Therefore do not cast away your confidence, which has great reward. For you have need of endurance, so that after you have done the will of God, you may receive the promise: “For yet a little while, And He who is coming will come and will not tarry.” (Heb. 10:35-37)
We “have need of endurance.” The Greek word is hupomone, and it refers to steady patience, or patient endurance. Literally, the word means to remain under, meaning to stay the course without faltering (as patient Job did, Jas. 5:11). It is a quality represented by the seed that fell on good ground in Jesus’ Parable of the Soils (Lk. 8:13)–which stays there till its job is done.
Having said that, it is important to note that the Bible’s patience, or endurance, is not a passive resignation to our fate. It is a characteristic of vital, active Christians, committed to serving the Lord in spite of obstacles and difficulties, and who understand that the positive effects of their service may not be immediately apparent. That is the thrust of the reminder in Hebrews 10:37 that Christ will come back in “a little while.” It is then our varied ministries will come to full flower, and we shall reap eternal rewards.
Such patient endurance leads to the further development of Christian character (cf. Rom. 5:3-4; Jas. 1:3; II Pet. 1:6). It is something to pray for (II Thess. 3:5), and to strive for. So “let us run with endurance (Heb. 12:1). And God is the source of this quality. He is “the God of patience [same Greek word]” (Rom. 15:5).
To lift some words of the author of Hebrews out of their context for a moment, “Let us go on!” (Heb. 6:1). As Philip Bliss’s 1870 gospel song puts it,
Ho, my comrades! see the signal waving in the sky! Reinforcements now appearing, victory is nigh.
“Hold the fort, for I am coming,” Jesus signals still; Wave the answer back to Heaven, “By Thy grace we will.”
Fierce and long the battle rages, but our help is near; Onward comes our great Commander, cheer, my comrades, cheer!
Elizabeth Payson started submitting her writings for publication at the age of 16. She went on to publish many books, including Stepping Heavenward, a unique work of fiction written in the form of a young lady’s journal. Though the story takes place in the nineteenth century, modern authors such as Joni Eareckson Tada, Elisabeth Elliot and Kay Arthur have recommended it to teen-aged girls today, as a challenge to a deeper walk with Christ. The possibility of a superficial devotion filled Elizabeth Payson Prentiss with dread. She wrote, “To love Christ more is the deepest need, the constant cry of my soul.”
In 1845, the author married George Prentiss, a Congregational pastor who became professor of Homiletics and Polity at Union Theological Seminary. Elizabeth was a contented homemaker, with a keen sense of humour. Then, a dark shadow descended upon her and her husband. Within a short space of time, two of their three children died. Elizabeth wrote in her diary of her “empty hands, worn-out, exhausted body, and unutterable longings to flee from a world that has so many sharp experiences.”
Yet it was during that time (in 1856) that this grieving mother wrote a poem entitled More Love to Thee. She did not think much of it. Did not even show it to her husband for some thirteen years. Then in 1869 it was put in print, and set to music. It has become a much-used hymn, translated into many languages.
Unfortunately, a number of hymn book editors have omitted the third stanza. It is startling in its boldness and depth of insight. With the Apostle Paul Elizabeth Prentiss had come to understand that the Lord can do a great work in us through suffering (II Cor. 12:7-10). If faith can accept that God knows best, and a love for Christ well up to fill the void, then tragic loss can be seen in a more positive light. As Prentiss’s astonishing prayer in the third stanza puts it,
Let sorrow do its work, come grief or pain; Sweet are Thy messengers, sweet their refrain, When they can sing with me: More love, O Christ, to Thee; More love to Thee, more love to Thee!
(2) Today in 1908 – Ira Sankey Died
Ira David Sankey was one of the most significant gospel musicians of the late nineteenth century. Partnered with evangelist Dwight L. Moody, he carried on an effective ministry on both sides of the Atlantic for nearly 30 years. (In the picture, he is seated at a little reed organ. Mr. Moody is sitting behind, the second man from the right.) Sankey was not only a singer and song leader, but a gospel hymn writer and a publisher of sacred music.
