The words for this song of invitation were written in 1868, and it first appeared in 1870 in “Songs of Devotion,” a collection compiled by William H. Doane. The prolific and much-admired hymn writer Fanny Crosby, was blind since she was six weeks old. She didn’t begin writing hymns until she was in her forties, and yet she wrote more than 8,000 songs before her death at ninety-five years old.
When she was sixty years old, Fanny began participating in home-mission ministries. Because of her glowing testimony, she would often be invited to speak at these meetings. One time, after she spoke in a mission service at a prison, she heard a prisoner pleading, “Lord, do not pass me by.” With the sounds of the man’s pleading still in her ears, Fanny went home and composed this gospel hymn. She then sent it to William Doane, a businessman and musician who wrote gospel music, and he set her poem to music. This was the first of many hymn collaborations that they did.
Some critics say that Fanny Crosby’s texts aren’t of a high literary quality, and she would have probably agreed with them since she wasn’t writing for literary critics. She prayed that her hymns would be used to bring many souls to Christ. They were written to be understood by common people, many of whom wouldn’t have listened to preaching. Many of her hymns were written for poor people, among whom she lived most of her life. Doane was surprised to find her living in a run-down tenement building in Manhattan’s Lower East Side.
Gospel hymns are sometimes criticized for their lack of clear theology. In this hymn, the words “Do not pass me by” don’t mean that God might pass by those who seek him. Fanny believed in a “whosoever will” salvation and was aware that God’s grace is given to all. This is evident in her hymn, “To God Be the Glory,” where she ended the first stanza, “Who yielded his life an atonement for sin, and opened the life gate that all may go in.” The words of “Pass Me Not, O Gentle Saviour” express the plea of one who’s asking for help. The prisoners had been forgotten by society, but this man didn’t want to be forgotten by God.
The song emphasizes the humility and contrition a lost soul who’s seeking forgiveness and healing must have. Contrition is sincere remorse over one’s sin and desire to ask God to be transformed by His grace. The humble seeker won’t be passed by, but God’s grace will give hope and heal hearts when they’re broken. The provision for salvation was completed on the cross and was proven by the resurrection. God has promised to hear the prayer of every sinner who seeks Him. If we confess our sins, he is faithful and just to forgive us our sins, and to cleanse us from all unrighteousness (1 John 1:9).
Hymnologist Carlton R. Young said that Fanny Crosby “set the standard for the successful writing of gospel hymns.” Within six years after “Pass Me Not, O Gentle Saviour” was published, it received wide recognition as the favorite song in the Moody-Sankey meetings in London. Since many churches are no longer using hymnals and hymns of this nature, believers should be encouraged to have their own hymnals. The study of such songs can be a great blessing since many of them are just as relevant today as they were when they were written.
The words to this uplifting hymn were written by Edward H. Plumptre in 1865, for the annual Choir Festival at Peterborough Cathedral in England. Plumptre was well-known as a scholar, theologian, and preacher. He served as chaplain and professor of pastoral theology at his alma mater, King’s College.
The Choir Festival involved more than a dozen choirs from congregations throughout the area. The majestic Peterborough Cathedral, built in the twelfth century, made an excellent setting for such an occasion. In preparing for the festival, Plumptre needed to write a hymn that would serve as a stately processional to give all the choirs time to walk down the aisle and take their place at the front. Hymnologist William Reynolds said that it “was not unusual for a cathedral processional to take from ten to thirty minutes, and the hymn that was sung by both the choir and the congregation needed to have enough stanzas for this.” Plumptre’s original hymn had twelve stanzas to accomplish this, but most hymnals today include only four or five of the stanzas.
“Rejoice, Ye Pure in Heart” is a message of joyful thanksgiving to God. It inspires believers of all ages to rejoice in the purity of heart that comes from a relationship with Christ. Be glad in the LORD, and rejoice, ye righteous: and shout for joy, all ye that are upright in heart (Psalm 32:11). When the congregation sings this, Christians are admonishing one another to lift their voices in praise and worship.
The music for this hymn reflects the spirit of a stately yet simple processional. The tune “Marion” was written by Arthur Messiter. The refrain, “Rejoice, rejoice, rejoice, give thanks and sing,” echoes Paul’s thoughts in his letter to the Philippians: Rejoice in the Lord always: and again I say, Rejoice (Philippians 4:4). Paul was in prison as he wrote his letter to the Philippians, expressing joy despite his circumstances.
In the first stanza, the original word “orient” was replaced with “festal” (meaning festive), and later the word “glorious” was used. “Orient banners” were perhaps the tall banners carried ahead of each choir to identify them. Editors probably wanted to eliminate any connection between the hymn and choir festivals. The Christian’s banner is the cross of Christ; it represents the message of salvation through Christ Jesus: For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God (1 Corinthians 1:18).
What an inspiring experience it was as the singers of every choir processed down the aisles of the cathedral, singing praise to God along with the congregation “With voice as full and strong as ocean’s surging praise.” Believers are admonished at the end of the last stanza to “Praise him who reigns on high, the Lord whom we adore; The Father, Son, and Holy Ghost, One God forevermore.” Rejoice in the LORD, O ye righteous: for praise is comely for the upright (Psalm 33:1).
The author and composer of this gospel song, Will L. Thompson, was born in 1847 in East Liverpool, Ohio. After graduating from Mount Union College in Alliance, Ohio, he went to the New England Conservatory of Music in 1873, and he later continued his musical studies in Leipzig, Germany. He wrote many popular romantic, humorous, and patriotic songs. He had the rare gift of being both a lyricist and a composer and was paid well for his works. His critics sometimes called him “that millionaire composer.” Thompson was simply a good businessman who knew the value of his work.
Thompson eventually opened music stores in East Liverpool and Chicago. His publishing company, The W. L. Thompson Music Company, produced secular, sacred, and classical music and was one of the most successful music publishers of its day. Thompson was known to play and sing for hours to “sell” a song to an undecided customer.
When he was forty years old, Thompson was influenced by D. L. Moody to write some sacred songs. Once he started to write them, he dedicated himself to writing only Christian songs. His concern for people in the small towns with limited exposure to good music inspired him to take it to them. He loaded a piano on a horse-drawn wagon and sang concerts of his music in many of the towns. Some of his gospel songs included “Lead Me Gently Home, Father,” “There’s A Great Day Coming,” and “Softly and Tenderly.”
“Jesus is All the World to Me” first appeared in 1904 in the “New Century Hymnal.” He considered it his song of personal testimony. The stanzas remind believers that Christ is their strength, friend, guardian, and guide. Thompson wrote, “My life, my joy, my all.” For me to live is Christ... (Philippians 1:21). Unlike most gospel songs of the early twentieth century, this one doesn’t have the usual refrain, but each stanza ends with the simple phrase “He’s my friend.”
Thompson became ill while on tour with his family in Europe, and he died on September 20, 1909, after returning home. He experienced the “Eternal life, eternal joy” of which he had written. As the rest of Philippians 1:21 says, and to die is gain. A close friend said of him:
“Will L. Thompson lives in his songs that give wings to the gospel and still bring strength and comfort to many souls...His musical gift was matched by a fine character and a beautiful spirit...Simplicity, sincerity, humility, and righteousness marked his life.”
The words of this hymn were written in the late seventeenth century by John Bunyan, the author of “Pilgrim’s Progress.” He was born in 1628, near Bedford, England, and he helped his father who was a tinker, a maker and repairer of pots and pans. At the age of sixteen he was drafted into Cromwell’s army during the English Civil War. Shortly after his discharge, Bunyan married. He stated in his autobiography that he and his wife were so poor that his wife’s only dowry was two books, and they had “neither a dish or spoon.”
Those two Christian books in the dowry stirred his interest in the gospel, and his wife’s godly influence led him to accept the Lord. The Bunyans joined a small Baptist church in Bedford, and he was asked to be their pastor. He accepted the invitation by saying, “I wish to mend people’s souls as well as their pots and pans.”
