Ambrose was a Roman citizen, born to an official in Gaul. In Rome, he studied literature, law and rhetoric. He served as a governor in northern Italy, before being appointed as bishop of Milan in 374. Ambrose was bishop in Milan at the time of Augustine’s conversion, and he is referred to in Augustine’s Confessions. He became a noted theologian and battled Arian heresy. He wrote many books, as well as several hymns. One of these is O Splendour of God’s Glory Bright.
O splendour of God’s glory bright, O Thou that bringest light from light; O Light of light, light’s living spring, O day, all days illumining.
O Thou true Sun, on us Thy glance Let fall in royal radiance; The Spirit’s sanctifying beam Upon our earthly senses stream.
All laud to God the Father be; All praise, eternal Son, to Thee; All glory, as is ever meet, To God the holy Paraclete.
The hymn Keep Us, O Lord, This Day (in Latin, known originally as Iam Lucis Orto Sidere) is also attributed by many to Ambrose. Though we can’t be certain he wrote it, it does date from his era. The words have since been translated into English a number of times. It’s a beautiful morning song, a commitment to start the day with prayer, such as David describes: “My voice You shall hear in the morning, O Lord; in the morning I will direct it to You, and I will look up” (Ps. 5:3).
Now that the sun is beaming bright, Once more to God we pray, That He, the uncreated Light, May guide our souls this day.
No sinful word, nor deed of wrong, Nor thoughts that idly rove; But simple truth be on our tongue, And in our hearts be love.
And while the hours in order flow, O Christ, securely fence Our gates beleaguered by the foe, The gave of every sense.
And grant that to Thine honour, Lord, Our daily toil may tend; That we begin it at Thy Word, And in Thy favour end.
(2) Today in 1862 – Ernest Shurtleff Born
Young people today are searching for heroes, looking for those who can give their lives direction and purpose. It was no different in 1887, when a group of eager young men were looking forward to graduating from seminary. They had already committed themselves to following the Lord, and had spent several years in preparation for ministry. Now, as Graduation Day approached, they asked a class member if he would compose a hymn expressing their desire to follow Christ. Ernest Warburton Shurtleff did just that, and the result is the stirring hymn, Lead On, O King Eternal. Though written for the students, it has a wide application to every child of God.
Lead on, O King eternal, The day of march has come; Henceforth in fields of conquest Thy tents shall be our home. Through days of preparation Thy grace has made us strong; And now, O King eternal, We lift our battle song.
Lead on, O King eternal, We follow, not with fears, For gladness breaks like morning Where’er Thy face appears. Thy cross is lifted over us, We journey in its light; The crown awaits the conquest; Lead on, O God of might.
George Herbert attended Trinity College, at Cambridge, England. He married Jane Danvers after a remarkably short courtship of three days! (This abbreviation perhaps suited his short life. He died of tuberculosis at the age of 40.) At Cambridge, when he was appointed the school’s Public Orator, it was his duty to give speeches (in Latin) to visiting dignitaries, and to express thanks for books donated to the school library. Herbert served briefly in Parliament, and King James I was impressed with the man, and considered making him an ambassador, but the king died before this could be done. Instead, George Herbert became an Anglican clergyman.
He maintained a lively interest in music, and devoted his spare time to practicing on the lute and the viol. He wrote a number of hymns, which were published posthumously in a little book called The Temple. Susannah Wesley introduced Herbert’s poetry to her children, and we have John Wesley to thank for promoting its use in our hymnody. I can recall years ago, singing in a college choral, George Herbert’s call to praise, Let All the World in Every Corner Sing.
Let all the world in every corner sing, my God and King! The heavens are not too high, His praise may thither fly, The earth is not too low, His praises there may grow. Let all the world in every corner sing, my God and King!
Let all the world in every corner sing, my God and King! The church with psalms must shout, no door can keep them out; But, above all, the heart must bear the longest part. Let all the world in every corner sing, my God and King!
I’m most familiar with hearing this brief hymn sung to the tune All the World, written by Robert Guy McCutchan (under the pen name John Porter), but it has been arranged by a number of composers as a choral anthem. The following choral version is not too bad (to put it mildly!).
(2) Today in 1769 – Gerhard Tersteegen Died
Gerhard Tersteegen was the great poet of the mystical Pietist movement in eighteenth century Germany. He wrote 111 hymns, of which a few are still in use. Because of the poverty of his family, he was unable to receive the university education he had hoped for. After an apprenticeship, he was employed in weaving silk ribbons. He lived alone, eating one meagre meal a day, and giving all he could to help others living in impoverished conditions.