To celebrate the Lord’s soon return, Ira Sankey wrote the words and music for a jubilant song he called The King Is Coming (not to be confused with the more recent composition by the Gaithers). The circumstances surrounding the writing of this particular hymn are rather unusual. Sankey says,
During one of my trips to Great Britain [this one was in 1888], a storm raged on the sea. The wind was howling through the rigging, and waves like mountains of foam were breaking over the bow of the vessel. A great fear had fallen upon the passengers. When the storm was at its worst we all thought that we might soon go to the bottom of the sea. The conviction came to me that the Lord would be with us in the trying hour and, sitting down in the reading room, I composed this hymn.
Rejoice! Rejoice! Our King is coming! And the time will not be long, Until we hail the radiant dawning, And lift up the glad new song.
O wondrous day! O glorious morning When the Son of Man shall come! May we with lamps all trimmed and burning Gladly welcome His return! Rejoice! Rejoice! Our King is coming! And the time will not be long, Until we hail the radiant dawning, And lift up the glad new song.
O may we never weary watching, Never lay our armour down Until He come, and with rejoicing Give to each the promised crown.
It is in the discovery of the deeper things of God–I may even say through our immersion into the depths of them–that we ourselves gain spiritual maturity as we become a reflection of what He is (II Cor. 3:18).
In 1911, such thoughts came to the mind of Oswald Jeffrey Smith walking along a street in the town of Woodstock, Ontario. As he headed toward a church where he was to preach that Sunday morning, the words and melody for a new hymn formed themselves in his mind.
In four more years he would become the pastor of the People’s Church in Toronto, a position he would hold for nearly 45 years. Under his leadership the congregation would become Canada’s greatest missionary sending agency of the mid-twentieth century. But in 1911 he was just a young preacher, preparing to minister for the Lord.
Smith hoped he could get to his rented room after the service before forgetting the song that was singing itself into his heart. He did, later completing several more stanzas. The author says, “The writing of the hymn afforded me much joy, nor has it ever grown old.” The song, entitled Deeper and Deeper, carries us through several stages as we come to know more of the heart of Jesus, His will, His cross, His joy, and finally, His matchless love.
Into the heart of Jesus Deeper and deeper I go, Seeking to know the reason Why He should love me so, Why He should stoop to lift me Up from the miry clay, Saving my soul, making me whole, Though I had wandered away.
Most often our hymn writers were spiritual men and women, whose songs grew out of their own experience with God. Usually, but not always. Nahum Tate was the son of an Irish clergyman named Faithful Tate, but in Nahum’s own life he proved anything but faithful. A heavy drinker, who wasted his substance to the point where he ended his days in a debtors’ refuge, he did not seem to fit the part of a hymn writer!
But Nahum Tate was a gifted author. He wrote largely for the London stage, sometimes producing his own works, sometimes revising the works of others, including Shakespeare. He was appointed poet laureate of England in 1690. His place in hymnody came about through a partnership with Nicolas Brady. The two men produced a fresh metrical version of the Psalms that became the standard in the Church of England for 200 years. Here is how their rendering of Ps. 42 begins:
As pants the hart for cooling streams, When heated in the chase, So longs my soul, O God, for Thee And Thy refreshing grace.
Tate and Brady also added a supplement to their New Version of the Psalms of David, presenting 16 hymns of their own. This audacity was not appreciated by all, as many felt the church should sing only the Psalms. However, Tate’s rendering of the Christmas story from Luke Chapter 2 is close to being an exact quotation from the Scriptures, so this helped it gain acceptance. It is the only one of the hymns from the supplement still in use today. He wrote:
While shepherds watched their flocks by night, All seated on the ground, The angel of the Lord came down, And glory shone around.
“Fear not!” said he, for mighty dread Had seized their troubled mind. “Glad tidings of great joy I bring To you and all mankind.”
(2) Today in 1827 – William Blake Died
English painter and poet William Blake created some most unsual lines of verse as part of a longer work. It cannot precisely be called a hymn, but it is inspirational–certainly for the people of Britain.
There is a legend (not supported by the Scriptures) that Jesus, in His youth, and accompanied by His “uncle,” Joseph of Arimathea, visited the British Isles. Neither the mythical visit nor the familial relationship to Joseph of Arimathea is biblical. And Blake is rather coy about defending it. (Notice how he deals with it in the first stanza using questions, rather than statements!)
Granted that Blake had some subversive ideas often not understood by those who sing his words, if we may summarize the point of the song, it is this. What if Jesus did come? When He came, did England receive a touch of heaven, and become like the New Jerusalem, the heavenly city (Rev. 21–22)? Whether or not that’s the case, says Blake, we need to take up the fight, here and now, to make our country all that it should be.