John Bunyan revolted against the government-sanctioned Church of England and preached with such fervor that people flocked to hear him. He soon became an influential Nonconformist leader among the English world, which got him arrested and thrown into prison several times, once for a period of twelve years. After being released Bunyan would always resume preaching.
While Bunyan was in prison, he began his work on “Pilgrims Progress,” an epic allegory that describes the Christian life as a pilgrimage “from this world to that which is to come.” Bunyan named his characters by their obvious vice or virtue. “Who Would True Valor See” is found in the second part of the book where the character “Valiant-for-Truth” describes his journey by saying, “I believed, and therefore came out, got into the way, fought all that set themselves against me, and, by believing, am come to this place.”
It’s at this point that Bunyan wrote the poem that asks the reader to consider Valiant as an example of a courageous pilgrim to be imitated. The poem says that the Christian life isn’t always easy, but it requires much faith, courage, and endurance. The first stanza expresses that it’s necessary for the believer to be steadfast when facing discouraging situations. The next stanza describes the strength of the fearless spirit that’s needed to defeat foes in the pilgrimage. The final stanza looks to the goal of the pilgrim, the inheritance of eternal life in heaven.
In the final stanza, the phrase “Hobgoblins nor foul fiend” demonstrates Bunyan’s use of figures of speech that suggests imagined fears that lack any real basis. These words were changed with other alterations when the text first appeared as a hymn in the “English Hymnal, 1906.” The first line and title were changed to “He who would valiant be.” Many later hymnals, however, preferred the original wording while using the first line as the title. The tune “Monks Gate” was adapted by noted British composer, Ralph Vaughan Williams, after hearing it sung as an old Sussex folk-song in the village of Monks Gate.
Valiant was victorious in his pilgrimage because of his faith. He was told by another character, “this was your victory, even your faith.” For whatsoever is born of God overcometh the world: and this is the victory that overcometh the world, even our faith. Who is he that overcometh the world, but he that believeth that Jesus is the Son of God? (1 John 5:4-5).
Bunyan’s book, “Pilgrims Progress,” sold 100,000 copies in its first ten years of publication. It has been translated into more than one hundred languages and is still popular around the world. Bunyan encouraged Baptists to enjoy congregational singing, once considered to be sinful. It’s ironic that the words of his poem didn’t become a hymn until more than 200 years later. John Bunyan died in 1688, and, like Valiant, inherited eternal life in heaven.
This hymn, written by Isaac Watts, was first published in 1707 and was entitled “Heavenly Joy on Earth.” Watts authored over 600 hymns and is known as “The Father of English Hymnody.” He profoundly influenced other hymn writers, including John and Charles Wesley, who studied his hymns and often used them in their meetings. In 1737, while ministering in America, John included it in the first hymnal published in America, “Psalms and Hymns, Charlestown Collection.” Wesley omitted two of the original stanzas and gave the hymn a different title, “Heaven Begun on Earth.”
Since then, the hymn has survived many changes, and most hymnals today use only four or five of the original ten stanzas. The title “Come, We That Love the Lord” is derived from the first line. The most common tune is “St. Thomas,” composed in 1763 by Aaron Williams, an 18th-century Welsh singing teacher and music engraver. Williams published several choir music collections for use in rural churches.
In 1869, more than 100 years later, Robert Lowry composed a new tune and refrain for Watts’ verses. Lowry was a Baptist pastor in Brooklyn and a well-known author and composer of gospel hymns. However, he often said he’d “rather preach than write.” He’s probably most famous for writing the words and music for “Shall We Gather at the River?”
Lowry was ministering and teaching during the Civil War, which was also a time when revivalism was rising in America. He was impressed with Watts’ text, but he wanted a musical setting that expressed the enthusiasm of the American revival movement. He adapted the text, composed a new tune, and called it “We’re Marching to Zion.” Taking “marching” from the words of Watts’ final stanza, Lowry created a refrain that gave the new setting its name:
“We’re marching to Zion,
Beautiful, beautiful Zion;
We’re marching upward to Zion,
The beautiful city of God.”
The repetitive nature of Lowry’s version makes the text more easily sung in less formal situations such as revival meetings, rural churches, and children's meetings. Lowry often added refrains to existing hymns. A common practice was for the adults to sing the verses written by Watts, and then the children would join in on the refrain.
Both settings of Isaac Watts’ hymn text appear in many hymnals, one expressing the Christian’s joy in a stately manner and the other in the enthusiastic spirit of a revival. Lowry’s version changed the emphasis from a reverent recognition of “Heavenly Joy on Earth” to that of a community of believers on the journey to eternity, joyfully anticipating when they’ll be at home in heaven, singing praises around the throne of God. And the ransomed of the LORD shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away (Isaiah 35:10).
This song of testimony was written in 1883 by American evangelist Major Daniel Whittle. He was a major in the Union Army during the Civil War and was addressed as a Major throughout his life. Under the influence of D. L. Moody, he became a traveling evangelist during a time of great urban revivals in America and England in the late 1800s. Whittle’s first song leader was P. P. Bliss, and after his untimely death, James McGranahan assumed those responsibilities.
Major Whittle wrote his first hymn, “Christ is All,” in 1875. He also wrote the words for about two hundred hymns; he usually wrote using the pseudonym El Nathan. He stated his concern that “there are too many hymns that are just a meaningless jingle of words; to do good, a hymn must be founded on God’s word and carry the message of God’s love.”
Every verse in “I Know Whom I Have Believed” considers a valid question concerning the Christian experience. The first verse questions why unworthy sinners are redeemed. The second verse asks how an unbeliever receives faith to believe in God’s Word, and verse three questions how the Holy Spirit works in bringing the lost to Christ. The last two verses express one’s uncertain future, including how he’ll pass from this life. Will death take him, or will he see the return of Christ? But of that day and hour knoweth no man, no, not the angels of heaven, but my Father only (Matthew 24:36).
The refrain responds to these concerns by quoting from Paul’s letter to Timothy. There are many things that can’t be fully known about how God works in the life of a believer, but one thing is certain: …For I know whom I have believed, and am persuaded that he is able to keep that which I have committed unto him against that day (2 Timothy 1:12). The Christian can have this confidence in God’s promises.
This song is about the truth of God’s Word and the assurance of one’s salvation. One may study an entire lifetime to know about God without really knowing God. It’s like the old saying, “It’s not what you know, it’s Who you know.” The believer can say, along with Paul and Major Whittle, "I KNOW whom I have believed!”
This hymn was written by Emily Elliot in 1864 and was first printed to teach the children in her father’s church about Jesus’ birth. She spent most of her life ministering in Sunday Schools and rescue missions. She was editor of the “Church Missionary Juvenile Instructor.” In 1880, “Thou Didst Leave Thy Throne” was published in a collection of forty-eight of her poems and hymns titled “Under the Pillow,” a small hymnbook, especially for hospitals, infirmaries, and homes where there was sickness. Emily was greatly influenced by her aunt, Charlotte Elliot, who was an invalid most of her life and wrote the words of “Just As I Am.”
The song begins with the story of Jesus’ birth. And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn (Luke 2:7). This is a suitable hymn for Christmas, but it’s much more than that. The first two stanzas contrast the glory of Christ’s heavenly home to the humility of His earthly birth. The third stanza briefly describes how the Saviour lived on earth. And Jesus saith unto him, The foxes have holes, and the birds of the air have nests; but the Son of man hath not where to lay his head (Matthew 8:20).
The fourth stanza tells how Christ died. He came with salvation’s plan to set His people free, but He was met with mocking and was crucified at Calvary. The refrain for each of these four stanzas gives a personal childlike response: “there is room in my heart for thee!” The final stanza and refrain anticipate Christ’s Second Coming, and there is the assurance of Christ’s victory!
