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Hymns

Ready

Words: (author unknown)
Music: Charles Davis Tillman (b. March 20, 1861; d. Sept. 2, 1943)

Note: Since 1903, this hymn text has appeared in some books crediting it to an A. C. Palmer (1845-1882), of whom nothing is known. Others give credit for the words to the composer of the tune, Charles Tillman. Still other books have attributed the words to a S.E.L. However this appears to be a short-form for Selected, another way of identifying the poem as anonymous.

We do know that the hymn originally had five stanzas, and Charles Tillman used one of them for a refrain when he composed the tune. He wrote other lyrics as well as tunes, so he is a possible source of this song, but we simply don’t know.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

The original version of Tillman’s refrain, not used today, has merits of its own. It reminds us of the need for patience to “wait” God’s timing, and makes a possible allusion to Ezekiel 22:30, “I sought for a man…who would…stand in the gap.” Whether our service for God is “small or great” in the eyes of men, we need to be ready to do His will. Tillman’s refrain said:

Ready to go, ready to wait,
Ready a gap to fill;
Ready for service small or great,
Ready to do His will.

The hymn is repetitious in the extreme, repeating the word “ready” thirty-seven times (counting refrains) in one short song. However, it does make some important points along the way.

Ready. It’s a word found over eighty times in our English Bibles. Often it has a forward perspective, with the idea of making ready for something specific. However, there are other instances when the idea is that the individual or group is ready for whatever lies ahead. When King David’s son Absalom led a rebellion against his father, David fled with his trusted and loyal servants. Then:

The king’s servants said to the king, “We are your servants, ready to do whatever my lord the king commands.”

II Sam. 15:15

Here are a few examples of how the word is used in the epistles.

“So, as much as is in me, I am ready to preach the gospel to you who are in Rome also” (Rom. 1:15). “Let them do good, that they be rich in good works, ready to give, willing to share” (I Tim. 6:18). “Preach the word! Be ready in season and out of season. Convince, rebuke, exhort, with all longsuffering and teaching” (II Tim. 4:2). “Remind them to be subject to rulers and authorities, to obey, to be ready for every good work” (Tit. 3:1). “Sanctify the Lord God in your hearts, and always be ready to give a defense to everyone who asks you a reason for the hope that is in you, with meekness and fear” (I Pet. 3:15).

Ready! It seems to me there are a number of key implications, in respect to Christian service, when a person says to God or others, “I’m ready.” The one who says that will have:

  1. A sense of calling, the conviction that God is leading the way.
  2. A preparation for service, with appropriate gifts and resources.
  3. Conscious submission to God for what lies ahead.
  4. At least some counting of the possible cost, and a willing self-sacrifice.
  5. An eagerness to begin, an enthusiasm about it.
  6. A trust in God for the needed guidance along the way.

(1) Ready to suffer grief or pain,
Ready to stand the test,
Ready to stay at home and send
Others if He sees best.

Ready to go, ready to stay,
Ready my place to fill,
Ready for service, lowly or great,
Ready to do His will.

(2) Ready to go, ready to bear,
Ready to watch and pray,
Ready to stand aside and give,
Till He shall clear the way.

(4) Ready to speak, ready to warn,
Ready o’er souls to yearn,
Ready in life, ready in death,
Ready for His return.

Questions:

  1. Are you “ready” to serve the Lord? What percentage of the people in your church would you estimate are ready to serve Him?
  2. What are some of the things we need to do to get ready?

Links:

Peace, Perfect Peace

Words: Edward Henry Bickersteth, Jr. (b. Jan. 25, 1825; d. May 16, 1906)
Music: Pax Tecum, by George Thomas Caldbeck (b. _____, 1852; d. Jan. 29, 1918), and Charles John Vincent (b. Sept. 19, 1852; d. Feb. 28, 1934)

Note: In the biographical note in the Wordwise link at the bottom of this article, you will see that Bickersteth was not only a pastor, but a writer and editor of hymns. He was, in fact, a great lover of the hymnody of the church–a love which I share. His son reports that on Sundays at tea (a light meal the English eat in mid-afternoon), it was his father’s invariable custom to ask each family member to quote a hymn. He did this himself too, unless he’s just written a new one he could share.

As to Pax Tecum, Charles John Vincent (1852-1934) revised and arranged Caldbeck’s tune to the point that some have argued it became his, and ceased to be by Calbeck.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

This simple hymn has a greatness that belies its simplicity. It’s one of those hymns that should be memorized and used often by the people of God. The words are based on a promise in the book of Isaiah, and the writing came about as follows. Dr. Bickersteth spent his vacation in 1875 in the north of England. There he heard Canon Gibbon, vicar of Harrowgate, preach a sermon on:

You will keep him in perfect peace, whose mind is stayed on You, because he trusts in You.

Isa. 26:3

The bishop pointed out that Hebrew does not have modifying adjectives as we do in English. So to make this an especially powerful “peace” the word was simply repeated in Hebrew. “You will keep him in peace peace [shalom shalom, a peaceful peace].” The Amplified Bible has, “You will guard him and keep him in perfect and constant peace.”

That afternoon, Edward Bickersteth visited a relative who was on his deathbed, and the thought of God’s “perfect peace” came to him with new force. As he sat by the bed, the ideas for this new hymn came to him. He jotted them down, and shared them with the dying man, to his great comfort.

All but the final stanza of the hymn are in a question-and-answer format. As noted in the Wordwise link, they can be sung antiphonally, with different parts of the congregation singing one line, and the other, of each stanza.

