나의 영원하신 기업 생명보다 귀하다 [Thou, my everlasting portion More than friend or life to me] Eng/Jpn.Sub [찬송가]

1. 나의 영원하신 기업 생명보다 귀하다 나의 갈 길 다 가도록 나와 동행하소서 주께로 가까이 주께로 가오니 나의 갈 길 다 가도록 나와 동행하소서 2. 세상 부귀 안일함과 모든 명예 버리고 험한 길을 가는 동안 나와 동행하소서 주께로 가까이 주께로 가오니 나의 갈 길 다 가도록 나와 동행하소서 3. 어둔 골짝 지나가며 험한 바다 건너서 천국 문에 이르도록 나와 동행하소서 주께로 가까이 주께로 가오니 나의 갈 길 다 가도록 나와 동행하소서 아멘 1.Thou, my ev-er-last-ing por-tion, More than friend or life to me; All a long my pil-grim jour-ney, Sav-ior, let me walk with Thee. Close to Thee, close to Thee, Close to Thee, close to Thee; All a long my pil-grim jour-ney, Sav-ior, let me walk with Thee. 2.Not for ease or world-ly pleas-ure, Nor for fame my prayer shall be; Glad-ly will I toil and suf-fer, On-ly let me walk with Thee. Close to Thee, close to Thee, Close to Thee, close to Thee; All a long my pil-grim jour-ney, Sav-ior, let me walk with Thee. 3.Lead me thro' the vale of shad-ows, Bear me o'er life's fit-ful sea; Then the gate of life e-ter-nal May I en-ter, Lord, with Thee. Close to Thee, close to Thee, Close to Thee, close to Thee; All a long my pil-grim jour-ney, Sav-ior, let me walk with Thee. A-men. 1 この世の旅路に君は我が身を このよのたびじにきみはわがみを 導き助くる強き友なり みちびきたすくるつよきともなり （おりかえり） 慕うイェスよ慕うイェスよ したうイェスよしたうイェスよ 近く在し給え常に我が身と ちかきまいたまえつねにわがみと 2 楽しみ求むる愚かさやめて たのしみもとむるおろかさやめて 共に担わばやイェスの十字架を ともにになわばやイェスの十字架を 　 3. 死陰の谷にも荒るる海にも しかげのたににもあるるうみにも 共に在しまさば露も恐れじ ともにましまさばつゆもおそれじ　　 나의 영원하신 기업 (F. J. Crosby 작사 · S. J. Vail 작곡) ; 《통일 찬송가, 1983》492장 《새찬송가, 1962》405장에 처음으로 소개된 이 찬송은, 미국의 맹인 작가로서「미국 찬송가의 어머니」라 칭송 받는 패니 크로스비(Fanny Crosby, 1820~1915)가 1874년에 작사하여 처음으로 발표한 찬송이다. 패니는 이렇게 썼다. “1874년 섣달 그믐날, 내 방에 앉아 있을 때, 갑자기 내 평생 순례의 길에 그리스도를 통하여 함께 하신 하나님의 임재를 깨닫게 되었으며, 내 영혼의 깊은 속에서 이 노래가 쏟아져 나왔다.” 나의 영원하신 기업 생명보다 귀하다 나의 갈길 다 가도록 나와 동행하소서 주께로 가까이 주께로 가오니 나의 갈길 다 가도록 나와 동행하소서. 이 시에 실라스 베일(Silas Jones Vail, 1818~1883)이 곡을 붙여 1874년 셔윈(W. F. Sherwin)과 공동 편집한 주일학교 찬송가「주일학교를 위한 은혜와 영광의 노래」'Songs of Grace and Glory for Sunday School, 1874' 에 처음으로 실렸다. 오케인(O'Kane)과 매카비(McCabe) 그리고 스웨니(Sweney)가 공동 편집한「기쁘다 구주 오셨네」'Joy to the World, 1878' 115장에도 실렸다. 본격적인 찬송가로는 아이라 D. 생키의 《성가와 독창곡 750곡집》'Sacred Songs and Solos: With Standard Hymns, Combined, 1889' 172장에 처음 실렸다. 작곡자 실라스 베일(Silas Jones Vail, 1818~1883)은 뉴욕주 롱아일랜드에서 태어났다. 모자제조업을 하는 그는, 복음찬송 작곡자 필립스(Phillip Phillips)를 위하여 많은 찬송시를 써 주었는데, 직접 작곡한 것은 234장「구주 예수 그리스도」와 이 찬송만이 우리 찬송가에 채택되어 있다. Many hymn texts are inspired by a preexisting tune. Such is the case with “Close to Thee.” Silas Jones Vail (1881-1884) was born in Brooklyn and became a prominent and successful businessman, a manufacturer of hats. Though an amateur composer, he was very prolific in compiling song collections. His Athenaeum Collection (1863) contained unpublished songs by the well-known American composer Stephen Foster. His Chapel Melodies was a collection of hymns for “Prayer and Social Meetings and Family Devotion” (1868). Prohibitionists Horace Walters and W. F. Sherwin requested his services to compile Songs of Grace and Glory (1874) to support this movement. Vail also prepared The Diadem: A Collection of Tunes and Hymns for Sunday School and Devotional Meetings (1885), as well as wrote the music for a number of lesser-known gospel songs including “Scatter Seeds of Kindness” by May R. Smith, “The Guiding Hand” by Fanny Crosby, “Nothing but Leaves” by Lucy Ackerman, and “The Gate Ajar for Me” by Lydia Baxter. Fanny Crosby (1820-1915), one of the most famous American hymn writers of her time, often composed hymns texts to previously composed music. For example, Crosby immediately was inspired by Phoebe Palmer Knapp’s (1839-1908) tune for the hymn that became “Blessed Assurance” (The United Methodist Hymnal, No. 369). According to her book, Memories of Eighty Years (1906), Crosby had a similar experience when Vail brought the poet one of his new melodies: “Toward the close of a day in 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.” Vail published the hymn in his Songs of Grace and Glory the same year. The desire for an intimate relationship with Jesus is a primary theme of many of the hymn writers during the nineteenth century, especially women poets on both sides of the Atlantic. Englishwoman Sarah Flower Adams (1805-1848) expressed a similar relationship in “Nearer, My God, to Thee” The United Methodist Hymnal, No. 528). Charlotte Elliott (1789-1871) conveyed the idea of total surrender to Jesus in her famous hymn, “Just as I Am” (The United Methodist Hymnal, No. 357). Fanny Crosby often described her relationship to Jesus in intimate terms in her hymns. “Close to Thee” employs a technique common to gospel songs, the repetition of the key theme. If all three stanzas are sung, one will sing the key phrase, “close to thee,” twelve times. A companion idea, “walk with thee,” is mentioned an additional four times. In stanza one, the poet seizes upon the metaphor for Christ, “everlasting porti