Tersteegen went through a period of deep depression. When he recovered, he wrote, in his own blood, a solemn covenant committing himself to God. He spent 10 hours a day working at his loom, and then 2 hours in prayer, and 2 hours in writing and study. He lived an ascetic and somewhat eccentric life, but is recognized as an outstanding self-taught theologian and preacher. One of his hymns that has survived is God Calling Yet.
God calling yet; shall I not hear? Earth’s pleasures shall I still hold dear? Shall life’s swift passing years all fly, And still my soul in slumber lie?
God calling yet, and shall He knock, And I my heart the closer lock? He still is waiting to receive, And shall I dare His Spirit grieve?
God calling yet; I cannot stay; My heart I yield without delay; Vain world, farewell! from thee I part; The voice of God hath reached my heart.
(3) Today in 1885 – Pass It On written
Henry Burton was born in England. His family were staunch Methodists, and he was converted at the age of 15 in a meeting conducted by his father. A year later, the family emigrated to America, where Burton served as a Methodist Episcopal clergyman for a short time, after which he returned to England and continued ministry there for many years, writing several books and a number of hymns. One of them has an interesting story behind it.
A young man named Mark Pearse booked passage on a ship that would take him from Bristol, England, back home to America. He had limited funds, just enough for his ticket. All began well, but on the way across the stormy Atlantic, he got terribly seasick and remained in his bunk for several days. During this time, there came a knock at the door. It was the steward, with a bill for the meals he had eaten before taking sick. Pearse had assumed that the ticket included the cost of his meals, but it did not.
Sick as he was, he tried to plead his case to the steward, but to no avail. “I’m sorry,” he said, “but I shall have to keep your luggage as security. What is your name and address.” When the sick passenger told him his name was Mark Pearse, the astonished steward took off his cap and reached out a hand. He said that many years before, when he was a boy, his father had died, leaving his mother to care for the family. But Mark’s father had heard about their need, and helped them out. “I never thought the chance would come for me to repay even a little,” the steward said. “But I’m glad I have the opportunity.” And he paid the outstanding amount.
When he arrived at his destination, Pearse told his father what had happened. The father replied, “See how a bit of kindness lives?” and he encouraged his son to pass the kindness shown on to others. Years later, it was Mark Pearse’s son-in-law, Henry Burton, who wrote the gospel song Pass It On, after hearing the story (a song not to be confused with Kurt Kaiser’s with the same name, which begins, “It only takes a spark…”).
Have you had a kindness shown? Pass it on! ‘Twas not giv’n for thee alone. Pass it on; Let it travel down the years, Let it wipe another’s tears, Till in heav’n the deed appears–Pass it on.
Have you found the heav’nly light? Pass it on! Souls are groping in the night, daylight gone; Hold thy lighted lamp on high, Be a star in someone’s sky, He may live who else would die–Pass it on!
William Dunn Longstaff heard Dr. Griffith John, a missionary to China, use the interesting phrase, “Take time to be holy,” while the latter was speaking at a conference in England. The same evening, Longstaff wrote a poem on the theme.
William Longstaff was a rich man who used his wealth to benefit others. He was a friend of Dwight Moody and Ira Sankey, and of William Booth. He attended the Bethesda Free Chapel, providing funds for the renovation of the church building, and acting as treasurer of the congregation.
The poem mentioned was handed to gospel musician George Stebbins, and he composed a tune to suit it, giving us the hymn Take Time to Be Holy. It presents an important truth. God does not simply “zapp” us, and make us spiritually mature and Christlike. It requires a consistency of time with the Lord and in His Word, and the daily application of the truths we learn.
Take time to be holy, speak oft with thy Lord; Abide in Him always, and feed on His Word. Make friends of God’s children, help those who are weak, Forgetting in nothing His blessing to seek.
Take time to be holy, the world rushes on; Spend much time in secret, with Jesus alone. By looking to Jesus, like Him thou shalt be; Thy friends in thy conduct His likeness shall see.
This hymn usually appears in hymnals with the tune Longstaff, written for it. But, with some slight adjustments, it also works well with the tune Slane.
(2) Today in 1920 – William Reynolds Born
William Jensen Reynolds wrote a number of hymn tunes, but he is also known as a capable hymn historian. During the time when he received a college education, Reynolds served as a part-time director of music, later becoming Minister of Music at two successive Baptist churches in Oklahoma. In 1955, he joined the Church Music Department of the Baptist Sunday School Board, in Nashville, eventually becoming the department head. He served as music director for various conventions and conferences, and composed and arranged sacred music.
His Companion to Baptist Hymnal (Broadman Press, 1976) is an excellent resource. As to a contribution in the area of music, he has given us an arrangement of an early American song (from around 1811), What Wondrous Love Is This.