The song became great expression of social protest in Britain, for those opposed to the “dark satanic mills” of the industrial revolution, and the oppression of workers. In 1916, at a meeting in the Albert Hall of the supporters of Women’s Suffrage, the song was sung for the first time to Sir Hubert Parry’s superb tune.
Jerusalem was also used in the Academy Award-winning film Chariots of Fire (with the movie actually taking its title from the second stanza).
And did those feet in ancient time Walk upon England’s mountains green? And was the Holy Lamb of God On England’s pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark satanic mills?
Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England’s green and pleasant land.
View the song, Jerusalem, sung and enjoyed by an enthusiastic audience.
(3) Today in 1859 – Katharine Bates Born
The father and grandfather of Katharine Lee Bates were both Congregational clergyman. After graduating from Wellesley College, she taught high school for 6 years, then returned to Wellesley as a teacher, eventually becoming head of the English department. She was either the author or editor of some 20 books.
One summer in 1893, she and a group of friends scaled the top of Pike’s Peak in the American Rockies. A New Englander, this was her first trip to the West. In her diary, she wrote, “Gazed in wordless rapture over the expanse of mountain ranges and sea-like sweep of the plains.” The grandeur of the scene inspired her to write the national hymn America the Beautiful. Though it does not contain a strong expression of biblical doctrine, it provides a worthy prayer that the citizens of Miss Bates’s country need to ponder more carefully.
O beautiful for spacious skies, For amber waves of grain; For purple mountain majesties Above the fruited plain! America! America! God shed His grace on thee, And crown thy good with brotherhood, From sea to shining sea.
O beautiful for pilgrim feet, Whose stern, impassioned stress A thoroughfare for freedom beat Across the wilderness! America! America! God mend thine every flaw, Confirm thy soul in self control, Thy liberty in law.
There are many many versions of this national hymn on the Web–some of them odd, others simply atrocious! But try this lush rendition by the Iowa All-State Chorus and Orchestra. (It works best with headphones.) Enjoy!
Augustus Montague Toplady, was the son of a British army major, killed in action when Toplady was a baby. He was raised by his devout and capable mother.
It is reported that at the age of 16, he was travelling in Ireland with his mother and they passed a barn where he heard singing. Looking in, he saw a small group of country folk holding a service. When the singing concluded, a man began to preach on Eph. 2:13, “You who once were far off have been brought near by the blood of Christ.” The Lord used the message to bring the young man to faith in Christ.
Augustus Toplady went on to become a clergyman in the Church of England. A strong Calvinist, he differed with his contemporaries, John and Charles Wesley, in doctrine, but he shared their love for the Lord. Not being of a strong constitution, he died at the age of 38.
Toplady wrote a number of hymns, but most are forgotten today. He is responsible for several stanzas of the hymn Grace, ‘Tis a Charming Sound. (The other stanzas come from the pen of Philip Doddridge.) But the hymn for which he is remembered widely is Rock of Ages. In the eyes of many hymnologists, this hymn claims the highest rank in English hymnody. It is said the only hymn that stands before it is When I Survey the Wondrous Cross, by Isaac Watts.
(From The Romance of Sacred Song)
Augustus Toplady was out walking one day, several miles from home, when a sudden thunderstorm caused him to take shelter in a crevice of the rocky cliff shown in the picture. Awaiting the end of the downpour, he thought of how the believer is sheltered from judgment in the Rock Christ Jesus. It gave him an idea for some lines of verse. Looking around for something to write on, he spied a playing card lying on the path. He picked it up and wrote on the back,
Rock of Ages, cleft for me, Let me hide myself in Thee! Foul, I to the fountain fly: Wash me, Saviour, or I die.
The above account has been challenged by some critics, but it is supported by others. Hymn historian W. J. Limmer Sheppard says that the playing card is still preserved in the United States. In any case, Toplady later fleshed out the hymn to what we know now, calling it A Living and Dying Prayer for the Holiest Believer in the World.
It has been suggested that this title was an intentionally sarcastic reference to John Wesley, but that cannot be proven. We do know that he attacked Wesleyan theology in his writings. And if the rumour is true, he was saying that John Wesley, in spite of his holy life, needed to be saved by grace, through faith in the finished work of Christ, just as we all do.