Several different kinds or spheres of peace are spoken of in Scripture. There is “the peace with God” that is ours through the work of Christ on the cross (Rom. 5:1). We are reconciled to God by faith in what the Lord Jesus did for us there. There is also “the peace of God” that the believe can have within as he or she commits those things that bring worry and anxiety to the Lord in prayer (Phil. 4:6-7).

Both of these come into play in this beautiful hymn. It’s on the basis of our peace with God through Christ, that we can seek the peace of God day by day.

“The LORD will give strength to His people; the LORD will bless His people with peace” (Ps. 29:11). “Peace I leave with you, My peace I give to you; not as the world gives do I give to you. Let not your heart be troubled, neither let it be afraid” (Jn. 14:27). “Now may the God of hope fill you with all joy and peace in believing, that you may abound in hope by the power of the Holy Spirit” (Rom. 15:13).

I encourage you to meditate on each of the needs or problems described in the first line of the first six stanzas, and the all-sufficient provisions of God for our needs.

(1) Peace, perfect peace, in this dark world of sin?
The blood of Jesus whispers peace within.

(2) Peace, perfect peace, by thronging duties pressed?
To do the will of Jesus, this is rest.

(3) Peace, perfect peace, with sorrows surging round?
On Jesus’ bosom naught but calm is found.

(4) Peace, perfect peace, with loved ones far away?
In Jesus’ keeping we are safe, and they.

(5) Peace, perfect peace, our future all unknown?
Jesus we know, and He is on the throne.

(6) Peace, perfect peace, death shadowing us and ours?
Jesus has vanquished death and all its powers.

(7) It is enough: earth’s struggles soon shall cease,
And Jesus call us to heaven’s perfect peace.

The stanzas of this hymn could provide a wonderful personal Bible study, as we look up relevant Bible passages. In turn, this meditation could also be shared with a group, as they are encouraged (and helped) to commit the words of the hymn to memory.

Questions:

  1. Can you think of instances and examples (in your own life, or the lives of others you know) of each problem spoken of in the first six stanzas?
  2. Can you find Scripture verses that teach the encouraging truths in each of the second lines of the six stanzas, and that of the whole final stanza?

Links:

O Jesus, Thou Art Standing

Words: William Walsham How (b. Dec. 13, 1823; d. Aug. 10, 1897)
Music: St. Hilda (sometimes called St. Edith), by Justin Heinrich Knecht (b. Sept. 30, 1752; d. Dec. 1, 1817), and Edward Husband (b. circa May ___, 1843; d. circa Feb. ___, 1908)

Note: As to the melody, Edward Husband took the first couple of lines of a 1799 tune by Justin Knecht, and added his own ending, creating the present tune in 1871.

Concerning the text, this beautiful and insightful hymn was written in 1867. Dr. How seems to have had a couple of inspirations for it. Poetess Jean Ingelow heard a sermon in an English fishing village on Revelation 3:20, leading her to create the poem picturing the scene. It says, in part:

The parson knew that he had lost the eyes
And ears of those before him for he made
A pause… Then with a sigh
Fronted the folk, lifted his grand gray head,
And said, as one that pondered on with new surprise,
And found fresh marvel in their sound, “Behold!
Behold!” saith He, “I stand at the door and knock.”
Then said the parson, “What! And shall He wait,
And must He wait?
Open the door with shame if ye have sinned…
And take Him in that comes to sup with thee.

Jean Ingelow

William How read Jean Ingelow’s poem and was deeply touched by it. He may also have seen Holman Hunt’s famous painting, which appeared in 1854, picturing Christ standing at the door. Together, these depictions led him to write the hymn.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

The song is based on the words of Revelation 3:20, where the glorified Lord Jesus says:

“Behold, I stand at the door and knock. If anyone hears My voice and opens the door, I will come in to him and dine with him, and he with Me.” Other versions have: “I will be his guest and feast with him, and he with Me” (Williams New Testament); “We will share a meal as friends” (New Living Translation); “I will come in and fellowship with him, and he with Me” (Living Bible).

Though that verse is sometimes used as an invitation to the sinner to come to Christ for salvation, in the context of Revelation it follows Christ’s admonition to the church at Laodicea. Bishop How may have it right, calling at least some of them, though backslidden, “Christian brethren” (1).

The people attending of this ancient church in Asia Minor was extremely affluent and self-satisfied. They believed they had no real needs. But in the Lord’s sight they were spiritually impoverished and lukewarm about the things of God (vs. 15, 17). Most sadly of all, they had shut Christ out. They may have had rituals in His honour, or sang hymns about Him, but there was no heart relationship with the living Christ.

In how many churches today is that the case? Christ is represented by artwork and liturgy, but there is no fellowship with Him as living, gracious presence. In fact, the door is “fast closed” against Him. “Shame on us!” if that is true of our own church.

(1) O Jesus, Thou art standing, outside the fast closed door,
In lowly patience waiting to pass the threshold o’er:
Shame on us, Christian brethren, His name and sign who bear,
O shame, thrice shame upon us, to keep Him standing there!

The Lord not only stands without, but knocks, in love and patience, hoping there is someone who will open the door and welcome Him in. How’s hymn pictures Christ with the marks of Calvary upon Him, emphasizing “the sin that hath no equal” of turning Him away.

(2) O Jesus, Thou art knocking; and lo, that hand is scarred,
And thorns Thy brow encircle, and tears Thy face have marred:
O love that passeth knowledge, so patiently to wait!
O sin that hath no equal, so fast to bar the gate!

The Lord Jesus stands (1), and knocks (2), and pleads “in accents meek and low” (3). That this is something He does graciously, for an extended period of time, is suggested by the verb tense. In Greek, it represents an action that has lingering results or continuing effects, as though it reads: “Behold I have taken a stand, and am still standing at the door.”