The irregular poetic meter of the text made it difficult to find a suitable tune, but one of Britain’s skilled organists, Timothy R. Matthews, was able to provide an excellent one. He named the tune “Margaret” and published it in 1876 in “Children’s Hymns and Tunes.” This easy-to-sing hymn that includes the Nativity and points to the Second Coming can be sung any time of the year. He was in the world, and the world was made by him, and the world knew him not. He came unto his own, and his own received him not. But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name (John 1:10-12).
The words of this song of testimony were written in 1886 by Francis H. Rowley, pastor of the First Baptist Church of North Adams, Massachusetts. Peter Bilhorn, a remarkable young musician, assisted him in the ministry. After one Sunday evening service, he asked Rowley, “Why don’t you write a hymn for me to set to music?” During that night, the verses came to the pastor in a poem that began, “Can’t You Sing the Wondrous Story?” Bilhorn then wrote the music.
Peter P. Bilhorn was born in Illinois in 1865. When he was eight, his father was killed in the Civil War, and Peter had to drop out of school to help support the family. He was fifteen when the family moved to Chicago, and the teenager sang in concert halls and beer gardens around the city. When he was twenty, he received Christ during evangelistic meetings Dr. George F. Pentecost held. After that, he became actively involved in missions, evangelistic singing, and preaching while he studied under George Stebbins, George Root, and other gospel songwriters.
God greatly used Peter throughout America, Great Britain, and other countries. He produced about 2,000 gospel songs and published many songbooks. He also served as song leader during the early days of Billy Sunday’s ministry. In those days, there was a need for a small, portable musical instrument to be used in evangelistic meetings, street meetings, and on mission fields. Peter designed and built a small portable organ that weighed only sixteen pounds and could be folded into a suitcase. The Bilhorn Brothers Organ Company began manufacturing them in 1887, and they were used around the world. The profits were put back into the Lord's work.
There’s a story that tells of Peter Bilhorn’s evangelistic zeal. One bitterly cold night, while holding revival meetings in Wisconsin, he went to his hotel room but could not sleep. He felt compelled to get dressed, take his folding organ, and walk down the street. When he saw the light in a basement window, he knocked and was admitted to where a group of men was gambling. He set up the organ and began to sing “Where Is My Wandering Boy Tonight?” As a result, six of the men accepted Christ as their Saviour.
The song that Pastor Rowley and Peter Bilhorn had done together was given to Ira Sankey as a gift. Sankey was greatly impressed and published it as “I Will Sing the Wondrous Story” in his 1887 edition of “Gospel Hymns and Sacred Songs and Solos.” Some years later, Rowley wrote of the song: “As I was going down a London street one night about eleven o’clock, I discovered ahead of me a group of Salvation Army people holding a service, and as I came nearer to them it occurred to me that the hymn they were singing was familiar. Then it dawned upon me that it was the one that I had written.” What more wondrous story can be sung than what Christ has done and continues to do for those who trust in Him? Come and hear, all ye that fear God, and I will declare what he hath done for my soul (Psalm 66:16).
Traditionally, many people make New Year’s resolutions only to find that they fail to keep them after a short time. “I Am Resolved” is a hymn that expresses the kind of resolution a believer makes to the Lord. The text for the hymn was written by Palmer Hartsough in 1896.
Son of a Baptist preacher, Hartsough attended Kalamazoo College and Michigan State Normal. He became interested in music and began conducting singing schools. For the next decade, he traveled throughout the Midwest as an itinerant singing school teacher. In 1877, he settled in Rock Island, Illinois, where he opened a music studio and served as music director at a local Baptist church.
In 1893, Hartsough moved to Cincinnati to write texts for Fillmore Brothers Publishers, who had been impressed with his work. He also served as a music director for the Ninth Street Baptist Church. During his lifetime, he was the author of more than 1,000 hymn texts; he often used the pseudonym “Uncle Frank.”
He left the Fillmore Brothers in 1903 to become a full-time evangelistic song leader, and in1906, he was ordained as a Baptist minister. In 1914, at the age of seventy, he began his ministry at the Baptist Church in Ontario, Michigan, where he served for thirteen years. He died at the age of eighty-eight.
The tune for “I Am Resolved” was composed by James Fillmore, Sr., and Hartsough wrote the words. It was originally written for a Christian Endeavor convention in San Francisco. It’s reported that the delegates sang the hymn from Ohio to California as they rode trains to the convention. Fillmore originally wrote some words, but he asked Hartsough to rewrite the lyrics to appeal to a broader audience. “I Am Resolved” first appeared in “The Praise Hymnal,” published by Fillmore in 1896.
Resolve means “to firmly make a definite decision, a strong determination.” This hymn describes the resolve that is necessary to make a decision for Christ, and it demands a continuing commitment to “follow the Saviour, faithful and true each day.” That involves obeying God’s Word and doing His will, even amid opposition from others along the way.
The last stanza calls for others to join the Christian walk, being “taught by the Bible, led by the Spirit.” God’s Word is a light to the believer’s path. Thy word is a lamp unto my feet, and a light unto my path (Psalms 119:105). The Spirit guides and directs the steps of the believer, empowering him to resist temptation and to serve the Lord. Walk in the Spirit, and ye shall not fulfill the lust of the flesh (Galatians 5:16). The refrain then emphasizes the urgent need not to put off the critical decision to come to Christ. This hymn is often used as a song of invitation for the lost to come to Christ, but it can also be sung to invite believers to walk closer to the Lord.
The celebration of the new year is a time of mixed emotions for many people. Memories of the past year, both good and bad, are reflected upon, and for the believer, the new year holds the promise of God’s blessings. The Christian knows that God will be in control even through uncertain times.
Isaac Watts wrote the text of “Our God, Our Help in Ages Past” in 1714 during a time of much anxiety and uncertainty in England. Queen Anne was on her deathbed, and there were no living children to succeed her. As a child, Watts had seen his father jailed for his dissenting, non-conformist beliefs, but the queen had been tolerant and had granted freedom to the dissenters. There was no way to know that the next person to lead would also be tolerant.
Watts responded by writing a paraphrase of the first seven verses of Psalm 90. He pointed out to the English people that the God Who had helped them in the past would also help them in the future. “Our God, Our Help in Ages Past” was widely circulated in leaflet form and helped to calm the fears of his countrymen. This hymn is considered to be one of the finest of Watt’s hymns, which numbered more than 600.
The hymn was first published by Watts in 1719 in “The Psalms of David Imitated in the Language of the New Testament.” Charles and John Wesley helped to popularize Isaac Watts’ hymns by adding them to their own hymnals. In 1738, John included this hymn in his “Psalms and Hymns,” changing the first line from “Our God” to “O God.”
Most hymnals include only five or six of the original nine stanzas. The tune, “St Anne,” usually used for the hymn, is named for St. Anne’s Church in Soho, London, where organist William Croft most likely wrote it in 1708. As this hymn is sung or read, Watts’ rhyming words remind the believer to have confidence in God, Who is unchanging and faithful from generation to generation. Lord, thou hast been our dwelling place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God (Psalm 90:1-2).
The blood of Christ is one of the most common themes of hymn writers throughout history. Watts, Wesley, Cowper, Bliss, and Crosby were some who used their poetic gifts to express the foundation of the Christian faith. Robert Lowry is another name to add to this list.
Robert Lowry wrote both the words and music for “Nothing but the Blood of Jesus” in 1876. Born in Philadelphia in 1826, he was a popular Baptist preacher who loved to preach as well as write music and verse. In 1875 he became pastor of Park Avenue Baptist Church in Plainfield, New Jersey, until his death in 1899. Many of his hymns are still being sung and have been translated into other languages, reaching hearts around the world. He also collaborated with William Doane in publishing a number of hymn collections.
This hymn immediately asks the question, “What can wash away my sin?” The answer is boldly stated, “Nothing but the blood of Jesus." This is followed by a second question, “What can make me whole again?” Again, the answer is "Nothing but the blood of Jesus." The theme is the redemptive work of Christ on the cross, expressing the need for trusting only in the precious blood of Jesus for eternal life. Each stanza builds on this theme and repeats the title twice and again in the refrain.