Even the best of us cannot get to heaven on our own merits. Our righteous standing is based on what Christ has done for us. That is what the Bible teaches. Christ “suffered once for sins, the just for the unjust, that He might bring us to God” (I Pet. 3:18; cf. Rom. 3:21-28). When he lay dying, Prince Albert, the husband of Queen Victoria, said, “If in this hour I had only my worldly honours and dignities to depend upon, I should be poor indeed!” And he repeated feebly the words of this hymn.
Rock of Ages, cleft for me, Let me hide myself in Thee; Let the water and the blood, From Thy riven side which flowed, Be of sin the double cure; Cleanse me from its guilt and power.
Not the labour of my hands Can fulfil Thy law’s demands; Could my zeal no respite know, Could my tears forever flow, All for sin could not atone; Thou must save, and Thou alone.
Nothing in my hand I bring, Simply to the cross I cling; Naked, come to Thee for dress; Helpless look to Thee for grace; Foul, I to the fountain fly; Wash me, Saviour, or I die.
Below is a pretty standard rendering of the hymn–nicely done, a cappella, by a Mennonite group. But if you’re looking for something different, click on the YouTube file to hear the beautiful voice of Lori Sealy, singing the hymn to a more contemporary tune she wrote herself.
(2) Sing, My Soul, His Wondrous Love (Data Missing)
Here is another anonymous hymn, celebrating the boundless love of God. The text first appeared in print in Baltimore, Maryland, in 1800. You can hear the tune that accompanied it on the Cyber Hymnal. The melody was written by Theodore Wood, of whom nothing is known but his name.
Sing, my soul, His wondrous love, Who from yon bright world above, Ever watchful o’er our race, Still to man extends His grace; Sing, my soul, His wondrous love, Sing, my soul, His wondrous love.
Heaven and earth by Him were made; He by all must be obeyed; What are we that He should show So much love to us below? Sing, my soul, His wondrous love, Sing, my soul, His wondrous love.
God, thus merciful and good, Bought us with the Saviour’s blood; And to make our safety sure, Guides us by His Spirit pure; Sing, my soul, His wondrous love, Sing, my soul, His wondrous love.
Sing, my soul, adore His name, Let His glory be my theme; Praise Him till He calls thee home; Trust His love for all to come; Praise, oh praise the God of love, Praise, oh praise the God of love.
Mary Dagworthy James became a Sunday School teacher at the age of 13, and went on to be a leading figure in the Wesleyan holiness movement in the United States. She wrote about 50 hymns, and a couple of them are still in use.
Most hymnals include Mary James’s hymn, All for Jesus, a fine song of dedication. A hymn with the same metre, but different words, was used to conclude Sir John Stainer’s oratorio The Crucifixion. The tune also fits Mary James’s song. And in my view, Stainer’s tune (now called Wycliff) is superior to the one found in most hymn books with James’s song. Give Wycliff a try, if you can. (You can hear it played on the Cyber Hymnal.)
Less familiar but worth a look is Mary James’s Sweetly Resting. Below is a beautiful rendering of the song by the Charity Homeschool Chorus, singing unaccompanied. With the music are visuals noting various martyrs for the faith, down through the centuries. It’s an interesting combination. As the Bible says, “Whether we live or die, we are the Lord’s” (Rom. 14:8). And as Paul testified, “To me, to live is Christ, and to die is gain” (Phil. 1:21).
In the rifted Rock I’m resting; Safely sheltered, I abide. There no foes nor storms molest me, While within the cleft I hide.
Now I’m resting, sweetly resting, In the cleft once made for me. Jesus, blessèd Rock of Ages, I will hide myself in Thee.
(2) Today in 1897 – William How Died
William Walsham How was an Anglican clergyman in Britain. A humble and unassuming man, he was admired for his ministry in the slums of East London, where he was known as “the Poor Man’s Bishop.” He also wrote over 50 hymns, several of which remain in common use. Below are a few of the hymns he gave us.
For All the Saints O Jesus, Thou Art Standing O Word of God Incarnate We Give Thee but Thine Own
O Jesus, Thou Art Standing depicts Christ knocking at the door as we have it recorded in Rev. 3:20, “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 [fellowship] with him, and he with Me.” Sometimes this is used as a salvation verse, and sinners are called upon to invite the Lord Jesus into their hearts. But Rev. How has it right. In the context, these words are spoken to members of a church that has become self-satisfied and shut the Lord out (vs. 17-19).