What wondrous love is this, O my soul, O my soul! What wondrous love is this, O my soul! What wondrous love is this that caused the Lord of bliss To bear the dreadful curse for my soul, for my soul, To bear the dreadful curse for my soul.
To God and to the Lamb, I will sing, I will sing; To God and to the Lamb, I will sing. To God and to the Lamb Who is the great “I Am”; While millions join the theme, I will sing, I will sing; While millions join the theme, I will sing.
It is not unique for one of our hymns to be taken from a longer poem. But the poem that gave us one by John Greenleaf Whittier is somewhat unusual. In the April edition of the Atlantic Monthly his poem The Brewing of Soma first appeared. It describes how some heathen priests brewed and drank a powerful drug called Soma, in an attempt to have a religious experience and connect with their god.
“Drink, mortals, what the gods have sent, Forget you long annoy.” So sang the priests, From tent to tent The Soma’s sacred madness went, A storm of drunken joy.
But then, lest his readers begin to look down their noses at such folly, Whittier makes an application to the religious extremists of his day. His words have relevance still, for those who would try to manipulate and stir up emotion in the name of worshiping God! (A “fane” is a temple or house of worship.)
And yet the past comes round again, And new doth old fulfil; In sensual transports wild as vain We brew in many a Christian fane The heathen Soma still!
Then come the words that have become our hymn Dear Lord and Father of Mankind. It is a call to sanity and spiritual maturity in worship.
Dear Lord and Father of mankind, Forgive our foolish ways! Reclothe us in our rightful mind, In purer lives Thy service find, In deeper reverence, praise.
Drop thy still dews of quietness, Till all our strivings cease; Take from our souls the strain and stress, And let our ordered lives confess Thy beauty of Thy peace.
Breathe through the hearts of our desire Thy coolness and Thy balm; Let sense be numb, let flesh retire; Speak through the earthquake, wind, and fire, O still, small voice of calm!
(2) Today in 1893 – Of All in Earth or Heaven published
Nathan Atkinson Aldersley was a Methodist preacher for a time, joining the Salvation Army in his early fifties. Aldersley also sold earthenware to help pay the bills. He moved to New Zealand in 1884, living in Christchurch and Wellington. Though he became largely housebound due to severe arthritis, he continued to be a blessing to others through songs he wrote that appeared in the Army’s War Cry magazine. An example is Of All in Earth or Heaven, a simple little song appearing in the April 1st, 1893 issue. It is sung to the tune of the old Scottish ballad Annie Laurie.
Of all in earth or heaven, The dearest name to me, Is the matchless name of Jesus, The Christ of Calvary.
The Christ of Calvary, The dearest name to me, Is the matchless name of Jesus, The Christ of Calvary.
I cannot help but love Him, And tell His love to me; For He became my ransom, The Christ of Calvary.
(3) O Say But I’m Glad (Data Missing)
The words for this joyful gospel song were written around 1930, by an American clergyman named James P. Sullivan. He was born in Nebraska, around 1878, and his daughter Mildred Ellen Sullivan, born about 1916, composed the tune for the song. There is little more data available concerning either of them.
As the psalmist says, “Oh come, let us sing to the Lord! Let us shout joyfully to the Rock of our salvation” (Ps. 95:1). And “Break forth in song, rejoice, and sing praises” (Ps. 98:4). If anyone has cause to sing joyful songs, it’s the saints of God–especially on this side of the cross. “We also rejoice in God through our Lord Jesus Christ, through whom we have now received the reconciliation” (Rom. 5:11).
There is a song in my heart today, Something I never had; Jesus has taken my sins away, O! say, but I’m glad.
O! say, but I’m glad, I’m glad, O! say, but I’m glad, Jesus has come and my cup’s overrun; O! say, but I’m glad.
Wonderful, marvelous love He brings, Into a heart that’s sad; Through darkest tunnels the soul just sings, O! say, but I’m glad.
Won’t you come to Him with all your care, Weary and worn and sad? You, too, will sing as His love you share, O! say, but I’m glad.
In this man, God gave us another great and gifted composer. Much could be said about his life and his writing, but the brevity of a blog prevents it. He composed 104 symphonies, 76 string quartets, plus masses, oratorios, operas, concerti, and dozens of chamber works. Hayden was a close friend of the much younger Mozart–who dubbed him Papa Haydn.
Haydn fell in love, as a young man, and hoped to marry the girl, but she shocked him by entering a convent instead. Impulsively, he proposed to and wedded her sister! Their forty-year childless marriage was not a happy one. The woman had no appreciation of her husband’s music, and is said to have cut up his scores and used them as a lining for baking pans, or as hair-curling papers! (What have we lost as result of this folly?)