The worldly congregation must not presume He will keep on knocking. The day of grace for them may suddenly come to an end. But for now, the invitation is open.

(3) O Jesus, Thou art pleading in accents meek and low,
“I died for you, My children, and will you treat Me so?”
O Lord, with shame and sorrow we open now the door;
Dear Saviour, enter, enter, and leave us nevermore.

Questions:

  1. Do you know of a congregation that can be described as the Word of God describes the one in Laodicea (Rev. 3:14-18)?
  2. What is the remedy (vs. 19-20)? Can this begin even with one person in the church, or just a few? (Explain.)

Links:

Near to the Heart of God

Words: Cleland Boyd McAfee (b. Sept. 25, 1866; d. Feb. 4, 1944)
Music: McAfee, by Cleland Boyd McAfee

Note: I have seen another story behind this hymn in several books, one that differs in some details from what I have below. It has Cleland McAfee serving as a pastor in Chicago at the time of the tragedy, and writing the hymn so he could sing it as a solo at the funeral service. However, the following information comes largely from a book written by McAfee’s daughter Katharine (a book entitled Near to the Heart of God).

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

Mrs. Parker (McAfee’s married daughter) served on the Board of Foreign Missions of the Presbyterian Church (U.S.A.), and the National Council of Presbyterian Women. She authored a number of books. The one using the hymn’s title contains a sketch of Dr. McAfee’s active life, and other examples of his writing, as well as the background of the hymn. I have confidence that Katharine Parker would get the story right, especially given that many from her extended family were actively involved in events at the time, and would surely have shared their perspective with her.

Park College (now the esteemed Park University) was established in Parkville, Missouri, a city a few miles from Kansas City. It began as a Presbyterian school, but has since severed that connection. The founder and first President was John Armstrong McAfee. His five sons and his daughter were eventually all involved in the work of the college.

When the father died in 1890, his son Lowell became president, serving in that capacity until 1913. His brother Cleland was the college chaplain and music director during that period. The two roles of the latter man intersected in the church services of Park College, when Cleland McAfee commonly preached, and led the choir. It was his custom to write some music for the choir on each Communion Sunday, something that would also tie in with the theme of his sermon.

This was the state of things when the present hymn was written in 1901. But it was a double tragedy that provided its touching inspiration. The two daughters of Howard, another of the brothers, were critically ill with diphtheria. During the week before Communion Sunday, the two girls died within twenty-four hours of one another. Understandably, many on the campus and in the town were grief-stricken.

Cleland McAfee sat up long and late, pondering what he could preach on the following Sunday, and what kind of music he could compose to bring comfort to his family and the congregation. This lovely little hymn was the outcome of his meditation. The choir learned it at their regular Saturday evening practice. Then, they all went to the quarantined home of the Howard McAfee family, and sang the hymn beneath the darkened windows. It was shared with the congregation at the Communion Service, the next day.

In prophecy, the Lord is pictured as the Shepherd of His people who will “gather the lambs [the weak and vulnerable] with His arm, and carry them in His bosom,” near to His loving heart (Isa. 40:10-11). In the Gospels we read of the Lord Jesus’ tender affection for little children. “He took them up in His arms, laid His hands on them, and blessed them” (Mk. 10:15-16).

Though we do not currently have the physical presence of the Lord with us, such images may come to mind when we read the text of this hymn. Or perhaps we’ll think of John reclining to the right of Jesus in the Upper Room, leaning on His bosom (Jn. 13:23). That, in fact, may have been part of Dr. McAfee’s inspiration, since it was the time of the institution of the Lord’s Supper, and this fitted the service that coming Sunday in 1901.

All these passages remind us of the blessing of intimate fellowship with the Lord, where we, as believers, “will find rest for [our] souls” (Matt. 11:28-29). Close to the Lord, at times when our hearts are burdened, we find: “quiet rest,” and protection from sin’s allures (1); “comfort sweet,” and fellowship with the Saviour (2); “full release” (the freedom to share our burdens and our hurts, without fear of condemnation); as well as “joy and peace” (3).

(1) There is a place of quiet rest,
Near to the heart of God.
A place where sin cannot molest,
Near to the heart of God.

O Jesus, blest Redeemer,
Sent from the heart of God,
Hold us who wait before Thee
Near to the heart of God.

(3) There is a place of full release,
Near to the heart of God.
A place where all is joy and peace,
Near to the heart of God.

Questions:

  1. Can you think of a situation in which you found this kind of special blessing and encouragement in fellowship with the Lord?
  2. What lessons have you learned in these special moments that have guided you through difficult other times?

The singing of our traditional hymns and gospel songs has declined in some churches, but this treasure deserves to be preserved. If you’re looking for ways to promote hymn singing in your church and community, take a look at the article 77 Ideas for Promoting Hymn Singing.

Links:

Make Me a Captive, Lord

Words: George Matheson (b. March 27, 1842; d. Aug. 28, 1906)
Music: Diademata, by George Job Elvy (b. March 27, 1816; d. Dec. 9, 1893)

Note: The Cyber Hymnal gives the tune Diademata (used also with Crown Him with Many Crowns) as the primary one for this 1890 hymn, along with a couple of other good ones. Terra Beata (used with This Is My Father’s World) is also a possibility.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

The old joke asks for the definition of the word paradox, and answers that it’s two doctors. But a paradox is, of course, something quite different. It is a statement that seems absurd or contradictory, but which may, in fact, be true.

