Close to Thee

I. Origins

Blind poetess Fanny Crosby (1820–1915) offered at least two separate accounts of how she came to write “Close to Thee.” One was given to Ira Sankey for his book of hymn stories:

This is another popular hymn, written by Fanny J. Crosby, and set to music by Silas Jones Vail, who was born at Southold, Long Island, N.Y., October 6, 1818. He was a hatter by trade, but wrote a large number of songs for Philip Phillips, who was the first to publish any of Vail’s compositions, among which may be mentioned, “Gates Ajar,” “Nothing But Leaves,” and “Scatter Seeds of Kindness.” He died in Brooklyn, N.Y., May 20, 1883.

The late Silas J. Vail, having composed this tune, brought it to Fanny Crosby, and requested her to write words for it. As he was playing it for her on the piano, she said: “That refrain says: ‘Close to Thee; Close to Thee.’” Mr. Vail agreed that that was true, and it was agreed that it should be a hymn entitled “Close to Thee.”[1]

The other account seems to convey how the song was completed:

Towards the close of a day in the year 1874 I was sitting in my room thinking of the nearness of God through Christ as the constant companion of my pilgrim journey, when my heart burst out with the words:

Thou, my everlasting portion,
More than friend or life to Thee;
All along my pilgrim journey,
Saviour, let me walk with Thee.[2]

Elsewhere, Crosby had described her methods of writing, which often involved hearing a melody then finding words for it. The composition of “Close to Thee” happened in this manner.

In composing hymn-poems there are several ways of working. Often subjects are given to me to which melodies must be adapted. At other times the melody is played for me and I think of various subjects appropriate to the music. In a successful song, words and music must harmonize, not only in number of syllables, but in subject matter and especially accent. In nine cases out of ten, the success of a hymn depends directly upon these qualities. Thus, melodies tell their own tale, and it is the purpose of the poet to interpret this musical story into language. Not infrequently a composer asks, “What does that melody say to you?” And if it says nothing to you the probability is that your words will not agree with the music when an attempt is made to join them.[3]

The hymn was published twice in 1874, in Songs of Grace and Glory (Fig. 1), edited by William F. Sherwin and the song’s composer, Silas J. Vail, and also in Echoes from Zion, edited by Sherwin. Both were published by Horace Waters & Son in New York. In both cases, the song was printed in three stanzas of four lines with a refrain.

III. Analysis

Musically, the melody ranges within an octave, making it approachable for most singers. The rhythms are also approachable, falling on a steady beat (no syncopations or ties across the bar), with dotted figures either as quarter-eighth or eighth-sixteenth. The harmony is limited to three chords (I–IV–V / G–C–D) with two fleeting secondary dominants on V of IV (G7 to C).

What does it mean for God to be our everlasting portion? This was explained well by pastor Robert Cottrill:

We commonly use the word “portion” to refer to how much food has been placed on our dinner plate. But in the Bible the word frequently has the connotation of a possession or an inheritance. Many times, the Lord Himself is described as the “portion” of His people. David says, “O Lord, You are the portion of my inheritance” (Ps. 16:5). Another psalmist cries, “My flesh and my heart fail; but God is the strength of my heart and my portion forever” (Ps. 73:26). Such an intimate relationship stirs a desire to obey and please God: “You are my portion, O Lord; I have said that I would keep Your words” (Ps. 119:57).[4]

The idea of the Christian life being like a pilgrim journey, rejecting worldly pleasure, is reflected in 1 Peter 2:10–11 (“Once you were not a people, but now you are God’s people; once you had not received mercy, but now you have received mercy. Beloved, I urge you as sojourners and exiles to abstain from the passions of the flesh, which wage war against your soul,” ESV). The “vale of shadows” is most likely an allusion to Psalm 23:4. The metaphor of life being like a stormy sea is found in many hymns (see “We’ll Understand it Better By and By”). The gates of heaven are described in Revelation 21 and 22.

by CHRIS FENNER
for Hymnology Archive
21 October 2022

Footnotes:

1. Ira Sankey, My Life and the Story of the Gospel Hymns (Philadelphia: Sunday School Times Co., 1907), pp. 321–322: Archive.org

2. Fanny Crosby, Fanny Crosby’s Story of Ninety-Four Years (New York: Fleming H. Revell, 1915), p. 79: Archive.org

3. Fanny Crosby, Memories of Eighty Years (1906), pp. 167–168: Archive.org

4. Robert Cottrill, “Close to Thee,” Wordwise Hymns (25 Jan. 2012): WH

Related Resources:

“Close to Thee,” Hymnary.org: https://hymnary.org/text/thou_my_everlasting_portion