Though Haydn identified himself with the Roman Catholic Church, his own theology was rooted in Scripture. He even changed the Catholic text of the Mass, in setting it to music, to put a greater emphasis on the Lord Jesus Christ. There is little doubt in my mind that he was a born again believer.
The composer’s music is often characterized by joyful exuberance. This brought criticism from a few stern churchmen. But Haydn responded, “Since God has given me a cheerful heart, He will surely forgive me for serving Him cheerfully!” Another commented, that after listening to Haydn he always felt impelled to do some good work. (I wonder how many feel impelled to good works by listening to the sometimes deafening din of today’s rock bands!)
After hearing Handel’s masterwork, Messiah, Haydn was inspired to compose his magnificent oratorio, The Creation. Some years ago, I attended a performance, an especially memorable experience. Near the beginning, there is Haydn’s musical setting of the first day of creation recorded in Gen. 1:3-5. The choir sings softly, “And God said…” [a bit of a pause] “Let there be light…” [another brief pause, after which the choir sings with emphasis, and a sudden fortissimo on the last word of the phrase] “And…there…was…LIGHT!” [followed by a joyful explosion of music from the orchestra]. The way Haydn structured this impresses the listener in a dramatic way with the fact that, when God commands something, it is done!
As is the case with a number of our classical composers, themes have been taken from Haydn’s compositions and used as hymn tunes. The tune Creation is used for Addison’s The Spacious Firmament, and the tune Petition is used for Cowper’s beautiful hymn Sometimes a Light Surprises. Most familiar today is the tune Austrian Hymn, used with John Newton’s Glorious Things of Thee Are Spoken.
Glorious things of thee are spoken, Zion, city of our God! He, whose Word cannot be broken, Formed thee for His own abode. On the Rock of Ages founded, What can shake thy sure repose? With salvation’s walls surrounded, Thou may’st smile at all thy foes.
(2) Today in 1867 – Ludie Pickett Born
In times of distress and difficulty, it is a great reassurance to know that we are never alone. God is…a very present help in trouble” (Ps. 46:1). That assurance prompted the writing of a hymn in 1897. The author is Ludie Carrington Day Pickett. Mrs. Pickett and her husband were active in the Methodist church, and in the founding of Asbury College, in Kentucky–where Ludie Pickett apparently taught for awhile. Their son went on to become bishop of the Methodist Church in India.
During the days of Prohibition, Ludie Pickett also served as president of the Women’s Christian Temperance Union in Kentucky. She was outspoken in her condemnation of the use of alcohol. When a prominent Washington socialite attended a formal dinner at the British Embassy, she wrote to her, “Is the honour and dignity of your country as dear to you as your own status in the social life of Washington? Did you for the honour and dignity of your country decline liquor at Sir Esme Howard’s dinner?” (The woman replied, “I did decline, [and] I feel that the proper thing for me to do at all times is to decline.”)
Mrs. Pickett’s only hymn, Never Alone, deals with the presence and help of God in temptation, and in times of suffering.
I’ve seen the lightning flashing, I’ve heard the thunder roll. I’ve felt sin’s breakers dashing, which almost conquered my soul. I’ve heard the voice of my Saviour, bidding me still to fight on. He promised never to leave me, never to leave me alone!
No, never alone, no never alone, He promised never to leave me, He’ll claim me for His own; No, never alone, no never alone. He promised never to leave me, Never to leave me alone.
He died on Calvary’s mountain, for me they piercèd His side. For me He opened that fountain, the crimson, cleansing tide. For me He waiteth in glory, seated upon His throne. He promised never to leave me, never to leave me alone!
(3) Today in 1874 – Thoro Harris Born
Thoro Harris was born in Washington, DC, and attended college in Battle Creek, Michigan. He spent most of his life writing gospel songs, and compiling hymns and gospel songs for publication. He produced his first hymnal in 1902. After moving to Eureka Springs, Arkansas in 1932, he continued composing, and serving as an organist in several area churches. Two of his songs are still in common use. He’s Coming Soon, and the lovely All That Thrills My Soul Is Jesus.
Who can cheer the heart like Jesus, By his presence all divine? True and tender, pure and precious, O how blest to call Him mine!
All that thrills my soul is Jesus, He is more than life to me; And the fairest of ten thousand In my blessed Lord I see.
What a wonderful redemption! Never can a mortal know How my sin, though red like crimson, Can be whiter than the snow.
American baritone Calvin Marsh sang some 150 rolls with the Metropolitan Opera Company from 1954-1966 (several photos in this video clip relate to that). Then at a Billy Graham evangelistic meeting in Madison Square Garden he gave his heart and life to Christ, and turned his focus entirely to singing for the Lord.