George Matheson’s wonderful hymn states a profound paradox in the opening line, then proceeds to drive it home with one poetic image heaped upon another. (It would be worth taking a few moments to read all the stanzas from the Cyber Hymnal.) The Wordwise Hymns link explores the core truth of the song, but I’ll add a few more thoughts here.

(1) Make me a captive, Lord, and then I shall be free.
Force me to render up my sword, and I shall conqueror be.
I sink in life’s alarms when by myself I stand;
Imprison me within Thine arms, and strong shall be my hand.

How, indeed, can we be free if we are, at the same time, captives? Though it does sound absurd, it’s actually a reality we live with every day. In a community, we can only act in freedom and pursue our own interests if we, and others around us, abide by (are “captive” too) an agreed upon set of laws. It’s this structuring of society that allows for the freedom of the individual.

Take freedom of speech as an example. Though we are said to be free to voice our own opinions, or put them in writing, there are limitations. It’s wrong to speak against others with malicious hatred, or threaten others with harm. Nor are we allowed to use words in a crowd that will cause panic and chaos (such as shouting, “Fire!” in a crowded theatre, or “I’ve got a bomb!” in a plane). Acting responsibly, within set limits, we each do our part to keep our society free.

It should be noted in passing, however, that human society isn’t perfect–being designed and maintained, as it is by flawed human beings. The limits of freedom are constantly being challenged by those with their own, often self-serving or immoral, agenda. Corrupt minds are constantly pushing the limits. Watch one of the current situation comedies on television, and then one from the 1950s, and you’ll see what I mean!

Dr. Matheson called his hymn “Christian Freedom,” basing it on Paul’s description of himself in Ephesians 3:1, as “the prisoner of Jesus Christ” (cf. Phm. 1:1). Using a related term the apostle referred himself as “a bondservant [or slave] of Jesus Christ” (Rom. 1:1; cf. Phil. 1:1; Tit. 1:1). Others, Peter (II Pet. 1:1), James (Jas. 1:1), and Jude (Jude 1:1) did likewise.

Being either a prisoner or a slave certainly has a negative connotation. But whether it actually is or not depends on a couple of things:

  • Who or what the person is a prisoner of (or slave to)
  • For what reason the person is a prisoner or a slave

To be a slave to sin is a cruel and destructive bondage. “Do you not know that to whom you present yourselves slaves to obey, you are that one’s slaves whom you obey, whether of sin leading to death, or of obedience leading to righteousness?” (Rom. 6:16). And slavery to sin takes us from bad to worse. The Bible says: “You presented your members as slaves of uncleanness, and of lawlessness leading to more lawlessness” (Rom. 6:19).

But when we are set free, through faith in Christ, and by the power of the Spirit of God, we are able to become the willing slaves (or prisoners) of One who loves us infinitely and has only our best interests at heart.

God be thanked that though you were slaves of sin, yet you obeyed from the heart that form of doctrine to which you were delivered. And having been set free from sin, you became slaves of righteousness….Now having been set free from sin, and having become slaves of God, you have your fruit to holiness, and the end, everlasting life.

Rom. 6:17-18, 22

This has many practical implications in daily life. One is that, as Christians, we are to obey the law of the land, seeking to live for Christ and serve Him within the structure set up for our community.

Submit yourselves to every ordinance of man for the Lord’s sake, whether to the king as supreme, or to governors, as to those who are sent by him for the punishment of evildoers and for the praise of those who do good. For this is the will of God, that by doing good you may put to silence the ignorance of foolish men–as free, yet not using liberty as a cloak for vice, but as bondservants of God.

I Pet. 2:13-16

(4) My will is not my own till Thou hast made it Thine;
If it would reach the monarch’s throne, it must its crown resign.
It only stands unbent, amid the clashing strife,
When on Thy bosom it has leaned, and found in Thee its life.

Questions:

  1. How would you contrast being a slave of Christ to being a slave to sin?
  2. Can you think of other paradoxes in the Christian life?

Links:

Kneel at the Cross

Words: Charles Ernest Moody (b. Oct. 8, 1891; d. June 21, 1977)
Music: Charles Ernest Moody

Note: Charles Moody was a Georgia composer and musician who played the fiddle, the banjo and the harmonica. He came from a musical family, and music was in his blood. He is said to have traded a shotgun for his first fiddle.

In the late 1920s and early 1930s Moody was a member of the legendary Georgia Yellowhammers, a secular string band (that recorded Pass Around the Bottle, and other songs). Charles Moody wrote a popular novelty number, The Song of the Doodlebug, but he also contributed around a hundred gospel songs.

His compositions (such as 1924’s Drifting Too Far from Shore) became standards of southern gospel music. Kneel at the Cross was published in 1948. After the Yellowhammers disbanded, Moody was for many years the choir director of the Calhoun Free Methodist Church.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

Though I want to discuss one particular aspect of this song that I hope will be instructive, it is not a selection that I can recommend overall. I realize there are simple, repetitious gospel songs that have blessed many. But in my view this one is too weak in content and theology for me to find much use for it.

Who is being asked to kneel? Saint or sinner? The fact that the cross is prominent, and there’s an offer of “life anew” suggests it’s the latter. Yet there’s no mention of sin. (The closest we get is “give your idols up,” (3).) And no mention of cleansing and forgiveness of sin.

Then why does the song invite us to come to the cross? It all seems very Me-centred, reminiscent of the weak gospel preaching that urges sinners to come to Jesus so their life’s problems will be solved. Little is said of the fact that we come weighed down with guilt and shame because we have wronged the eternal Lord of all, and we realize that His grace is our only hope.

