History of Hymns: 'Let It Breathe on Me'

“Let It Breathe on Me”
by Magnolia Lewis-Butts
The United Methodist Hymnal, 503 (Refrain only)

Let it breathe on me,
Let the breath of the Lord, now breathe on me!

While I'm working, Lord, in Your vineyard here,
I can do no naught if Thou aren’t near, 
Oh, come, blessed Lord, just so close to me
That I may feel you breathe on me.

When the pathway Lord, I can not see 
When the way is dark, Lord, breathe on me
Give me grace to know when Thou art near
Oh, I pray Thee, Lord, please breathe on me.

© 1942, renewed 1969, Martin & Morris Music, Inc.

Magnolia Lewis-Butts (c.1880-1949) pioneered gospel music in Chicago during the mid-twentieth century. She was a co-founder of the National Convention of Gospel Choirs and Choruses (NCGCC), where she held significant leadership positions and was responsible for drafting the NCGCC's first convention bylaws. Lewis-Butts was part of a community of musicians who shaped the Black Gospel landscape. Unfortunately, like many other women composers, her contributions have often been overlooked. (Boyer, 1995, pp. 65-66).

Magnolia Lewis-Butts, a singer and choir director, was born in Tipton, Missouri (c. 1880). She died on December 10, 1949, in Chicago, Illinois. Notably, in 1931, she collaborated with Thomas A. Dorsey (1899-1993) to establish Chicago’s first gospel choir at Ebenezer Baptist Church. She also founded and directed a gospel youth choir at Metropolitan Community Church.
 
Magnolia Lewis-Butts’ hymn "Let It Breathe on Me"—the only one of her works to survive—is a powerful testament to her deep spiritual insight. First published in 1942, the hymn draws inspiration from the evocative and mysterious verse in John 20:22: "And when he had said this, he breathed on them, and saith unto them, receive ye the Holy Ghost” (KJV). Through her lyrical interpretation, Lewis-Butts reframes this verse as an intimate invocation of the Spirit’s presence.

To fully appreciate the spiritual depth of “Let It Breathe on Me,” one must consider the surrounding context of John 20:22. In the preceding verse, John 20:21 (KJV), Jesus says, “Peace be unto you: as my Father hath sent me, even so send I you.” This statement frames the moment as a divine commissioning, signaling the disciples’ transition from followers to emissaries of Christ’s continuing work. Verse 22 follows with the intimate and powerful gesture of Jesus breathing on them, an act that transcends the physical. It serves as a symbolic impartation of the Holy Spirit—a moment of spiritual empowerment and transformation. The significance of this act is clarified in verse 23: “Whose soever sins ye remit, they are remitted unto them; and whose soever sins ye retain, they are retained” (KJV). Here, the disciples are entrusted with the profound responsibility of enacting divine forgiveness, a charge made possible through the Spirit they have just received. Together, these verses illuminate the theological and emotional force behind Lewis-Butts’ hymn, which seeks the presence of the Spirit and its power.

Magnolia Lewis-Butts' hymn, "Let it Breathe on Me," is a masterclass in lyrical economy and spiritual depth. The deliberate repetition of the phrase "Let it breathe on me," occurring twice before introducing the words "breath of the Lord," is not merely a stylistic choice; it's a profound theological statement. This repetition builds anticipation, creating a sense of fervent supplication, a yearning for divine connection. Listeners are drawn into heightened awareness, preparing them to receive the revelation that the Holy Spirit is, indeed, the very "breath of the Lord."

The hymn's stanzas reinforce this central connection, vividly depicting human vulnerability and dependence on divine presence. The lines, "While I'm working Lord, in Your vineyard here, I can do no naught if Thou aren't near," articulate a sense of reliance on God's strength during labor, recognizing human limitations in the absence of divine empowerment. Similarly, "When the pathway Lord, I cannot see, when the way is dark, Lord, breathe on me," speaks to moments of uncertainty and spiritual darkness, where only the Lord's presence can provide guidance and clarity. "Breathe" also evokes the creation narrative where God breathes life into Adam. In this context, the "breath of the Lord" becomes a tangible symbol of divine intervention, a direct infusion of the Holy Spirit. This imagery resonates deeply, creating a personal connection with the divine.

Performance practices associated with "Let it Breathe on Me" also reveal its enduring power. Often, when this hymn is performed, the stanzas are omitted, and the refrain is repeated extensively. This practice highlights the refrain's ability to convey the hymn's core message without the need for contextual verses. The repeated invocation becomes a form of spiritual meditation, a moment of direct communion with the divine.

The simplicity of Magnolia Lewis-Butts’ hymn, "Let it Breathe on Me," resonates deeply with the complex social realities of its time: the Civil Rights Movement's nascent struggles, the economic hardships of the Great Depression, the geographical and social isolation of the "Black Belt," and the pervasive injustice of segregation. Each of these topics formed the backdrop against which Lewis-Butts’ work emerged. Her unique ability to unite and lead African American communities through musical ensembles, grounded in her unwavering faith and inspired by the succinct yet powerful passage of John 20:22, played a significant role in developing the Black gospel genre in the early twentieth century.

A recording of "Let It Breathe on Me," sung by the Morgan State University Choir under the direction of Dr. James Abbington, is available at this link.

SOURCES:

Horace Clarence Boyer, How Sweet the Sound: The Golden Age of Gospel (Washington, DC: Elliott & Clark Publishing, 1995).

Michelle, “Chicago’s Women of Gospel Music,” Chicago Public Library (February 23, 2018), https://www.chipublib.org/blogs/post/chicagos-women-of-gospel-music/.

“National Baptist Convention,” Early Gospel Music, https://www.earlygospel.com/miscellany-organisations/.

Kay Norton, “The Pedagogical Legacies of Three Black Gospel Pioneers: Magnolia Lewis-Butts, Sallie Martin, and Roberta Martin,” in Legacies of Power in American Music, Ed. Judith A. Mabary (Milton Park, UK: Routledge, 2022).

James Ralph, “Civil Rights Movements.” Encyclopedia of Chicago, http://www.encyclopedia.chicagohistory.org/pages/293.html.

John Russsik, “Gospel,” Encyclopedia of Chicago, http://www.encyclopedia.chicagohistory.org/pages/530.html.

Bible verses marked KJV are from the King James Version of the Bible, which is in the public domain.

James Dickens is a graduate student in vocal performance at the University of North Texas (Denton), where he studies sacred music with Drs. Joshua Taylor and Michael Conrady.