O Jesus, Thou art standing, outside the fast closed door, In lowly patience waiting to pass the threshold o’er: Shame on us, Christian brothers, His Name and sign who bear, O shame, thrice shame upon us, to keep Him standing there!
Published in 1867, How’s hymn O Word of God Incarnate was based on Ps. 119:105, “Your word is a lamp to my feet and a light to my path.” It is addressed to Christ, the living, incarnate Word (Jn. 1:1, 14), but it concerns the written Word of God, the Bible.
O Word of God incarnate, O Wisdom from on high, O Truth unchanged, unchanging, O Light of our dark sky: We praise Thee for the radiance that from the hallowed page, A lantern to our footsteps, shines on from age to age.
The Scripture is a banner before God’s host unfurled; It is a shining beacon above the darkling world. It is the chart and compass that over life’s surging tide, Mid mists and rocks and quicksands, to You, O Christ, will guide.
Joseph Addison was the greatest English writer of his time, and one of the greatest of all time. He studied law and political science and became, for a time, the chief secretary for Ireland. As the eighteenth century dawned Addison was beginning to show his surpassing skill as an essayist. He helped to establish the Spectator, a daily paper, in which he published many of his writings.
Addison preceded the Wesleys by a generation, but they recognized the way in which his strong Christian influence paved the way for their ministry. As you read John Wesley’s comment, you may be thinking as I did, “We need another Joseph Addison today!” He wrote,
God raised up Mr. Addison and his associates to lash the prevailing vices and ridiculous profane customs of the country, and to show the excellence of Christianity and Christian institutions. The Spectators were the first instrument in the hands of God to check the mighty and growing profanity, and call men back to religion and decency and common sense.
When All Thy Mercies, O My God is a hymn about God’s loving care of us through every phase of our lives, from our conception in the womb and on to eternity. The lines of verse were included in an essay on gratitude appearing in the Spectator. I’ve quoted a couple of verses below, but it is worth your while to go to the Cyber Hymnal and read the full hymn text. (Incidentally, I like the tune Belmont for this hymn, though the Cyber Hymnal doesn’t list it as a possibility as yet.)
When all Thy mercies, O my God, My rising soul surveys, Transported with the view, I’m lost In wonder, love and praise.
Through ev’ry period of my life Thy goodness I’ll pursue, And after death, in distant worlds, The glorious theme renew.
The other magnificent hymn of Addison’s in common use is The Spacious Firmament, concerning the glory of God revealed in creation.
(2) Today in 1813 – Christian Bateman Born
British clergyman Christian Henry Bateman served successively as a pastor in the Moravian church, as well as in Congregational and Anglican churches. He wrote many hymns, but only one remains in common use today, Come, Christians, Join to Sing. The song originally appeared in Bateman’s book, Sacred Melodies for Children, and the opening line was “Come, children, join to sing.” The change was made to render the hymn more widely useful.
Come, Christians, join to sing–Alleluia! Amen! Loud praise to Christ our King–Alleluia! Amen! Let all with heart and voice, before His throne rejoice; Praise is His gracious choice: Alleluia! Amen!
Here’s a link to a virtuoso piano arrangement of the tune Madrid, in which the pianist seems to make use of every note on the piano several times over!
(3) Today in 1933 – William Draper Died
William Henry Draper was an Anglican clergyman who also wrote about 60 hymns. But the song for which he is best know was written by another. In 1919, for a children’s festival on Whitsuntide (Pentecost), Draper published a paraphrase of Francis of Assisi’s Italian hymn, All Creatures of Our God and King.
The hymn was written shortly before Francis’s death, but was not published for another 400 years, appearing in English nearly 700 years after he died. It was written during an unusually hot summer, when Francis was ill and losing his sight. He was in great pain, as his eyes were highly sensitive to the light. His misery was increased by some field mice that had infested his hut, likely finding a home in the straw walls. When he lay down to rest, they boldly ran back and forth over his face. Yet, writing in those desperate circumstances, Francis created a glowing masterpiece.
All creatures of our God and King Lift up your voice and with us sing, Alleluia! Alleluia! Thou burning sun with golden beam, Thou silver moon with softer gleam! O praise Him! O praise Him! Alleluia! Alleluia! Alleluia!
Let all things their Creator bless, And worship Him in humbleness, O praise Him! Alleluia! Praise, praise the Father, praise the Son, And praise the Spirit, Three in One!