There were originally six stanzas, but the last two are omitted from many hymnals. The melody has only a five-note range, making it easy to sing for all ages, and the words are simple. The call-and-response pattern with the repeated phrase provides opportunities for various ways to engage the congregation. All these elements have contributed to making “Nothing but the Blood of Jesus” one of the most popular evangelistic songs to be used. It was first introduced at a camp meeting in Ocean Grove, New Jersey, and continues to be sung in evangelical churches.
And almost all things are by the law purged with blood; and without shedding of blood is no remission (Hebrews 9:22).
This hymn of assurance was written in 1896 by William O. Cushing as he reflected on a time of personal suffering. He was born in 1823 in Massachusetts, and at eighteen, he decided to become a minister. His first pastorate was at the Christian Church in Searsburg, New York. Over the years, he pastored at several locations in New York and was known as a kind and compassionate man who loved the Lord.
In 1870, his wife of sixteen years passed away. She had been a great help to him in the ministry and worked diligently in the Sunday School. Soon after his wife’s death, Cushing developed a paralysis that left him unable to talk and forced him to retire from the pastorate. It may have seemed that his usefulness was tragically ended, but he wasn’t easily discouraged. He prayed that God would allow him to continue serving in a ministry.
His prayers were answered, but probably not how he had expected. The door to a new ministry opened when God led him to write the words to hymns and gospel songs. He eventually wrote the words to more than 300 of them, including "When He Cometh," "Ring the Bells of Heaven," and "Hiding in Thee." Some of the best-known hymn composers of his day wrote the music.
When Cushing was seventy-three and remembered how God had cared for him during his life’s darkest hours, several passages from the Psalms came to his mind, and he was moved to write “Under His Wings.” Three verses, in particular, influenced the writing of this gospel song: He shall cover thee with his feathers, and under his wings shalt thou trust: his truth shall be thy shield and buckler. (Psalm 91:4); Keep me as the apple of the eye, hide me under the shadow of thy wings, (Psalm 17:8); and I will abide in thy tabernacle for ever: I will trust in the covert of thy wings. Selah. (Psalm 61:4). The music for “Under His Wings" was written by Ira Sankey, who sang it for the Moody-Sankey evangelistic meetings. It became so popular at D. L. Moody’s school in Northfield, Massachusetts, that the students sang it in morning chapel every day.
William O. Cushing went to be with the Lord when he was seventy-nine. God had put a song in his heart and a pen in his hand to continue his ministry. Although he couldn’t speak, his words have been sung for generations.
This stately hymn of praise and thanksgiving comes from one of the darkest periods in European history. The words were written by Martin Rinkart during the Thirty Years’ War, which lasted from 1618 to 1648. The war was concentrated in Germany, involved most of Europe, and was a series of religious-political conflicts.
Just as the war broke out, thirty-one-year-old Rinkart was called to pastor in his hometown of Eilenberg, Germany, near Leipzig. Since Eilenberg was a walled city, it became flooded with refugees. The overcrowding brought lawlessness, destruction, famine, and disease, making life in the town unbearable. Eight hundred homes were destroyed, and people perished. The Great Plague of 1637 was so devastating that Rinkart was the only minister left in the city, and he sometimes preached fifty funerals a day. He ministered at the burial of almost 5,000 people that year, but when the death toll reached 8,000, the responsibility became too great, and the dead had to be buried in trenches without a service. His wife was one who succumbed to the disease.
After the Plague, the town was hit by a famine so extensive that large numbers of people could be found fighting in the streets for any dead animal that could be used for food. Throughout the war, Rinkart did all he could to help those in need, giving away most of what he had and keeping only the barest necessities for his hungry family. He eventually had to mortgage his future income to buy bread and clothes for his children.
Furthermore, add to the misery, during the war's final years, the city was sacked by invading armies three different times. The Swedish Army once imposed an unjust tax on the people. Rinkart left the city to meet with the Swedish commander to ask for mercy. The pastor’s plea was refused, and he returned to the town and said, “Come, my children, we can find no hearing, no mercy with men; let us take refuge with God.” They fell to their knees, and he led them in prayer and the singing of a hymn. The Swedish commander was so moved by their confidence and faith in God that he relented and lowered his demand.
Through all the years of suffering and death, Martin Rinkart had a strong faith in God and wrote a hymn expressing praise and thanksgiving for the blessings he still had. Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ (Ephesians 5:20). The first two stanzas of “Now Thank We All Our God” were used as a grace at meals in the pastor’s home, and the third stanza was added later as a personal statement of thanksgiving and faith in an all-powerful God. The first stanza expresses thanks to God for His “countless gifts of love,” and the second stanza asks for God’s continuing care. The last stanza is a Trinitarian doxology praising Father, Son, and Holy Spirit, “the one eternal God.” The tune is by Rinkart’s contemporary, Johann Crüger, one of Germany’s most distinguished musicians of that day. The hymn first appeared in the 1647 edition of Crüger’s hymnal. Almost 200 years later, it was translated into English by a gifted translator, Catherine Winkworth.
On October 24, 1648, the Treaty of Westphalia was signed, marking the end of the Thirty Years’ War. The following year, an exhausted Martin Rinkart went to his heavenly home, leaving behind the place and the people he loved so much. His ministry was during a time of intense suffering, but he was always ready to lift his voice to God in praise because God’s promises were a reality in Rinkart’s life.
For I am persuaded, that neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, Nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord (Romans 8:38-39).
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Most hymn historians agree that “All Hail the Power of Jesus’ Name!” is one of the finest hymns ever written. This triumphant hymn was anonymously published in 1779 in The Gospel Magazine, edited by Augustus Toplady, the author of “Rock of Ages.” The hymn appeared with extensive changes that had been made by a Baptist pastor, John Rippon, in “Selection of Hymns from the Best Authors” in 1787. The version in most hymnals has four or five stanzas based on these alterations. (Melody Publication’s “Psalms and Hymns and Spiritual Songs” has the original seven stanzas and also includes three by Rippon.)
“All Hail the Power of Jesus’ Name!” describes the triumphant scene in heaven when people from every tribe and nation join the heavenly choir to praise the Lord. In Rippon’s edition, the stanzas were given subtitles, identifying those who are called to join in that worship: Spiritual Beings, Martyrs, Converted Jews, Gentile Believers, Sinners of Every Age, Sinners of Every Nation and Ourselves.
Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created (Revelation 4:11).
This hymn’s popularity is evident because it appears in many hymnals with three different tunes. “Miles Lane,” the tune originally sung with the text, was written by William Shrubsole, Perronet’s close friend. It has been more widely used in England and Europe than in America. “Coronation,” the most common tune, was composed by American Oliver Holden in 1792, the year of Perronet’s death. A stately tune, it has the character of a coronation march. “Diadem” was composed by James Ellor in 1838. This tune is written in the style of a choir anthem with beautiful four-part harmony in the refrain. While singing this hymn, one can imagine one day singing the “everlasting song” with the “yonder sacred throng” of the redeemed.