There is no mention in the song that, as lost and hell-bound rebel sinners, we have offended a holy God. That we kneel at the cross to confess our helplessness and seek cleansing and forgiveness. That it is there we receive eternal salvation, and there we bow to Christ and own Him as our Saviour and Lord.

Instead, we are to “leave with Him [our] care and begin life anew” (stanza one and refrain). We come to share His glory and find bliss, and we are told that “harm can ne’er befall” those who are anchored there (stanza two). This last assertion is not precisely accurate. It is true that no one and nothing can separate the Christian from the love of Christ (Rom. 8:35-39). But many believers suffer persecution and other “harm” in this life. The apostles certainly did.

Finally, there is the fact that the song pictures Jesus waiting at the cross to meet the seeker. While there may be a sense in which the one who trusts in Christ for salvation, sees Him, by faith, on the cross, we know that Calvary is a past historical event. Christ is now risen and glorified, seated at the Father’s right hand (Rom. 8:34). There He is our heavenly Advocate and Intercessor (Heb. 7:25; I Jn. 2:1). But we find none of that here either.

The one thing about the song that I’d like to discuss for a moment is the appeal to kneel in prayer (mentioned nine times, counting the repeated refrain).

Of course there is nothing magical about the posture used in prayer. In Bible times, some stood to pray (Gen. 18:22; I Sam. 1:26; Lk. 18:13), or bowed their heads–especially in worship (Gen. 24:26; Exod. 4:31; 12:27). Others sat (Neh. 1:4), some even prayed while lying in bed (Ps. 63:6), and still others fell face down, prostrate before the Lord (Num. 16:22; Josh. 5:14). But one option is kneeling (I Kg. 8:54; Dan. 6:10; Lk. 22:41; Acts 9:40).

Oh come, let us worship and bow down; let us kneel before the Lord our Maker.

Ps. 95:6

Though not involved in a church where kneeling was a regular thing, I can recall occasions when I served as a pastor that I felt it was important for us to kneel together–all of us, including me. Some found it difficult, because of age or infirmity. Others objected because it was something different. But we did it. Even if that’s not our usual practice, it would be fitting to kneel for a time of prayer occasionally, either as a congregation or privately on our own.

Why? What does kneeling add to our praying? In one sense, not a thing. If we are kneeling on the outside, but rigidly refusing to kneel on the inside, bowing the knee will be rank hypocrisy and an insult to God. But let us suppose there is a willingness to do so, and a desire to understand what is meant by it.

  1. Reverence. Kneeling is an expression of reverence and respect. It is what subjects traditionally do before a ruler. To kneel before the Lord in prayer is an expression of reverence for Him, and a recognition of who He is, our heavenly Lord.
  2. Dependence. There is in the posture an expression of dependence, even of vulnerability. It seems to signify the opposite of strength and dominance. Sinful rebellion asserts our independence of God. But when we kneel in prayer it says we need the Lord and we are appealing for his aid, and trusting in Him.
  3. Submission. Kneeling also expresses submission. We are not only to reverently worship the Lord our God, and depend upon Him, we are to subject ourselves to His will. Kneeling represents that, as well. It is the act of a servant ready to be commissioned and commanded, ready to obey.

(1) Kneel at the cross, Christ will meet you there,
Come while He waits for you;
List to His voice, leave with Him your care
And begin life anew.

Kneel at the cross, leave every care;
Kneel at the cross. Jesus will meet you there.

Questions:

  1. Is this a song you would ever use? (Why? Or why not?)
  2. You may attend a liturgical church, where kneeling during the services is common. But if not, would you ever consider having the congregation kneel in prayer? (Under what circumstances?)

It Took a Miracle

Words: John Willard Peterson (b. Nov. 1, 1921; d. Sept. 20, 2006)
Music: John Willard Peterson

Note: Kansas born John Peterson was the youngest of seven children. He was only four when his father died. He began singing when just a boy, and trusted Christ as his Saviour at the age of twelve. This brought together the two great passions of his life: he loved the Lord and wanted to serve Him; and he loved to make music. John and two of his brothers formed a gospel group in 1940, and were busy in evangelistic meetings. During the war, Peterson served as a pilot, and it was on one of his flights that the idea for It Took a Miracle was born (his first song to become popular).

As an Air Corps pilot, Peterson flew supplies, especially 100 octane gas, over the Burma “Hump” and into China, to help in the war against Japan. These flights were often made at night, giving the pilot a glorious view of the starry heavens, the handiwork of God. On the return flight, the next day, he would fly low through the mountain passes and see many remote villages below. And Peterson thought of how the God who set the stars in the sky so loved each of the people living below that He gave His Son to save them.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

While this gospel song does say some good and true things, its use of the word “miracle” is problematic. Like the word “love” the term has been abused and misused to the point where the true meaning has become obscure. For example, in the kitchen we have Miracle Whip salad dressing, and in sports we have “the Miracle on Ice” (the Olympic gold medal won by the American men’s hockey team in 1980).

With regard to Peterson’s song, we need to take a look at the biblical use of the word miracle (and other terms applied to the same events). Our English term comes from the Latin word mirari, meaning a wonder.

  • ¤ Miracles. The actual word “miracle” is used sixteen times in the Bible (NKJV)–only twice in the Old Testament. In the New Testament, it translates two descriptive Greek words, and encompasses a third.
  • ¤ Powers. Sometimes miracles are spoken of as “powers.” The Greek word is dunamis, from which we get our word dynamite. Miracles are demonstrations of supernatural power.
  • ¤ Signs. Other times, the word miracles translates the Greek word semeion, meaning signs–as it is sometimes translated. The miracles are signposts, pointing to something beyond themselves.
  • ¤ Wonders. This renders the Greek word teras. This suggests that a miracle is something unusual and thought-provoking.