Thomas Koschat studied chemistry in Vienna in order to become a textile chemist. He also sang in the court opera choir, eventually becoming its director. In later years he formed the Koschat Quartet that toured Europe and America extensively.
The composer’s tune Poland (also known as Koschat) is used with The Lord Is My Shepherd, one of many renderings of Psalm 23. The text for this one was written by James Montgomery and published in 1822. The alto part of the tune is particularly important because it carries the melody at the beginning. If you sing the hymn, perhaps you could encourage women with lower voices to sing those notes. Or you might try having all the ladies on the soprano part and all the men singing the alto.
The Word of God compares believers to sheep many times, and the imagery is not necessarily complimentary. Sheep are seen as weak and vulnerable, subject to attacks both from parasites and from predatory animals such as wolves. They also have a tendency to wander and endanger themselves, and they need the constant oversight of a capable shepherd. Praise the Lord we have an infinitely capable Shepherd in the Lord Jesus, who is pictured in the Bible as:
The good Shepherd who gave His life to save us (Jn. 10:11)
The great Shepherd who is able to keep us safe (Heb. 13:20-21)
The chief Shepherd who will come again to reward His servants (I Pet. 5:2-4)
The Lord is my Shepherd, no want shall I know; I feed in green pastures, safe folded I rest; He leadeth my soul where the still waters flow, Restores me when wand’ring, redeems when oppressed.
Let goodness and mercy, my bountiful God, Still follow my steps till I meet Thee above; I seek, by the path which my forefathers trod, Through land of their sojourn, Thy kingdom of love.
(2) Today in 1922 – William Jude Died
William Herbert Jude was a church organist and composer in Britain. He travelled extensively (including to Australia), giving lectures on musical themes, and recitals on the organ. He also wrote and edited publications, particularly dealing with church music (the Monthly Hymnal, Ministry of Music, Music and the Higher Life, Mission Hymns, and Festival Hymns).
William Jude wrote an operetta (Innocents Abroad), and a number of anthems and songs. He has given us the tune for Cecil Frances Alexander’s hymn of dedication, Jesus Calls Us. The tune’s name is Galilee (though it is sometimes called Jude, after the composer.) The hymn is based on the record in Matthew of Jesus calling some of His disciples:
Jesus, walking by the Sea of Galilee, saw two brothers, Simon called Peter, and Andrew his brother, casting a net into the sea, for they were fishermen. Then HE said to them, “Follow Me, and I will make you fishers of men.” They immediately left their nets and followed Him (Matt. 4:18-20).
Mrs. Alexander wrote the song for the commemoration of Saint Andrew’s Day (Nov. 30) in her church. That is why a stanza, now usually omitted, makes specific reference to him.
As of old Saint Andrew heard it By the Galilean lake, Turned from home and toil and kindred, Leaving all for Jesus’ sake.
Without that stanza, the hymn becomes an effective call for believers to establish eternal priorities and commit ourselves to Christian service.
Jesus calls us over the tumult Of our life’s wild, restless, sea; Day by day His sweet voice soundeth, Saying, “Christian, follow Me!”
Jesus calls us from the worship Of the vain world’s golden store, From each idol that would keep us, Saying, “Christian, love Me more!”
In our joys and in our sorrows, Days of toil and hours of ease, Still He calls, in cares and pleasures, “Christian, love Me more than these!”
Jesus calls us! By Thy mercies, Saviour may we hear Thy call, Give our hearts to Thine obedience, Serve and love Thee best of all.
Here’s a video link to some guitar variations on William Jude’s tune.
Frederich (Anglicized to Frederick) Martin Lehman was born in Germany. His family emigrated to the United States when he was 4 years old, settling in a one-room log cabin in Iowa. Frederich Lehman became a Christian while still a boy. At the age of 27 he entered Christian ministry. For a time he was a circuit-riding preacher, travelling by horse and buggy between communities. Later, he became a pastor and a music publisher.
Pastor Lehman wrote hundreds of gospel songs. His best known selection is the 1917 hymn The Love of God, for which his daughter Claudia wrote the tune or at least arranged it.
The profoundly beautiful third stanza was not written by Lehman. It was found pencilled on the wall of a room in a mental hospital, after the patient had died. At first, it was assumed he had created it himself in a moment of sanity. However, it later proved to be a translation of a Hebrew poem originating some 850 years earlier. Whatever its origin, the imagery of trying to write of the love of God across the sky is memorable.