It was eventually learned that Edward Perronet, an author who often used a pseudonym or no name at all, had written the hymn. He was born in Sundridge, England, in 1726, and he was a descendant of French Huguenots who had come to England to escape religious persecution. The Church of England ordained him, but he didn’t agree with many of the practices of the State Church. He worked with John and Charles Wesley in their evangelical revivals. These men of faith and courage faced much opposition and sometimes even violent persecution in their ministry. In his diary, John Wesley said, “Edward Perronet was thrown down and rolled in the mud and mire. He got a deal of abuse thereby, and not a little dirt, both of which he took very patiently.” Perronet became convinced that they all should separate from the Anglican Church and form another denomination. The Wesleys were not ready to do this, so he founded an independent church in Canterbury, where he served until his death in 1792. His last words were:
Henry F. Lyte, the author of “Praise, My Soul, the King of Heaven,” was born in Scotland in 1793. He lost his parents as a child and was never physically strong. He struggled to graduate from Trinity College in Dublin, and he canceled his plans for a medical career. At the age of twenty-one, he was ordained and began to serve several small churches in Ireland. When he was thirty, he was appointed to a church at Lower Brixham, Devonshire, a fishing village on the English coast. He served there for more than twenty years, and he was greatly admired by the people. Even though he experienced ill health, over eight-hundred children had been a part of his Sunday School. In addition to his preaching at the church, he ministered to the sailors and fishermen on the docks. He wrote over 80 hymns and nearly 300 paraphrases of the Psalms.
Published in 1834, “Praise, My Soul, the King of Heaven” was inspired by Psalm 103. The opening stanza reflects on the first five verses of the Psalm, summarizing the benefits of the abundant life found in Christ. The Christian is ransomed, healed, restored, and forgiven. The stanzas go on praising God for His grace, mercy, faithfulness, and creation. The most frequently-used tune was composed specifically for this hymn by Sir John Goss. Over the years, several tunes have been associated with the hymn, causing the words to be changed to fit the alternate tunes. The original recurring phrase, “Praise him! Praise him,” has been replaced with “Alleluia! Alleluia!” in some hymnals. Many editors have omitted stanza 4, which clearly expresses verses 15-17 of the Psalm.
Queen Elizabeth II requested that the hymn be used as the processional for her wedding in Westminster Abbey on November 20, 1947, which, coincidentally, was also the one-hundredth anniversary of Lyte’s death. This was quite a recognition for an unknown preacher who was said to have no fame other than his own saintly character and a handful of hymns. This triumphant hymn has continued to be a blessing to many for nearly 200 years.
Bless the LORD, O my soul: and all that is within me, bless his holy name. Bless the LORD, O my soul, and forget not all his benefits. (Psalm 103: 1-2)
After his ordination in 1807, he served sixteen years in the little village of Hodnet, England. Understanding the power of good congregational singing, he had the desire to improve the lifeless, formal singing in the Church of England. Instead of singing the metrical Psalms, he introduced hymns from Newton's and Cowper’s “Olney Hymns,” which contained “Amazing Grace.” He also wrote hymns of his own to encourage more enthusiastic singing. When he presented to the Bishop of London a collection of hymns that he thought were more singable by the people, the bishop didn’t approve. He told Heber, “the time is not ripe for such a book of worship.”
Heber was also interested in foreign missions, as expressed in his hymn titled “From Greenland’s Icy Mountains.” His hymnbook was probably forgotten when he became the Bishop of Calcutta in 1823. The area of his pastoral care was expansive; it covered most of the South Pacific, including India, Ceylon, and Australia. This strenuous responsibility and the climate contributed to his untimely death in 1826. After preaching to a large crowd, Heber went to the home where he was staying to cool off in the swimming pool and was later found drowned, probably the result of a stroke.
Reginald Heber’s hymnbook was discovered and published by his widow and friends a year after his death. Of the fifty-seven hymns in that collection, “Holy, Holy, Holy” is the most remembered. The word “Trinity” is not used in Scripture, but the Bible often refers to the three distinct Persons who exist as one God: God the Father, God the Son, and God the Holy Spirit. In the record of Isaiah’s vision of God, the Triune God is suggested when the angels repeat “Holy, Holy, Holy” three times. “In the year that king Uzziah died I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphims: each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried unto another, and said, Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory” (Isaiah 6:1-3). This phrase is also repeated three times in John’s vision recorded in Revelation: “And the four beasts had each of them six wings about him; and they were full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come” (Revelation 4:8).
Reginald Heber stressed the holiness of God, while in his ministry, he was surrounded by people worshiping false gods. His mastery of poetry emphasized the idea of the Trinity by using three words about God in each stanza. The first stanza mentions three attributes of God: He is “Holy, Merciful, and Mighty!” Stanza two expresses that God is eternal: “Which wert and art and evermore shall be.” The third stanza explains that since God is perfect, His glory may not be seen because of the darkness of man’s sin. God is praised for being “Perfect in power, in love, and purity.” There is reference again to John’s vision: “Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created” (Revelation 4:11). All creation praises Him “in earth and sky and sea.”
“Holy, Holy, Holy” is truly a majestic hymn of the faith. The tune was composed in 1861 by John B. Dykes, one of England’s leading church musicians of that day. Many scholars claim it to be the greatest hymn of all time.
Trust in the Lord with all thine heart; and lean not unto thine own understanding. In all thy ways acknowledge him, and he shall direct thy paths (Proverbs 3:5-6).
One evening in 1886, while D. L. Moody was holding meetings in Massachusetts, a young man stood during a time of testimony and said, “I’m not quite sure – but I am going to trust, and I am going to obey.” This young man was a new Christian who had questions and perhaps even doubts, but he was determined to trust and obey the Lord. His words gave us a favorite song that has been enjoyed by many Christians.
The young man’s testimony caught the attention of Moody’s song leader, Daniel B. Towner, who wrote it down. He sent it with a story explaining the occasion to his friend John H. Stammis, and he asked him to write the words for a hymn. Stammis had given up his successful business to pursue full-time Christian ministry. After he received training at several theological seminaries, he pastored churches in Iowa, Indiana, and Michigan. He responded by first writing the words of the refrain, which summarized the thought of each of the five stanzas he then wrote. Towner composed the tune using a sequence of only six notes, and “Trust and Obey” was published in 1887.
Towner had a strong influence on evangelical church music. Some of his compositions include “At Calvary,” “Grace Greater Than Our Sin,” and “Anywhere With Jesus.” He also trained many leaders in church music. In 1893 D. L. Moody selected him to be the first head of the Music Department at Moody Bible Institute in Chicago.
The name of the young man whose testimony inspired the writing of this song isn’t known, but we should have the same desire to trust and obey the Lord. Each stanza of this song details areas of our lives where we must completely trust the Lord and obey His will to be happy Christians. One has to believe that D. L. Moody was thinking of this when he wrote this summary of the Christian walk: “The blood alone makes us safe. The Word alone makes us sure. But obedience alone makes us happy.”
The last stanza points to the future, which is unknown but secure if we “never fear, only trust and obey.” These words seem so simple, but this isn’t so easy to do. We must be willing to surrender our own will to the Lord’s leading if we are to be happy in Jesus. These things have I spoken unto you, that my joy might remain in you, and that your joy might be full (John 15:11).
As a young adult, Oatman became a partner in the family business and was later ordained in the Methodist Church. He never served one church in full-time ministry, but he traveled to various churches and served as a fill-in pastor. After his father’s death, he left the family business and became an administrator for an insurance company. At this point in his life, Oatman wanted to do more in ministry and prayerfully sought God’s will for his life.
In 1892, at the age of 36, Oatman discovered he had a talent for writing hymns. He wrote almost daily, writing an average of 200 songs a year. Although Oatman never became a famous preacher or singer, he wrote the words for more than 5,000 hymns, including other well-known gospel songs such as “Higher Ground,” “The Last Mile of The Way,” and “No, Not One,” which was his favorite. He only accepted up to one dollar per hymn.
The music for “Count Your Blessings” was composed by Edwin O. Excell, a famous evangelistic singer and publisher. It first appeared in Songs for Young People, which was compiled and published by Excell in 1897. The song is loved worldwide. One writer wrote, “Like a beam of sunlight, it has brightened up the dark places of the earth.” It has been said that no American gospel song was ever received with such enthusiasm in England. When Evangelist Gypsy Smith asked the people to sing “Count Your Blessings,” he commented, “Down in South London, the men sing it, the boys whistle it, and the women rock their babies to sleep to the tune.” During the revival in Wales, it was one of the hymns sung at every service. Through his hymns, Johnson Oatman, Jr. was able to preach the gospel around the world.