All three of the latter terms are brought together in one verse. “Jesus of Nazareth [was] a Man attested by God to you by miracles [dunamis], wonders [teras], and signs [semeion] which God did through Him in your midst” (Acts 2:22).

A definition: Miracles therefore are supernatural manifestations of divine power, observable in the external world, causing wonder and amazement in those who witness them. Sometimes, though not always, they can involve acts of mercy toward an individual or group. But mainly each functions as a sign, pointing to something else.

As Acts 2:22 indicates, they were the Father’s confirmation of the identity of Christ, and a means of authenticating His message (cf. Jn. 3:2). John tells us he recorded miracles of Christ, which he called “signs” (semeion), given “that you may believe that Jesus is the Christ, the Son of God, and that believing you may have life in His name” (Jn. 20:30-31). They served as authenticating signs for the apostles in a similar way, as they presented the Lord’s message:

“God also bearing witness both with signs [semeion] and wonders [teras], with various miracles [dunamis], and gifts of the Holy Spirit, according to His own will” (Heb. 2:4; cf. II Cor. 12:12; cf. Acts 14:3).

Some suggest that God counteracts the laws of nature when a miracle is performed. However, that is misleading. Nature is not independent of God. What is sometimes called natural law is only a way of describing the Creator’s ongoing work in the natural world, sustaining and maintaining it. “He is before all things, and in Him all things consist [are held together]” (Col. 1:17). He is “upholding [sustaining] all things by the word of His power [dunamis]” (Heb. 1:3)

By definition, miracles need to be both observable and unusual (thus causing wonder and astonishment). Creation is not miraculous in this sense. We weren’t there at the time to observe it happening. And if all of creation is miraculous, then the word virtually loses any meaning. Nor is the new birth a miracle, since we cannot observe it taking place (Jn. 3:8). We see the results and effects after the fact, when God creates, but that is something different.

Perhaps this will be seen simply as a minor quibble by some, but I believe we need to be precise and accurate in our use of biblical terms. Otherwise, “the trumpet makes an uncertain [unclear, indistinct] sound” (I Cor. 14:8), and we fail to “teach” God’s truth with our “psalms and hymns and spiritual songs” (Col. 3:16).

Yes, the natural world is full of God’s wonders, and the new birth is a thrilling and supernatural work of God. I’m merely suggesting that neither fits into the category of the miraculous, as the Bible uses the word.

(1) My Father is omnipotent,
And that you can’t deny;
A God of might and miracles–
‘Tis written in the sky.

It took a miracle to put the stars in place,
It took a miracle to hang the world in space;
But when He saved my soul,
Cleansed and made me whole,
It took a miracle of love and grace.

Questions:

  1. Is this a song you would use in your church? (Why? Or why not?)
  2. Are there other hymns that speak of the new birth in a more accurate way?

Links:

Hallelujah! ‘Tis Done

Words: Philip Paul Bliss (b. July 9, 1838; d. Dec. 29, 1876)
Music: Philip Paul Bliss

Note: Bliss’s song was published in 1874, two years before his death. Actually, he was hoping to include another song (Hallelujah, Thine the Glory) in a book he was publishing. It was popular at the time, but the owners of the copyright refused to give him permission to use it, so he wrote the present song to put in its place.

Two stanzas of the hymn are not generally used today. The point they seem to make is that God’s salvation is for all. Not only for socially prominent adults, but little children too. Here are the two omitted stanzas:

(4) Little children I see standing close by their King,
And He smiles as their song of salvation they sing:

(5) There are prophets and kings in that throng I behold,
And they sing as they march through the streets of pure gold:

Mr. Bliss came to his love of music early on. His parents were musical. And when he was ten years old, an incident occurred that left a lasting impression on him.

Philip was big for his ten years, a large barefoot farm boy. One day he was walking down the road in his village. As he passed by a house, he heard beautiful music. Irresistibly drawn to it, he entered the house, and stood by the parlour door, watching and listening as a young woman played the piano–the first one he’d ever seen.

When she stopped playing, he cried out, “Oh, lady, play some more!” But instead of encouraging him, she retorted crossly, “Go out of here with your great feet!” Philip was crushed, but the memory of the harmonies he’d heard seemed like echoes of heaven, and they stayed with him. He went on to a significant career in sacred music, one of the outstanding gospel song-writers of the nineteenth century.

Hallelujah, ‘Tis Done is one of those songs–of which there are a few–whose chorus (with its repeat) is longer than the stanzas. As a result, and because of the singable tune, the refrain will continue to echo in the minds of those who sing it, hours and days afterward, and help to instill an important truth.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

The truth emphasized by the repetitive song is that God’s saving work is a historic fact. It has been “done.” On the cross, as He was dying, Jesus declared, “It is finished” (Jn. 19:30). Take note of the past tenses used in the Bible, as we look back on that.

Christ our Passover [Lamb] was sacrificed for us” (I Cor. 5:7). “Christ died for our sins” (I Cor. 15:3). “Who gave Himself for our sins” (Gal. 1:4). “Christ also has loved us and given Himself for us” (Eph. 5:2).

What is required of the sinner is that he trust in the Saviour, accepting the payment already made.

“As many as received Him, to them He gave the right to become children of God, to those who believe in His name” (Jn. 1:12). “Believe on the Lord Jesus Christ and you will be saved” (Acts 16:31). “He who believes in the Son has everlasting life” (Jn. 3:36). “Most assuredly, I [the Lord Jesus] say to you, he who believes in Me has everlasting life” (Jn. 6:47).

