There Were Ninety and Nine That Safely Lay (The Ninety and Nine)

There Were Ninety and Nine That Safely Lay (The Ninety and Nine)

Text by: Elizabeth C Clephane 1868

Tune: The Ninety and Nine by: Ira D Sankey 1874

https://youtu.be/S0FLBArUaA8

1. There were ninety and nine that safely lay
   In the shelter of the fold.
   But one was out on the hills away,
   Far off from the gates of gold.
   Away on the mountains wild and bare.
   Away from the tender Shepherd’s care.
   Away from the tender Shepherd’s care.

   2. Lord, Thou hast here Thy ninety and nine;
   Are they not enough for Thee?
   But the Shepherd made answer: This of Mine
   Has wandered away from Me;
   And although the road be rough and steep,
   I go to the desert to find my sheep,
   I go to the desert to find my sheep.

   3. But none of the ransomed ever knew
   How deep were the waters crossed;
   Nor how dark was the night the Lord passed through
   Ere He found His sheep that was lost.
   Out in the desert He heard its cry,
   Sick and helpless and ready to die;
   Sick and helpless and ready to die.

   4. Lord, whence are those blood drops all the way
   That mark out the mountain’s track
   They were shed for one who had gone astray
   Ere the Shepherd could bring him back.
   Lord, whence are Thy hands so rent and torn?
   They are pierced tonight by many a thorn;
   They are pierced tonight by many a thorn.

   5. And all through the mountains, thunder riven
   And up from the rocky steep,
   There arose a glad cry to the gate of heaven,
   Rejoice! I have found my sheep!
   And the angels echoed around the throne,
   Rejoice, for the Lord brings back His own!
   Rejoice, for the Lord brings back His own!

The Ninety and Nine is an example of what I call a Ballad Hymn. It follows a singing tradition largely lost in today’s world. With our ever shortening attention span, one can hardly expect a congregation to sit through, let alone sing, more than two or three stanzas of a hymn. Yet, many of our great hymns are actually part of much larger poems and when the few stanzas of a hymn are extracted, the larger arch of the story is lost along with most of the meaning contained within the poem. A couple examples of this would be Ah, Dearest Jesus, Holy Child which is a partial use of a 15 stanza poem on the birth of Christ by Martin Luther. The other example would be Dear Lord, Father of Mankind which is just the last few stanzas out of a much longer poem by John Greenleaf Whittier. However, The Ninety and Nine is just short enough not to exceed our attention span, so it can still be sung in its entirety.

The story about the origin of this hymn brings together some of the most influential Evangelizers of the late 19^th century. The story revolves around two men, Dwight Moody, one of the most influential Evangelists of the time, and Ira Sankey, probably the greatest hymnist of all time,and a deceased woman poet.

Here is a slightly shorten version of Mr. Sankey’s rather long story.

“It was the year 1874 that the poem, “The Ninety and Nine,” was discovered, set to music, and sent upon its world-wide mission. Mr. Moody had just been conducting a series of meetings in Glasgow, and I had been assisting him in his work as director of the singing. We were at the railway station at Glasgow and about to take the train for Edinburgh, whither we were going upon an urgent invitation of ministers to hold three days of meetings there before going into the Highlands. We had held a three months’ series in Edinburgh just previous to our four months’ campaign in Glasgow. As we were about to board the train I bought a weekly newspaper, for a penny. Being much fatigued by our incessant labors at Glasgow, and intending to begin work immediately upon our arrival at Edinburgh, we did not travel second- or third-class, as was our custom, but sought the seclusion and rest which a first-class railway carriage in Great Britain affords. In the hope of finding news from America I began perusing my lately purchased newspaper. This hope, however, was doomed to disappointment, as the only thing in its columns to remind an American of home and native land was a sermon by Henry Ward Beecher.

I threw the paper down, but shortly before arriving in Edinburgh I picked it up again with a view to reading the advertisements. While thus engaged my eyes fell upon a little piece of poetry in a corner of the paper. I carefully read it over, and at once made up my mind that this would make a great hymn for evangelistic work—if it had a tune. So impressed was I that I called Mr. Moody’s attention to it, and he asked me to read it to him. This I proceeded to do with all the vim and energy at my command. After I had finished I looked at my friend Moody to see what the effect had been, only to discover that he had not heard a word, so absorbed was he in a letter which he had received from Chicago. My chagrin can be better imagined than described. Notwithstanding this experience, I cut out the poem and placed it in my musical scrap-book.

At the noon meeting on the second day, held at the Free Assembly Hall, the subject presented by Mr. Moody and other speakers was “The Good Shepherd.” When Mr. Moody had finished speaking he called upon Dr. Bonar (author of “I Heard the Voice of Jesus Say, Come Unto Me”) to say a few words. He spoke only a few minutes, but with great power, thrilling the immense audience by his fervid eloquence. At the conclusion of Dr. Bonar’s words Mr. Moody turned to me with the question, “Have you a solo appropriate for this subject, with which to close the service?” I had nothing suitable in mind, and was greatly troubled to know what to do. The Twenty-third Psalm occurred to me, but this had been sung several times in the meeting. At this moment I seemed to hear a voice saying: “Sing the hymn you found on the train!” But I thought this impossible, as no music had ever been written for that hymn. Again the impression came strongly upon me that I must sing the beautiful and appropriate words I had found the day before, and placing the little newspaper slip on the organ in front of me, I lifted my heart in prayer, asking God to help me so to sing that the people might hear and understand. Laying my hands upon the organ I struck the key of A flat, and began to sing.

Note by note the tune was given, which has not been changed from that day to this. As the singing ceased a great sigh seemed to go up from the meeting, and I knew that the song had reached the hearts of my Scotch audience. Mr. Moody was greatly moved. Leaving the pulpit, he came down to where I was seated. Leaning over the organ, he looked at the little newspaper slip from which the song had been sung, and with tears in his eyes said: “Sankey, where did you get that hymn? I never heard the like of it in my life.” I was also moved to tears and arose and replied: “Mr. Moody, that’s the hymn I read to you yesterday on the train, which you did not hear.” Then Mr. Moody raised his hand and pronounced the benediction, and the meeting closed. Thus “The Ninety and Nine” was born.

A short time afterward I received, at Dundee, a letter from a lady who had been present at the meeting, thanking me for having sung her deceased sister’s words. From correspondence that followed I learned that the author of the poem was Elizabeth C. Clephane, a resident of Melrose, Scotland, one of three sisters, all members of a refined Christian family. She was born in Edinburgh in 1830. Her sister, in describing Elizabeth, says: “She was a very quiet little child, shrinking from notice and always absorbed in books. The loss of both parents, at an early age, taught her sorrow. As she grew up she was recognized as the cleverest of the family. She was first in her class and a favorite with the teacher. Her love for poetry was a passion. Among the sick and suffering she won the name of ‘My Sunbeam.’  She wrote ‘The Ninety and Nine’ for a friend, who had it published in ‘The Children’s Hour.’ It was copied from thence into various publications, but was comparatively little noticed. She died in 1869.”