Every once in awhile, in this blog, I take us a bit off the beaten path, by including a hymn writer or hymn that is relatively unknown. The work of Luise Hensel is like that. She was the daughter of a Lutheran pastor in Germany, confirmed in the Lutheran faith at the age of 15. But she gradually drifted toward Roman Catholicism, and joined the Catholic church at the age of 20. She went so far as to espouse ultramontanism, which places strong emphasis on the prerogatives and powers of the pope of Rome.
For most of her adult life, Luise Hensel devoted herself to the care of the sick, and the education of children. She wrote a number of hymns, including the children’s hymn Ever Would I Fain Be Reading, which John Julian describes as a nursery classic. (“Fain” means willingly, gladly.)
Ever would I fain be reading In the ancient holy Book, Of my Saviour’s gentle pleading, Truth in every word and look.
How when children came He blessed them, Suffered no man to reprove, Took them in His arms, and pressed them To His heart with words of love.
How to all the sick and tearful Help was ever gladly shown; How He sought the poor and fearful, Called them brothers and His own.
How no contrite soul e’er sought Him, And was bidden to depart, How with gentle words He taught him, Took the death from out his heart.
Let me kneel, my Lord, before Thee, Let my heart in tears o’erflow, Melted by Thy love adore Thee, Blest in Thee ’mid joy or woe!
Singing Tempo: Is there one correct pace at which to sing out hymns? No. But we do need to consider the matter of tempo, because it has a significant effect on how the message of the songs is conveyed. Check The Tempo of Congregational Singing.
(2) Today in 1942 – Anne Murphy Died
The Apostle Paul tells us he learned how to handle either deprivation or abundance. He says “I have learned in whatever state I am, to be content….I can do all things through Christ who strengthens me” (Phil. 4:11-13). Some of us are still struggling with that learning process! But one whose remarkable life illustrates the principle in more recent times is Annie May Sebring Murphy (1878-1942).
The Sebring family founded the town of Sebring, Ohio, in 1898, where they opened five pottery plants, eventually employing some 3,300 people. But they wanted Sebring to be much more than a one-industry town, hoping it would become a model community. A staunch Methodist, founding father George Sebring hoped that retired servants of Christ would come and live there. And each of his sons built beautiful homes near one another.
In time, Anne Sebring married William Murphy, the head cashier of the Citizens Banking Company, and the future seemed rosy for another branch of the family. Anne used her family wealth in the service of Christ. A talented musician, soloist and public speaker as well, she was also active in a local Christian camp ministry. In 1908, she penned a beautiful gospel song entitled Constantly Abiding. It is based on the promise of the Lord Jesus, “Lo, I am with you always, even to the end of the age” (Matt. 28:20).
The Sebring Brothers Pottery Company made millions for the owners, and was well on the way to fulfilling the claim that Sebring would become “the pottery capital of the world.” Then the Great Depression struck, and the business totally collapsed. Around the same time, William Murphy died, and Anne was left destitute. She moved to California to live with relatives. But gospel musician Phil Kerr called on Mrs. Murphy shortly before she died. He testified to her great serenity and peace, saying that she was the living embodiment of her song.
There’s a peace in my heart that the world never gave, A peace it cannot take away; Though the trials of life may surround like a cloud, I’ve a peace that has come here to stay!
Constantly abiding, Jesus is mine; Constantly abiding, rapture divine; He never leaves me lonely, whispers, O so kind: “I will never leave thee,” Jesus is mine.
This treasure I have in a temple of clay, While here on His footstool I roam; But He’s coming to take me some glorious day, Over there to my heavenly home!
My father worked as a foreman in a steel mill. And sometimes, when I was a small boy, he would take me to work with him for a few hours. It was an immense, dingy, dirty place, full of clanging noise. The smell of the chemicals used to process the steel is in my nose still, as I call those scenes to mind. But out of that cavernous mill came the stuff of gleaming automobiles and refrigerators and other useful things. It’s a reminder that good things can often have an unexpected and surprising origin.
A couple of centuries predating my childhood visits to that steel mill, there was an old iron foundry in London, England. It was taken over by the Wesleys and transformed into the first Wesleyan Chapel in the city, soon becoming known as the Foundry Meeting House. The building could not have been put to better use. It became a place of joyful worship, where the preaching of the gospel brought many from darkness to light.
The Wesleys published their own hymn book, called The Foundry’s Collection, containing, as the book said, “hymns set to music as they are commonly sung at the Foundry.” The first service was held there on Easter Sunday, in 1739. For the occasion, Charles Wesley wrote a rousing hymn of praise that he called “Hymn for Easter Day.” We know it by the first line, Christ the Lord Is Risen Today.