To the one who rejects Christ, no good works will gain him eternal life, no church membership or church ceremonies. Nor will being born into a Christian home transfer salvation to the children. When God says salvation is by His grace (Eph. 2:8-9), He means it’s a free gift that simply needs to be received in faith. If we could earn it, it wouldn’t be by grace (Rom. 4:4-5).

For those who do accept Christ, “the blood of Jesus Christ His [God’s] Son cleanses us from all sin” (I Jn. 1:7). “‘Tis done!” And the theme of Philip Bliss’s song will echo in our songs of praise for all eternity (Rev. 5:11-14). How could we do otherwise in the presence of “Him who loved us and washed us from our sins in His own blood” (Rev. 1:5).

(1) ’Tis the promise of God, full salvation to give
Unto him who on Jesus, His Son, will believe.

Hallelujah, ’tis done! I believe on the Son;
I am saved by the blood of the crucified One;
Hallelujah, ’tis done! I believe on the Son;
I am saved by the blood of the crucified One.

(6) There’s a part in that chorus for you and for me,
And the theme of our praises forever will be:

Questions:

  1. What are some things that keep so many from accepting the simple gospel and trusting Christ for salvation?
  2. If you were talking to someone about his/her need of salvation, and how to be saved, what are three good verses of Scripture to use?

Links:

Gentle Jesus, Meek and Mild

Words: Charles Wesley (b. Dec. 18, 1707; d. March 29, 1788)
Music: Innocents, harmonized by William Henry Monk (b. March 16, 1823; d. March 1, 1889)

Note: This hymn was first published in 1742, and was thus one of the early hymns of Charles Wesley. It was accompanied by a second hymn, beginning, “Lamb of God, I look to Thee.” Each had seven four-line stanzas.

Our present hymn is a combination of the two songs, commonly using (1), (3), (4), (7), with one hymn book here on my desk including (8). A Methodist hymnal from 1917 uses (1), (2), and two stanzas not found in the Cyber Hymnal. You can judge for yourself (below), but to me, picturesque though they are, they seem poetically inferior to the ones more often used.

Put Thy hands upon my head;
Let me in Thy arms be stayed;
Let me lean upon Thy breast,
Lull me, lull me, Lord, to rest.

Hold me fast in Thine embrace,
Let me see Thy smiling face;
Give me, Lord, Thy blessing, give;
Pray for me, and I shall live.

The Cyber Hymnal lists no less than six tunes that have been used with this hymn. I’m most familiar with William Monk’s tune Innocents. (There is some mystery about its origin, discussed in the Wordwise link below. See the second item on King Thibaut.)

Some have suggested this hymn was written for Wesley’s own children, but that isn’t the case. He wasn’t married until seven years after the two songs were published. He did love children, however, and tried to write some hymn especially for them. These were not very successful. The present hymn is the only one that has survived. Likely, this is because he tried to treat children too much as little adults, not meeting them at their own level of understanding. Gentle Jesus is an exception.

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

This is a beautiful hymn. Though one historian says the first line was omitted from the 1983 edition of the Methodist hymnal because gentle, meek, and mild “are no longer adjectives which have much appeal” (An Annotated Anthology of Hymns, by J. R. Watson, p. 180). What a strange comment! I do have some concern about the line–though not one that would cause me to alter or reject it. More of that in a moment. However, let’s examine Mr. Watson’s comment first.

Each of the adjectives he rejects as not appealing to today’s congregations are found in the Scriptures. Our first concern in choosing (and editing) our hymns should not be whether they appeal to people but whether they’re biblical.

  • ¤ Gentleness. As Christians, we are called to be gentle, “with all lowliness and gentleness, with longsuffering, bearing with one another in love” (Eph. 4:2). It is part of the fruit of the Spirit’s work in us (Gal. 5:23). When we deal with others who have sinned, we are to be gentle with them, recognizing that we could be tempted to do something similar (Gal. 6:1).
  • ¤ Meekness. Someone has described this quality as power under control. In other words, the individual does not feel the need to keep proving himself, or seeking the acclaim of others. James speaks of “the meekness of wisdom” (Jas. 3:13). And Paul exhorts the Colossian believers to “put on tender mercies, kindness, humility, meekness, longsuffering; bearing with one another, and forgiving one another” (Col. 3:12-13).

The Lord Jesus also describes Himself as “gentle and lowly in heart” (Matt. 11:29; cf. Isa. 40:11). And Paul refers to “the meekness and gentleness of Christ” (II Cor. 10:1). The adjective “mild” is a little different since it’s not exactly a Bible word.

  • ¤ Mildness. This word is found only once in the Scriptures (NKJV), where it refers to Jacob as “a mild man” (Gen. 25:27). However, the Hebrew word (tam) seems to mean wholesome or holy, rather than what we might think of. When Job is described as “blameless” it’s a translation of the same word (Job 1:1; cf. Ps. 37:37). In modern English dictionaries you’ll find a “mild” person described as: pleasant, good-natured, and friendly, as opposed to being cold and severe. Hardly something to be avoided! And the adjective would seem to describe Jesus very well–especially in His dealings with children.

Whether the critics find them appealing or not, each of these words describes what the Lord Jesus was like while on earth, particularly in His dealings with the weak and vulnerable, and those often ignored or put upon by others in society. And there are precious truths here that children need to grasp, as they learn to trust in the Saviour.