“Count Your Blessings” is often chosen to sing at Thanksgiving time, thanking the Lord for all that He has done. However, it can also be sung any day of the year to remind the believer of God’s many blessings, even during trials.
In everything give thanks: for this is the will of God in Christ Jesus concerning you (1 Thessalonians 5:18).
The story of this beloved Christmas carol has been told many times. Just before Christmas in 1818, in the small village of Oberndorf, Austria, it was discovered the church’s organ was broken. Music was an essential part of the Christmas Eve service, and since it would be impossible to have the organ repaired in time, it seemed that the service would be ruined.
Minister Joseph Mohr decided to write a new hymn for the service, even though there would be no organ. He quickly wrote the words and asked organist Franz Gruber to write a tune for his words. When Gruber read over the words, he said, “God be praised!” The two had often discussed that the perfect Christmas hymn had never been written. That night, they both thought it had been.
The simple, beautiful tune was written in time for the Christmas Eve service. Mohr and Gruber sang it as a duet that evening. Gruber played a simple guitar accompaniment, and the choir repeated the last two lines. Music for that Christmas Eve service would be a blessing for generations to come.
“Silent Night! Holy Night!” could have remained unknown to folks outside the tiny village in the Austrian Alps. Still, when Gruber played the organ to see if the repairman’s work was satisfactory, he played the new Christmas carol. The repairman, Karl Mauracher, was so moved that he asked for a copy, and the carol was spread throughout the region as a “Tyrolian Folk Song.”
As the years passed, many singing groups shared the song as they toured Europe. In 1848, it finally appeared in a German hymnal published in Berlin. For some time, the music was attributed to other composers, including Mozart and Haydn, but in 1854, Gruber sent a letter to the publisher establishing the correct origin of the carol.
“Silent Night! Holy Night!” was brought to America by German immigrants and was first published in English in 1863, appearing in The Sunday-School Service and Tune Book. The translator wasn’t known for over 100 years until 1957 when research revealed it was John F. Young, an energetic minister who’d had a strong interest in sacred music and had served in the South at the time of Reconstruction after the Civil War. He also had done mission work among the Cubans in Florida and in Cuba.
“Silent Night! Holy Night!” offers quiet relief from the noise and clamor of the Christmas season. It beautifully encourages one to reflect on the humble scenes surrounding Jesus’ birth. But made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men: And being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross. Wherefore God also hath highly exalted him, and given him a name which is above every name: That at the name of Jesus every knee should bow, of things in heaven, and things in earth, and things under the earth (Philippians 2:7-10). The song that began under humble circumstances is a favorite of so many as they reflect on that “Silent Night! Holy Night!” miracle.
This hymn of assurance and testimony was written by George W. Robinson and first published in 1876, one year before his death at the young age of 39. He was born in Cork, Ireland, and was educated at Dublin’s Trinity College and New College in London. He served as a Congregational Minister in churches in Ireland and England. Though he published several volumes of poems, he is known in hymnody for only this one hymn.
It has been said that Robinson became ill and resigned as pastor. The expressions of this hymn indicate that the author knew the Lord and was confident of his eternal destiny. The opening words of the first stanza point immediately to the scripture: The LORD hath appeared of old unto me, saying, Yea, I have loved thee with an everlasting love: therefore with lovingkindness have I drawn thee. (Jeremiah 31:3) Knowing Christ as personal Saviour is more than a ticket to heaven; the Christian is blessed with joy, beauty, and contentment that the world is not able to experience. The song expresses a picture of how the believer sees God’s creation through eyes of faith that “Christless eyes have never seen.” The author gives a mental image of the child of God being sheltered in the everlasting arms of the Father. The final stanza reminding that the believer is “His forever, only his,” is especially moving, knowing that Robinson was close to death. For I am persuaded, that neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, Nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord. (Romans 8:38-39)
James Mountain, an English pastor and revivalist, put Robinson’s words to a tune and published it in 1876. He is also known for the tunes for “Jesus I am Resting, Resting” and “Like a River Glorious.” Being greatly influenced by D.L. Moody and Ira Sankey during their meetings in England in the 1870s, Mountain went on a seven-year evangelistic tour around the world.
Not every hymn is to be sung in a militant or majestic manner. By prayerfully singing these rich words to the gentle melody and harmony, the song is a comforting and confident testimony of the believer’s assurance. God’s love is an “everlasting love.” Herein is love, not that we loved God, but that he loved us, and sent his Son to be the propitiation for our sins. (1 John 4:10)
Sing Praise to God Who Reigns Above - Johann J. Schütz
The Reformation that had taken place throughout much of Europe had lost much of its zeal towards the end of the seventeenth century. The established church had become a place of shallow dead orthodoxy and rigid formality. Phillip J. Spencer, a Lutheran pastor in Frankfurt, Germany, wanted to give new life to the church by preaching the whole Bible, calling for repentance, and emphasizing a personal relationship with Christ. Under his preaching, people came to Christ and many lives were changed. Interest in such preaching spread throughout Germany, and it became known as the Pietistic Movement.
Johann J. Schütz, the author of “Sing Praise to God Who Reigns Above,” was a prominent lawyer in Frankfurt who helped Spencer establish prayer meetings and Bible-study groups in homes. In 1675 Schütz wrote this hymn because of the revival in the churches. His desire was to have the song proclaim the greatness of the Lord while emphasizing the nearness of a personal God. In the middle of the hymn, the 5th stanza says that “the Lord is never far away” but is always available to help, bless and guide. The song offers praise to God for creation, salvation, healing, mercy, and His power. The 7th stanza explains that Christians should joyfully sing aloud His praises so that people will hear what God has done.
And he hath put a new song in my mouth, even praise unto our God: many shall see it, and fear, and shall trust in the LORD.
(Psalm 40:3) Each stanza ends with a brief refrain: “To God all praise and glory!”
German Oxford scholar, Frances E. Cox, translated the text into English in 1864, almost 200 years after Schutz first wrote the words. The tune “Mit Freuden Zart,” (meaning “with tender joy”) came from the Bohemian Brethren Hymn Book dating back to 1566. The hymn has appeared in many hymnals but unfortunately, is not frequently sung. The stately, uplifting tune is beautifully matched to the words, bringing a sense of joy to those who sing it today, as it did over 300 years ago. Because I will publish the name of the LORD: ascribe ye greatness unto our God. (Deuteronomy 32:3)
The author of this hymn was Vernon J. Charlesworth, an English pastor who lived from 1839 to 1915. He made several significant contributions to Christian history, one of which was writing the biography of Rowland Hill. Hill was an English non-conformist preacher who personally financed the building of London’s Surrey Chapel. Charlesworth would later serve as an associate pastor there. In 1864 he became Headmaster of Spurgeon’s Stockwell orphanage. Spurgeon’s biographer, W.Y. Fullerton, wrote concerning Charlesworth: “His influence on the boys, his advocacy for the orphanage, and his guidance of affairs were a great asset for many years.”
Charlesworth wrote the words to the hymn “A Shelter in the Time of Storm” around 1880, and his poem was printed in a small London newspaper. Ira D. Sankey, D. L. Moody’s music director in evangelistic meetings, was in London with Moody and saw the poem in the paper. Sankey, a gospel singer and composer, thought that the hymn was sung to what he called a “weird minor melody” and decided to compose a new tune that could be sung in his evangelistic meetings with Moody. He also changed some words and added a refrain. It was first published in his “Sacred Songs and Solos” in 1885. Because of its popularity, this song was also included in Sankey’s “Gospel Hymns No. 5 in 1887. Moved by the effectiveness of this song, Sankey wrote this in his autobiography: “I found this hymn in a small paper published in London, called The Postman. It was said to be a favorite song of the fisherman on the north coast of England, and they were often heard singing it as they approached their harbors in the time of storm.” Sankey’s influence is still being felt today. He introduced an evangelistic musical style that influenced church services and revival meetings for generations, and many of the songs he wrote or published are still being sung.