The tune we use now was adopted later, and the “alleluias” ending each line were added to fit it. Alleluia (or hallelujah) is the English form of the Hebrew Halal Yah, meaning “Praise the Lord!” It will be part of the chorus of the heavenly throng: “Alleluia! Salvation and glory and honour and power to the Lord our God!…Alleluia! For the Lord God Omnipotent reigns!” (Rev. 19:1, 6). The hymn is also sung sometimes to the tune Mendelssohn (which we use for Hark, the Herald Angels Sing). In that case, the “alleluias” are omitted.
Christ the Lord is risen today, Alleluia! Sons of men and angels say, Alleluia! Raise your joys and triumphs high, Alleluia! Sing, ye heav’ns, and earth, reply, Alleluia!
Love’s redeeming work is done, Alleluia! Fought the fight, the battle won, Alleluia! Death in vain forbids Him rise, Alleluia! Christ has opened Paradise, Alleluia!
(2) Today in 1788 – Charles Wesley Died
With the passing of Charles Wesley additions to a great contribution to English hymnody ended. His over 6,500 hymns cover the breadth of Christian experience, and every major doctrine taught by the Methodists. Further, they are strong in their evangelistic and salvific emphasis. It is difficult to do justice to such an output in a brief blog. But here are three songs that Wesley has given us.
In Depth of Mercy the sinner struggles to realize and understand that a holy God is offering him salvation in Christ. All 13 stanzas are worth consideration, but here are a few:
Depth of mercy! Can there be Mercy still reserved for me? Can my God His wrath forbear, Me, the chief of sinners, spare?
I have long withstood His grace, Long provoked Him to His face, Would not hearken to His calls, Grieved Him by a thousand falls.
There for me the Saviour stands, Shows His wounds and spreads His hands. God is love! I know, I feel; Jesus weeps and loves me still.
I Want a Principle Within has to do with the development of a sensitive conscience in the heart of the believer. (“The apple of an eye” is an old expression referring to the pupil of the eye. It pictures something that is precious and worth protecting.)
I want a principle within of watchful, godly fear, A sensibility of sin, a pain to feel it near. Help me the first approach to feel of pride or wrong desire; To catch the wandering of my will, and quench the kindling fire.
From Thee that I no more may stray, no more Thy goodness grieve, Grant me the filial awe, I pray, the tender conscience give. Quick as the apple of an eye, O God, my conscience make; Awake my soul when sin is nigh, and keep it still awake.
A lesser known hymn of Wesley’s, Forth in Thy Name, O Lord, speaks of the Christian perspective on the workaday world, and attending to daily tasks. Notice the reference to “my calling’s snare,” a reminder that each vocation has its own temptations. Here is the hymn in part:
Forth in Thy name, O Lord, I go, My daily labour to pursue; Thee, only Thee, resolved to know In all I think or speak or do.
The task Thy wisdom hath assigned, O let me cheerfully fulfil; In all my works Thy presence find, And prove Thy good and perfect will.
Preserve me from my calling’s snare, And hide my simple heart above, Above the thorns of choking care, The gilded baits of worldly love.
3) Today in 1887 – Ray Palmer Died
One day in 1830, Ray Palmer realized his need of the Lord’s special help. In later years, he would go on to pastor several churches. He would also contribute to the music of the church, serving as the editor of a couple of hymn books, and would translate a Latin poem from the Middle Ages, turning it into two beautiful hymns. But all of that lay in the future.
At the age of 22, fresh out of college, Palmer took up his duties as a school teacher. His first year was discouraging. Battling illness and loneliness, he turned to God for comfort. He read a poem about a needy sinner, kneeling before the cross, and it inspired him to write some lines of verse himself, jotting them down in a little notebook he always carried with him.
He had no thought of doing anything further with them. But two years later he happened upon a friend, walking along a busy street in Boston. The friend was hymn writer Lowell Mason. As they chatted Mason asked if he could suggest any songs that might be included in a hymn book he was compiling. Palmer says:
The little book containing the poem was shown to him, and he asked for a copy. We stepped into a store together, and a copy was made and given to him….Two or three days afterward, we met again on the street, when, scarcely waiting to salute me, he earnestly exclaimed, “Mr. Palmer, you may live many years and do many good things, but I think you will be best-known to posterity as the author of My Faith Looks Up to Thee.”
My faith looks up to Thee, Thou Lamb of Calvary, Saviour divine! Now hear me while I pray, take all my guilt away, O let me from this day be wholly Thine!
Here is a congregation, singing Palmer’s hymn, in four-part harmony, without instrumental accompaniment. Not perfect, but very nicely done. (I’d love to have been there to join in!)