In the Bible, Paul prays for the Ephesian Christians that they might “know the love of God which passes [or surpasses] knowledge” (Eph. 3:19). That is a paradox. God’s love is knowable…and yet it isn’t. The New Living Translation clarifies the text nicely with, “May you experience the love of Christ, though it is so great you will never fully understand it.”
Of course, each Christian knows something of this quality of God’s character. We discovered it at Calvary (Jn. 3:16). But, as Job puts it, “Indeed these are the mere edges of His ways, and how small a whisper we hear of Him!” (Job 26:14). Commentator William MacDonald describes the infinity of God’s love as “an ocean without shores.” It will be the joy of the saints, through all eternity, to learn and “know” more and more of the wonderful love of our great God.
The love of God is greater far Than tongue or pen can ever tell; It goes beyond the highest star, And reaches to the lowest hell; The guilty pair, bowed down with care, God gave His Son to win; His erring child He reconciled, And pardoned from his sin.
O love of God, how rich and pure! How measureless and strong! It shall forevermore endure The saints’ and angels’ song.
Could we with ink the ocean fill, And were the skies of parchment made, Were every stalk on earth a quill, And every man a scribe by trade, To write the love of God above, Would drain the ocean dry. Nor could the scroll contain the whole, Though stretched from sky to sky.
(2) Praise Him, All Ye Little Children (Data Missing)
One of the songs I can remember singing as a child is Praise Him, Praise Him, All Ye Little Children. We do not know the author of the words of this simple but effective little song, but the tune was written by Baptist clergyman Carey Bonner. Mr. Bonner was active in the British Sunday School movement of the early 20th century.
Praise Him, praise Him, all ye little children, God is love, God is love; Praise Him, praise Him, all ye little children, God is love, God is love.
Love Him, love Him, all ye little children, God is love, God is love; Love Him, love Him, all ye little children, God is love, God is love.
Thank Him, thank Him, all ye little children, God is love, God is love; Thank Him, thank Him, all ye little children, God is love, God is love.
Then Jonathan said to the young man who bore his armour, “Come, let us go over to the garrison of these uncircumcised; it may be that the Lord will work for us. For nothing restrains the Lord from saving by many or by few.” So his armour bearer said to him, “Do all that is in your heart. Go then; here I am with you, according to your heart.” (I Sam. 14:6-7)
Nothing…by many or by few! What a tremendous statement of faith from Jonathan. Only one sword between them (I Sam. 13:33), climbing up toward the enemy (and thus exposed and vulnerable), and outnumbered at least ten to one, they were about to attack a garrison of the Philistines (I Sam. 14:4-15). But Jonathan showed great courage, because his confidence was in God. I wonder, did he have in mind Gideon’s great victory with 300 men against 135,000 Midianites (Jud. 7:1-25; cf. 8:10)?
Through most of my 40 years of ministry, with a couple of exceptions, I have worked with smaller congregations, smaller ministries. But the encouragement of this verse is that numbers are, in one sense at least, irrelevant! If we are doing the will of Almighty God, He can work through us to accomplish great things, whether we be many or few. Power-wise, we are in the majority, no matter what (cf. Rom. 8:31).
Jonathan’s victory that day was a gracious lesson to fearful Israel, and to us: That God delights to work through the smallest grain of daring faith in Him. Since Christians will always be in the minority, until the end of time, we need that kind of bold confidence in the Lord. Take courage from another passage: “He gives power to the weak, and to those who have no might He increases strength” (Isa. 40:29).
This chapter in Isaiah contrasts God and man. The Lord is everything we are not. His power is infinite (vs. 8, 10, 22-24, 26, 28), while ours is feeble and inadequate. And this great God stands ready to help those who meet but two qualifications:
They are weak, and they know it (vs. 29)
They are waiting, looking up to God in faith (vs. 31).
Jonathan’s exploit, through faith in God, reminds me of Kitty Suffield’s challenging gospel song, Little Is Much When God Is in It.
In the harvest field now ripened
There’s a work for all to do;
Hark! the voice of God is calling
To the harvest calling you.
Little is much when God is in it!
Labour not for wealth or fame.
There’s a crown—and you can win it,
If you go in Jesus’ name.
Does the place you’re called to labour
Seem too small and little known?
