: Come ye sinners poor and needy, Weak and wounded, sick and sore; Jesus ready stands to save you, Full of pity, love and power. He is able, He is willing; doubt no more. The whole hymn--ten stanzas--is not sung now as one, but two, the second division beginning with the line-- Come ye weary, heavy laden. Rev. Joseph Hart became minister of Jewin St. Congregational Chapel, London, about 1760, where he labored till his death, May 24, 1768. _THE TUNE._ A revival song by Jeremiah Ingalls (1764-1828), written about 1804, with an easy, popular swing and a _sforzando_ chorus-- Turn to the Lord and seek salvation, --monopolized this hymn for a good many years. The tunes commonly assigned to it have since been "Greenville" and Von Weber's "Wilmot," in which last it is now more generally sung--dropping the echo lines at the end of each stanza. Carl Maria Von Weber, son of a roving musician, was born in Eutin, Germany, 1786. He developed no remarkable genius till he was about twenty years old, though being a fine vocalist, his singing brought him popularity and gain; but in 1806 he nearly lost his voice by accidently drinking nitric acid. He was for several years private secretary to Duke Ludwig at Stuttgart, and in 1813 Chapel-Master at Prague, from which place he went to Dresden in 1817 as Musik-Director. Von Weber's Korner songs won the hearts of all Germany; and his immortal "Der Freischutz" (the Free Archer), and numerous tender melodies like the airs to "John Anderson, my Jo" and "O Poortith Cauld" have gone to all civilized nations. No other composer had such feeling for beauty of sound. This beloved musician was physically frail and delicate, and died of untimely decline, during a visit to London in 1826. "O HAPPY SAINTS WHO DWELL IN LIGHT." Sometimes printed "O happy _souls_." This poetical and flowing hymn seems to have been forgotten in the making up of most modern church hymnals. Hymns on heaven and heavenly joys abound in embarrassing numbers, but it is difficult to understand why this beautiful lyric should be _universally_ neglected. It was written probably about 1760, by Rev. John Berridge, from the text, "Blessed are the dead who die in the Lord," The first line of the second stanza-- Released from sorrow, toil and strife, --has been tinkered in some of the older hymn-books, where it is found to read--, Released from sorrows toil and _grief_, --not only committing a tautology, but destroying the perfect rhyme with "life" in the next line. The whole hymn, too, has been much altered by substituted words and shifted lines, though not generally to the serious detriment of its meaning and music.