So much could be said about this man, one of our greatest hymn writers. He wrote more than 6,500 songs, and our hymn books still contain many of them over two centuries later. His hymn, Jesus, Lover of My Soul, is considered one of the finest in the English language, yet it is a model of simplicity. The entire song includes only 3 or 4 words of more than two syllables.
Jesus, lover of my soul, let me to Thy bosom fly, While the nearer waters roll, while the tempest still is high. Hide me, O my Saviour, hide, till the storm of life is past; Safe into the haven guide; O receive my soul at last.
Other refuge have I none, hangs my helpless soul on Thee; Leave, ah! leave me not alone, still support and comfort me. All my trust on Thee is stayed, all my help from Thee I bring; Cover my defenseless head with the shadow of Thy wing.
I’ll take a moment to comment on another song that may have been written by Charles Wesley. Though it was listed as Anonymous in its original publication, many attribute Come, Thou Almighty King to him. About 12 years before, the British national anthem God Save the King came into popular use. It is thought that perhaps the hymn was written to remind Christians that they were accountable to a higher power than the king of England! The hymn originally was sung to the tune used for the national anthem (used by Americans with My Country ‘Tis of Thee). Try it, and see. The British anthem and the hymn certainly contain a number of similar phrases, particularly:
(From God Save the King) Send him victorious, happy and glorious, Long to reign over us, God save the King.
(From Come, Thou Almighty King) Father all glorious, o’er all victorious, Come and reign over us, Ancient of Days!
After 50 years of active ministry, Charles Wesley was nearing journey’s end. (He died on March 29th–check tomorrow’s blog.) On his deathbed, he quoted one of his greatest hymns, And Can It Be? It seems to have been written shortly after his conversion in 1738, and was originally entitled Free Grace. The rhetorical questions of the first stanza are meant as an expression of sheer wonderment. The second stanza below (actually the third in the hymn) is absolutely stunning. It is virtually unmatched in our hymnody as a poetic expression of the librating power of the gospel.
And can it be that I should gain An interest in the Saviour’s blood? Died He for me, who caused His pain– For me, who Him to death pursued? Amazing love! How can it be, That Thou, my God, shouldst die for me?
Long my imprisoned spirit lay, Fast bound in sin and nature’s night; Thine eye diffused a quickening ray— I woke, the dungeon flamed with light; My chains fell off, my heart was free, I rose, went forth, and followed Thee.
No condemnation now I dread; Jesus, and all in Him, is mine; Alive in Him, my living Head, And clothed in righteousness divine, Bold I approach th’eternal throne, And claim the crown, through Christ my own.
Check out the following video of a large congregation singing And Can It Be? I would likely take it a bit slower. But overall, this is how this great hymn should be sung!
(2) Today in 1919 – Elizabeth Codner Died
Gifted with her pen, Elizabeth Harris Codner had been the editor of a missionary magazine when she was only 17 years old. Later, she and her husband served at a mission in the city of London. In 1860 word reached them of a spiritual revival taking place in Ireland. Mrs. Codner talked with a group of young people who were excited by the stories of what God was doing. She counseled them not to be satisfied with hearing how the Lord was blessing elsewhere. What about themselves? Did they not want to enjoy the refreshing touch of God as well?
The words of Ezekiel 34:26 came to her mind: “I will cause showers to come down in their season; there shall be showers of blessing.” She challenged them, “While the Lord is pouring out such showers of blessing upon others, pray that some drops will fall on you.” It was this encounter that inspired Elizabeth Codner to writer her hymn, Even Me.
The original last line of the first stanza was “Let some droppings fall on me.” Not only do we not usually speak of rain as “droppings,” it seems more like what birds leave behind! Thankfully, the line was later changed to what you see below.
Lord, I hear of showers of blessing, Thou art scattering full and free; Showers the thirsty land refreshing; Let some drops now fall on me; Even me, even me, Let some drops now fall on me.
Love of God, so pure and changeless, Blood of Christ, so rich and free; Grace of God, so strong and boundless Magnify them all in me; Even me, even me, Magnify them all in me.
Here is an unusual rendering of Mrs. Codner’s hymn. It does not stick strictly to William Bradbury’s tune, nor does it use many of the original words, but I believe it is worth a listen. African American opera singer Leona Mitchell virtually turns the hymn into a traditional Spiritual. Interesting, to say the least.
George Job Elvey was born into a musical family and started his musical career as a boy singer at Canterbury Cathedral. Later, he received training at the Royal Academy of Music, eventually being awarded a doctorate. Mr. Elvey provided music for many important state events. He was knighted by Queen Victoria after he wrote his Festival March for the wedding of her daughter Princess Louise. (John Campell, whom she married, wrote the hymn Unto the Hills, and later became Governor General of Canada.)