“A Shelter in the Time of Storm” proclaims that Christ will be the believer’s rock and shelter, even during the storms of life when one is in a “weary land.” There are a number of verses that are reminders of the Lord’s protection and care, especially in the Psalms. Israel and the early church used the Psalms as their hymnal, and these Scriptures are as relevant to the Christian today.
The Lord is my rock, and my fortress, and my deliverer; my God, my strength, in whom I will trust. (Psalm 18:2)
He maketh the storm a calm, so that the waves thereof are still. (Psalm 107:29)
For thou hast been a shelter for me, and a strong tower from the enemy. (Psalm 61:3)
Carl Harold Lowden was born in 1883, began writing songs when he was twelve, and sold them to the Hall-Mack Co. When he was just a teenager, he conducted the church orchestra. After being employed by several music publishers, he went into business for himself, but it failed due to the Great Depression. He then taught at the Bible Institute of Pennsylvania, which is now called Philadelphia College of the Bible. He also served as minister of music at Linden Baptist Church in Camden, New Jersey.
In 1915 he wrote a popular gospel song for children’s services. Lowden wasn’t really satisfied with it, so he mailed a copy of the music to poet Thomas Chisholm and asked him to write words for the tune. He suggested that the title should be “Living for Jesus.” In a couple of days, Chisholm returned the music to Lowden and told him he “didn’t have the slightest idea as to the method used in writing words to music.” He’d never written words for an existing tune but always sent his poems to composers to set his words to music. This seemed to be an impossible task for him. Immediately Lowden returned the music and told Chisholm that he believed that God had chosen him to write the poem and suggested that Chisholm permit God to write the poem. Chisholm finally agreed, but because he couldn’t read music, his daughter had to hum the tune repeatedly until he knew it well enough to write fitting words. In a couple of weeks, the song was completed, and in 1917, it was published in Lowden’s book, “Uplifting Songs.” Over one million copies were sold in sheet music form; it has appeared in over one hundred hymnals and has been translated into many languages and dialects.
Chisholm had various jobs: a teacher, newspaper editor, insurance agent, and minister. He suffered from poor health throughout much of his 94 years. His love for writing poetry, which began when he was young, resulted in many hymns and gospel songs; a favorite of many is “Great Is Thy Faithfulness.” He said, “I have desired that each hymn or poem might have some definite message to the hearts for whom it was written.”
“I beseech you therefore, brethren, by the mercies of God, that ye present your bodies a living sacrifice, holy, acceptable unto God, which is your reasonable service” (Romans 12:1). This verse is the theme of this song written very well by a man who knew he was inadequate and needed the Lord’s guidance. The refrain beautifully expresses a personal commitment to living totally for Christ because of what He did for lost sinners. This thinking doesn’t reflect the motivation of most people, but for the Christian, the goal is to fully surrender one’s life to Christ.
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John Newton, the author of this hymn, is well-known because of the popularity of “Amazing Grace,” which he wrote as his personal testimony. “I Saw One Hanging on a Tree” was written in 1778 and was titled “Looking at the Cross” in Newton’s original manuscript. The hymn originally had eight stanzas. They were combined to make four stanzas, and the tune was composed by Edwin Excell in 1917. Excell, one of the greatest evangelistic song leaders of his day, was associated with Southern revivalist Sam Jones for twenty years.
Newton had a tradition that was unusual for his day. He established weekly prayer meetings when he was a pastor in Olney. It became the custom for him and his friend, William Cowper, to write a new hymn for each week to reinforce the simple truths he preached. These were published in three volumes of Newton and Cowper’s Olney Hymns, one of the most significant contributions to evangelical hymnody. “I Saw One Hanging on a Tree” was among more than 300 hymns included in that publication. The song then bore its second title which was the first line of the hymn, “In evil long I took delight.”
This hymn is one of the finest examples of an autobiographical hymn. John Newton’s early life was one of rebellion and immorality. He became a slave trader and was so wicked that even the sailors couldn’t deal with him, and he was thrown off their ship. One night in 1748, he was in a terrible storm, and he feared that he would drown. He called out to God to ask for forgiveness and accepted Christ as his personal Savior.
What caused the profound change in the life of such a wicked man who became a powerful and caring preacher and famous hymn writer? Unfortunately, the first stanza that tells his story clearly is usually omitted in hymnals. The converted slave trader could never forget the price Christ had paid for his sins; he considered himself the most wretched of all men. Christ had totally changed him.
John Newton is a prime example of the transforming power of God’s grace, much like Paul, who, after his conversion, called himself the "chief of sinners." This is a faithful saying, and worthy of all acceptation, that Christ Jesus came into the world to save sinners; of whom I am chief. Howbeit for this cause I obtained mercy, that in me first Jesus Christ might shew forth all longsuffering, for a pattern to them which should hereafter believe on him to life everlasting (1 Timothy 1:15-16).
Like John Newton, believers should never forget what Christ went through for them. This hymn describes the suffering and horrible death the Savior endured to provide salvation to all who will accept God’s grace. This gift should inspire each believer to share the life-changing story of salvation with all who will hear.
This inscription, written by Newton, was found on a marble tablet in the churchyard of Olney:
“I’ve Found a Friend” was written by James G. Small, a minister in the Scottish Free Church who was well-known for his gentle character, which is evident in this hymn. Its original title was “Jesus the Friend.” It was first published in 1863 in the second series of the “Revival Hymn Book” and three years later in Small’s own “Psalms and Sacred Songs.” Small compiled two books of sacred song as well as two volumes of verse.
The best-known tune in America for this song was composed by George C. Stebbins. He was a gospel song composer and was involved in evangelistic work with D. L Moody, Ira Sankey, “Major” Whittle and others. He composed music for “I’ve Found a Friend” in 1878, and his version was published later that year in “Gospel Hymns No. 3.” During his career, which continued until he was almost one hundred, Stebbins composed music for hundreds of songs and edited several collections of hymns.
Friendship is one of the most valued of human relationships, but sometimes the closest friend can bring disappointment. In the first stanza the hymn shares how Christ knows and loves a person even before that person knows and loves Him. But God commendeth his love toward us, in that, while we were yet sinners, Christ died for us (Romans 5:8). The second stanza tells that Jesus willingly bled and died so sinners could be saved from eternal damnation. Greater love hath no man than this, that a man lay down his life for his friends (John 15:13). The final stanza emphasizes that this friendship will last throughout eternity. What better friend can there be?
For I am persuaded, that neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, Nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord (Romans 8:38-39).
The comforting nature of the words perfectly matched Stebbins’s gentle tune, making this a favorite hymn of many. A thoughtful reading or singing through it should produce thanksgiving in the heart of the believer, rejoicing that God has provided such a Friend.
...there is a friend that sticketh closer than a brother (Proverbs 18:24).
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Most scholars of Irish literature believe the text for this ancient Irish hymn dates back to the sixth century and was written by the blind poet Eochaid Forgaill. He was known as Dallán, a nickname meaning “little blind one.” Education, poetry, and literature were quite important in Irish culture at that time, and Dallán was known as the most excellent scholar in Ireland. He died in 598, suffering a martyr's death at the hands of pirates. Since the language of some of the early Irish manuscripts suggests a later time period, these were probably copied and didn’t indicate authorship. As a result, some hymnals simply state the origin as anonymous or ancient 8th-century Irish.
It wasn’t until 1300 years later, in 1905, that Mary Elizabeth Byrne made an English translation into thirty-two lines of literal prose. It was published in “The Journal of the School of Irish Learning.” In 1912 Eleanor Hull, an Irish scholar discovered the prose, put it into singable verse, and published it as a prayer in her “Poem Book of the Gael” in 1912. It first appeared as a hymn in the “Irish Church Hymnal” of 1919. The hymn tune “Slane” is based on a traditional ballad and was named for a hill where it is believed that St. Patrick challenged the Druid priests.