My one concern is that these three things are not all Jesus was, while He walked among men. And they’re certainly not the prominent qualities we associate with Him now, in heavenly glory. On earth, Christ could drive the money changers from the temple, in righteous anger (Matt. 21:12-13), or condemn the Pharisees sternly for their hypocrisy (Matt. 23:13-36). When the Apostle John met Him after His ascension, “His countenance was like the sun shining in its strength,” and John “fell at His feet as dead” (Rev. 1:16-17).

I’m not saying that these latter qualities need to be presented with equal force to little children in their “simplicity,” as those mentioned earlier. Just that we must be careful, as adult believers, not to lose sight of other aspects of Christ’s character. One day the gentle, meek and mild Jesus will return as the holy Son of God, bringing wrathful judgment on unbelievers (II Thess. 1:7-10; Rev. 19:11-21). We need to keep things in balance in both our preaching and our hymnody.

(1) Gentle Jesus, meek and mild,
Look upon a little child;
Pity my simplicity,
Suffer me to come to Thee.

(7) Loving Jesus, gentle Lamb,
In Thy gracious hands I am;
Make me, Saviour, what Thou art,
Live Thyself within my heart.

Questions:

  1. Is this a hymn you would (or do) use? (Why? Or why not?)
  2. What are one or two of the best children’s hymns, in your view?

Links:

Fade, Fade, Each Earthly Joy

Words: Jane Catharine Lundie Bonar (b. Dec. _____, 1821; d. Dec. 3, 1884)
Music: Lundie, by Theodore Edson Perkins (b. July 21, 1831; d. ________?)

Note: Jane Catharine Lundie wrote this hymn in 1843. She married famed Scottish preacher and hymn writer Horatius Bonar that same year. Though he was thirteen years her senior, they had a loving marriage, and fruitful ministry together for over four decades. She wrote other hymns, but Mrs. Bonar is chiefly remembered for this one, originally entitled “Jesus, All in All.” (In the Cyber Hymnal it’s called Jesus Is Mine.)

The tune for the hymn uses Jane Bonar’s maiden name, Lundie. Mr. Perkins was an accomplished musician, the son of an American clergyman. Though I’ve been unable to find the date of his death, he continued writing and publishing music through to 1896. That seems to be the latest date we have for him.

(1) Fade, fade, each earthly joy, Jesus is mine!
Break every tender tie, Jesus is mine!
Dark is the wilderness,
Earth has no resting place,
Jesus alone can bless, Jesus is mine!

(Stanza numbers in brackets below refer to the stanza number in The Cyber Hymnal. Find the link at the bottom of the article.)

There are some things that contrast so sharply we might be inclined to say there’s simply no comparison between them. A wide distinction is evident between dreams and reality, life and death, time and eternity, God and man.

And here’s another dramatic contrast. In his letter to the believers at Philippi, the Apostle Paul contrasts his value system before he met Christ and afterward. Paul, who in his early days went by the name of Saul, was extremely proud of his Jewish heritage. He tells the Philippians he was:

Circumcised the eighth day [as the Mosaic Law commanded], of the stock of Israel, of the tribe of Benjamin, a Hebrew of the Hebrews [i.e. both of his parents were Jewish], concerning the Law a Pharisee [the strictest sect of the Jews]; concerning zeal, persecuting the church; concerning the righteousness which is in the Law, blameless.

Phil. 3:5-6

When he compared himself with others back then, he was convinced he was doing extremely well. But all of that changed on the Damascus Road, when he came face to face with the risen, glorified Christ (Acts 9:1-6). He understood then that Jesus of Nazareth, whose followers he had so resolutely opposed, was none other than God the Son incarnate, Israel’s Messiah, and the Saviour of the world. In the light of that glorious Presence, he prostrated himself and humbly asked, “What shall I do, Lord?” (Acts 22:10).

In that moment his entire value system was transformed. Suddenly, nothing and no one seemed as important as knowing Christ and serving Him. As the apostle expressed it:

What things were gain to me, these I have counted loss for Christ. Yet indeed I also count all things loss for the excellence of the knowledge of Christ Jesus my Lord, for whom I have suffered the loss of all things, and count them as rubbish, that I may gain Christ.

Phil. 3:7-8

That is the essence of a Christ-centred life, and its reward is nothing less than intimate and eternal fellowship with the Lord Himself. It’s a relationship weakly foreshadowed in the words of Solomon’s betrothed, in the Song of Solomon, “I am my beloved’s, and my beloved is mine” (S.S. 6:3). More pertinently, think of the words of Thomas, as he bowed humbly before the risen Christ, and acclaimed Him, “My Lord and my God!” (Jn. 20:28).

It is an outlook that Jane Bonar expresses so beautifully and passionately in her hymn, repeating twelve times the key phrase, “Jesus is mine.” Though many things (even good things) crowd into our days, our desire should be “that in all things He may have the preeminence” (Col. 1:18). By comparison, the things of this world are merely “perishing things of clay, born but for one brief day” (2).

(3) Farewell, ye dreams of night, Jesus is mine!
Lost in this dawning bright, Jesus is mine!
All that my soul has tried
Left but a dismal void;
Jesus has satisfied, Jesus is mine!

Many years ago, when a young pastor lay dying, he urged those gathered around his bed not to weep for him, but rather to sing a hymn. And this was the hymn he asked for. As he passed into eternity, and into the presence of his Saviour, the hymn was sung (though tearfully).

(4) Farewell, mortality, Jesus is mine!
Welcome, eternity, Jesus is mine!
Welcome, oh, loved and blest,
Welcome sweet scenes of rest,
Welcome, my Saviour’s breast, Jesus is mine!

Questions:

  1. What harm does it do when other things compete for and divert the Christian’s love and loyalty to Christ?
  2. What must we do to keep Christ at the centre of our daily lives?

Links:

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