Elvey’s tune St. George’s Windsor was named for St. George’s Chapel, in Windsor, where he was the organist for 47 years. We use it with the hymn Come, Ye Thankful People, Come. His tune Diademata is used with the hymn Crown Him with Many Crowns.
Crown Him with many crowns, the Lamb upon His throne. Hark! How the heav’nly anthem drowns all music but its own. Awake, my soul, and sing of Him who died for thee, And hail Him as thy matchless King through all eternity.
With the understanding that I do not endorse Mormon theology, I offer a rendition of the latter hymn using Elvey’s tune, performed by the Mormon Tabernacle Choir. It is sung a little too quickly for my own taste, but is otherwise excellent, here is Crown Him with Many Crowns.
(2) Today in 1842 – George Matheson Born
When an individual trusts in Christ, he is set free. And “if the Son makes you free, you shall be free indeed” (Jn. 8:36). “Where the Spirit of the Lord is, there is liberty” (II Cor.3:17).
But there are other passages that speak of the Christian being a slave, and in bondage. “Having been set free from sin, and having become slaves of God…” (Rom. 6:18). We are to be “bondservants of Christ, doing the will of God from the heart” (Eph. 6:6).
So which is it? Are Christians slaves? Or are we free? There is an old saying, “He who is captive to his compass has the freedom of the seas.” In other words, the person who uses a compass and navigational charts is able to travel freely to his destination, and has good chance of reaching it in safety. Similarly, in the Christian life, following the principles of the Word of God is not confining but liberating because they keep us safe from spiritual danger.
George Matheson wrote a hymn about that. In spite of progressive blindness, Matheson became a clergyman in the Church of Scotland. Because of his ability to memorize, listeners to his preaching were sometimes unaware of his disability. After about three decades in pastoral work, he turned his attention to writing, and produced several hymns. His hymn O Love That Wilt Not Let Me Go is best known. But we should also consider the insightful paradoxes in Make Me a Captive, Lord.
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.
My heart is weak and poor until it master find; It has no spring of action sure, it varies with the wind. It cannot freely move till Thou has wrought its chain; Enslave it with Thy matchless love, and deathless it shall reign.
Joseph Henry Gilmore had an interesting and varied career. For a time, he worked as private secretary to his father (then governor of New Hampshire). In addition, he was editor of the local paper. Gilmore also received theological training, and served as the pastor of several churches.
While still a young man, he was asked to fill in as “pulpit supply” at a church in Philadelphia. He selected Psalm 23, “the Shepherd Psalm,” as his passage, and spoke movingly of the Lord’s tender care. After the service, he and his wife were entertained at the home of one of the members. With the theme of the psalm still inflaming his heart, the young preacher took a pencil and jotted down a few simple lines of poetry. Passing them on for his wife to see, he promptly forgot about them.
Several years later, Gilmore was called to speak in another church, with the possibility that the congregation might invite him to serve as their pastor. He says, “Upon entering the chapel, I took up the hymn book, thinking, ‘I wonder what they sing.’ The book opened up at his own poem, set to music. He said later, “That was the first time I knew my hymn had found a place among the songs of the church.” It turned out his wife, admiring the poem so hastily penned, had submitted it to a publisher without his knowledge. As a result, the author had been a blessing to many, without even knowing it!
He leadeth me, O blessèd thought! O words with heav’nly comfort fraught! Whate’er I do, where’er I be Still ’tis God’s hand that leadeth me.
He leadeth me, He leadeth me, By His own hand He leadeth me; His faithful follower I would be, For by His hand He leadeth me.
Sometimes mid scenes of deepest gloom, Sometimes where Eden’s bowers bloom, By waters still, over troubled sea, Still ’tis His hand that leadeth me.
(2) Today in 1886 – Cleansing for Me published
This hymn was one of many written by Herbert Howard Booth, son of William Booth, the founder of the Salvation Army. In the early 1880’s, he served in France, even writing some of his early hymns in French. Later, he directed ministries of the Salvation Army in England, Canada, and Australia. Around 1902, he made an extensive lecture tour in America, South Africa, Australia and New Zealand.
Lord, through the blood of the Lamb that was slain, Cleansing for me, cleansing for me; From all the guilt of my sins now I claim Cleansing from Thee, cleansing from Thee. Sinful and black though the past may have been, Many the crushing defeats I have seen, Yet on Thy promise, O Lord, I now lean, Cleansing for me, cleansing for me.
From all the sins over which I have wept, Cleansing for me, cleansing for me; Far, far away by the blood-current swept, Cleansing for me, cleansing for me; Jesus, Thy promise I dare to believe, And as I come Thou wilt surely receive, That over sin I may never more grieve, Cleansing for me, cleansing for me.