It is great if God is in it,
And He’ll not forget His own.
Edward Hayes Plumptre was a brilliant scholar, a teacher, preacher and a theologian. He held professorships in Pastoral Theology, and in New Testament Exegesis, at King’s College, Oxford. He wrote many scholarly works and produced translations of ancient classics. Though Plumtre wrote a number of hymns, he is best know for the exuberant song of praise, Rejoice. Ye Pure in Heart, written for a choral festival in 1865.
Rejoice ye pure in heart; Rejoice, give thanks, and sing; Your glorious banner wave on high, The cross of Christ your King.
Rejoice, rejoice, rejoice, Give thanks and sing.
Praise Him who reigns on high, The Lord whom we adore, The Father, Son and Holy Ghost, One God forevermore.
Here is a stirring choral version of this hymn.
(2) Today in 1866 – John Neale Died
John Mason Neale was known chiefly as a translator of ancient Greek and Latin hymns. Some of these that are still in common use are:
All Glory, Laud and Honour Art Thou Weary, Art Thou Languid Christ Is Made the Sure Foundation Come, Ye Faithful, Raise the Strain Good Christian Me, Rejoice Jerusalem the Golden O Come, O Come Emmanuel Of the Father’s Love Begotten The Day of Resurrection
(3) Today in 1872 – John Work Born
The kidnapping and enslavement of multitudes of blacks from the coasts of Africa is a sorry aspect of American history. Often mistreated and put to hard labour, many of the slaves where nonetheless exposed to the Christian gospel and put their faith in the Saviour. With a limited understanding of the Scriptures, they produced their own unique hymnody in the form of traditional Spirituals.
Most of the slaves could neither read or write in English, and many of the songs were created before the time when effective sound recording was available (in the later nineteenth century). Because of this, the songs would have been lost to future generations, apart from the work of John Wesley Work, Jr.
Work was an able scholar, taught Latin and Greek at Fisk University, and later served as president of Roger Williams University in Nashville. But he had another passion as well. The son of a choir director, Work had a special interest in the music of his ancestors. He pioneered in researching, collecting and performing African American songs. We are able to sing many of them, including the Christmas carol Go, Tell It on the Mountain because of the efforts of John Work.
Go, tell it on the mountain, Over the hills and everywhere Go, tell it on the mountain, That Jesus Christ is born.
While shepherds kept their watching O’er silent flocks by night Behold throughout the heavens There shone a holy light.
(4) Today in 1914 – John Campbell Died
John George Edward Henry Douglas Sutherland Campbell (Yes, that was his name!) was a British nobleman, chief of the Scottish Campbell clan, and the 9th Duke of Argyle. Ruggedly handsome, he married Princess Louise, the daughter of Queen Victoria, and served as a member of Parliament for South Manchester for 12 years. Notably, he was appointed the Governor-General of Canada, the queen’s official representative in the Dominion, a position he held from 1878 to 1883.
At the age of 33, Campbell was Canada’s youngest Governor-General. His coming to Canada created great excitement in the country, especially since Rideau Hall would have its first royal resident in the person of his wife. The young couple travelled throughout Canada, meeting with people from all over. It is evident he was greatly admired. Campbell was also known as the Marquess of Lorne, and Lorne became a common boy’s name in Canada as nowhere else, as a result of his popularity.
John Campbell was also a dedicated Christian. In 1877, he produced a metrical version of Psalm 121, the hymn Unto the Hills. It is still in use, and deservedly so, as it gives us a clear and accurate rendering of the passage. Note the wording of Ps. 121:1. The King James Version translates it as a statement: “I will lift up mine eyes unto the hills, from whence cometh my help.” But the latter half of the verse is more likely a question. The psalmist was not looking to the hills for help. They were full of danger from robber bands. Campbell’s translation is correct.
Unto the hills around do I lift up my longing eyes O whence for me shall my salvation come, from whence arise? From God, the Lord, doth come my certain aid, From God, the Lord, who heaven and earth hath made.
He will not suffer that thy foot be moved: safe shalt thou be. No careless slumber shall His eyelids close, who keepeth thee. Behold, He sleepeth not, He slumbereth ne’er, Who keepeth Israel in His holy care.
This link presents a fine brass band version of the beautiful tune Sandon, used with Unto the Hills–and, as indicated, sometimes with Lead, Kindly Light, as well.
