he Heavenly Fatherland," when a
tender glory dawns upon the scene till it breaks into sunrise with the
vision of the Golden City. All that an opulent and devout imagination
can picture of the beauty and bounty of heaven, and all that faith can
construct from the glimpses in the Revelation of its glory and happiness
is poured forth in the lavish poetry of the inspired monk of Cluny--

Urbs Sion aurea, patria lactea, cive decora,
Omne cor obruis, omnibus obstruis, et cor et ora.
Nescio, nescio quae jubilatio lux tibi qualis,
Quam socialia gaudia, gloria quam specialis.

Jerusalem, the golden;
With milk and honey blest;
Beneath thy contemplation
Sink heart and voice opprest.
I know not, O I know not
What joys await us there,
With radiancy of glory,
With bliss beyond compare.

They stand, those halls of Zion,
All jubilant with song,[47]
And bright with many an angel;
And all the martyr throng.
The Prince is ever in them,
The daylight is serene;
The pastures of the blessed
Are decked in glorious sheen.

* * * * *

O sweet and blessed country,
The home of God's elect!
O sweet and blessed country,
That eager hearts expect!
Jesu, in mercy bring us
To that dear land of rest,
Who art, with God the Father,
And Spirit, ever blest.

[Footnote 47: In first editions, "_conjubilant_ with song."]

Dr. John Mason Neale, the translator, was obliged to condense Bernard's
exuberant verse, and he has done so with unsurpassable grace and melody.
He made his translation while "inhibited" from his priestly functions in
the Church of England for his high ritualistic views and practice, and
so poor that he wrote stories for children to earn his living. His
poverty added to the wealth of Christendom.

_THE TUNE._

The music of "Jerusalem the Golden" used in most churches is the
composition of Alexander Ewing, a paymaster in the English army. He was
born in Aberdeen, Scotland, Jan. 3d, 1830, and educated there at
Marischal College. The tune bears his name, and this honor, and its
general favor with the public, are so much testimony to its merit. It is
a stately harmony in D major with sonorous and impressive chords. Ewing
died in 1895.

"WHY SHOULD WE START AND FEAR TO DIE?"

Probably it is an embarrassment o