During this time in history, the Irish people lived with a strong faith in Christ. The country was known for its interest in missionary work, spreading the gospel wherever they went. Evidence of the spiritual richness of that day is obvious in this hymn. It’s difficult to imagine that a blind man wrote the prayer-like poem that would become “Be Thou My Vision.” The words beautifully express an early Celtic understanding of the Person of Christ and His attributes. At the end of the second stanza, Forgaill rejoices in this truth: “Thou in me dwelling, and I with Thee one.” I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing. (John 15:5) The hymn ends anticipating the joy of heaven and being eternally with the Lord: “May I reach heaven’s joys.”
This hymn text is typical of medieval Irish poetry, describing the Lord as the “Chieftain” or “High King” who protected his people or clan. It is written in the style of a prayer of protection which was used at that time. It was said of Dallán that he was blind to the things of the world, but he had excellent spiritual vision. This ancient hymn has been a source of help and encouragement for many and is as meaningful today as it was over one thousand years ago. Where there is no vision, the people perish: but he that keepeth the law, happy is he. (Proverbs 29:18)
Many of the early hymn writers wrote songs for children that were easy to sing and simple enough to teach children Biblical truths. This hymn was originally titled “Come, Children, Join to Sing” and was published in 1843 by its author Christian H. Batemen in “Sacred Melodies for Sabbath School and Families.” This collection of about 25 hymns was Scotland’s standard Sunday school songbook, with more than six million copies published by 1881. Adults also enjoyed singing it so much that the title was eventually changed to “Come, Christians, Join to Sing.”
Christian H. Batemen, a Scottish pastor, was born in 1813 near Halifax. He served in several churches in Scotland and England until his death in 1889 in Carlisle, England. He and his wife were parents of six children; perhaps this was his inspiration to write children’s songs.
Some hymn historians believe that Batemen was influenced by William E. Hickson’s hymn, “Join Now in Praise and Sing,” published in Hickson’s “Singing Master” in 1836. Batemen’s text is a simple language with repeated phrases, making it quite easy to sing, especially for children. The opening stanza exhorts Christians to join in worship to Christ because it’s what the Saviour desires: “Praise is his gracious choice.” Stanza two offers reassurance that King Jesus is “our guide and friend” whose “love shall never end.” Christ humbled Himself to leave heaven, become a man, and die for the sins of the world. “And being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross” (Philippians 2:8). The hymn ends with the encouragement that this song of praise will never end: “Singing for evermore.”
“I heard a great voice of much people in heaven, saying, Alleluia; Salvation, and glory, and honour, and power, unto the Lord our God:” (Revelation 19:1).
The tune “Madrid,” based on a joyful traditional Spanish melody, was later harmonized in 1929 by David Evans, a Welsh composer and director of the Welsh Hymn Festivals. The repeated phrase, “Hallelujah! Amen!” expresses that the Lord is worthy of praise, now and forevermore, and comes from the Biblical Hebrew and Greek languages meaning “Praise the Lord! So be it!” “O come, let us sing unto the Lord: let us make a joyful noise to the rock of our salvation. Let us come before his presence with thanksgiving, and make a joyful noise unto him with psalms” (Psalm 95:1-2).
Sometimes a hymn writer begins the hymn with a question. Frances R. Havergal (1836-1879) wrote such a hymn that asks a very important question: “Who Is on the Lord’s Side?” She had an extensive education and was a gifted pianist and singer. She has been referred to as "the sweetest voice of hymnody." Her life was characterized by a sincere dedication to the Lord, and she wrote many devotional books and hundreds of hymns and poems. Frances Havergal was one of England’s most popular Christian authors. Although she never met her American contemporary, Fanny Crosby, they greatly admired each other.
This hymn asks a question that needs to be answered. “Who Is on the Lord’s Side?” is based on the story of Moses when he returned from a meeting with God on the mount and found the Israelites worshiping the golden calf. Then Moses stood in the gate of the camp, and said, Who is on the LORD's side? let him come unto me (Exodus 32:26).The answer requires a commitment to help bring others to Christ and to avoid the behavior of “the world’s side.” This type of commitment is only possible by the grace of God. The motivation for the decision to be in the Lord’s army should not be for man’s approval but for Christ’s love for sinners. Christians are challenged daily with decisions that are made according to one’s commitment to the Lord. Sometimes these decisions may be difficult, but because of God’s unchanging truth, victory is guaranteed when the right one is made. The final stanza is often omitted, but it is an encouragement that God can keep the believer safe and committed by His grace (Jude 1:24).
Interestingly, the person with “the sweetest voice of hymnody” would write such a militant hymn text. The hymn was written two years before her death. After Frances’ death, her sister added the hymn to the last chapter, “Marching Orders,” in an unfinished book Frances had started. Frances Havergal knew that the Christian life involves spiritual warfare that requires choices. The answer to the question serves as a response to the challenge: “We are on the Lord’s side, Saviour, we are thine!”
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Ireland’s Jean Pigott wrote the words to this beautiful hymn in 1876. The tune was composed by James Mountain, a Baptist pastor and the editor of Keswick’s “Hymns of Consecration and Faith.” Poet of a few other hymns, Jean Pigott passed away at the early age of 37, and she had no idea that her writing would be a significant blessing to Christians many years later.
Jean Pigott’s brother, Thomas, felt called to the mission field and joined China Inland Mission in 1879, three years before Jean’s death. J. Hudson Taylor had founded the Mission, which had about one thousand missionaries serving in that country. During the time of the Boxer rebellion, Taylor received news of almost 200 missionaries being taken hostage and murdered by terrorists. While working quietly at his desk, Taylor was known to whistle or softly sing “Jesus, I Am Resting, Resting” as reports of missionaries being assassinated came to him daily. He had learned the song from Thomas and claimed it as his life song. Thomas was arrested in 1900, and he, his wife, his son, and several other missionaries were beheaded in a public execution. These faithful servants rested on the Lord amid unspeakable, terrible times, and trusting Him completely in all things was a reality for them.
For more than a century, this precious hymn’s sweet sound has touched countless Christian’s hearts. The music is comforting to the soul, and the words convey many blessings that can be experienced by resting in the joy of the Saviour. Among them are His love, beauty, and goodness, as well as promises that bring peace and hope in times of trouble. The end of the last stanza should be the believer’s daily prayer: “Keep me ever trusting, resting, Fill me with thy grace.”
Come unto me, all ye that labour and are heavy laden, and I will give you rest. Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls. (Matthew 11:28-29)
“One Day” was written by Dr. J. Wilbur Chapman, a well-known evangelist and Bible teacher during the late 19th and early 20th centuries. He was greatly influenced by the preaching of D. L. Moody, who encouraged him to enter full-time evangelism. (Chapman later had a great influence on evangelist Billy Sunday.) The text was written around 1908 while he held a Bible Conference in Stony Brook, Long Island. His young pianist, Charles Marsh, composed the tune, and the hymn was published in 1910.
This hymn recounts four events in the life of Christ. Christ is referred to as Example, Redeemer, Saviour, and Lord. The last stanza proclaims the glorious hope of Christ's return. The refrain includes God’s plan of redemption: Christ’s living among men, dying, being buried, rising, and His promised coming. The hymn is rich in doctrine and scriptural allusions. The hymn reminds one of how Paul summarized his preaching: For I delivered unto you first of all that which I also received, how that Christ died for our sins according to the scriptures; And that he was buried, and that he rose again the third day according to the scriptures: (1 Corinthians 15: 3-4).
“One Day” appears in many hymnals but is often overlooked. It’s a difficult challenge for editors to choose a specific category. So many different aspects of the life of Christ are included. It is such a clear and simple presentation of the Gospel.
Looking for that blessed hope, and the glorious appearing of the great God and our Saviour Jesus Christ (Titus 2:13).