James Ellor was born in Droylsden, a village about three miles from Manchester, England. He was not a hymn writer, but was a hat maker by trade. In fact, most of the inhabitants of his little village were employed at the hat making factory. However, in the evening, many of the folk gathered to practice hymns to be sung at the Wesleyan Chapel on the next Lord’s Day. James Ellor was their leader, the music they produced attracted attention for miles around. Many would attend the services just to enjoy the blessing of the music.
One day in 1838, when Ellor was 19, he brought his choir a new tune he’d composed for the hymn All Hail the Power of Jesus’ Name. He had written it for the occasion of a Sunday School anniversary in their home church. The tune, called Diadem, was enthusiastically received, and it has been used with the hymn ever since. In 1843, James Ellor came to America, resuming his hat making trade on this side of the Atlantic.
Ellor is remembered in hymnody solely for his great hymn tune. In my view, it is the best tune for this marvellous hymn. There is a wonderful running bass part in the refrain that enhances the melody. If you have a congregation that can sing it, it will certainly adorn and enrich the powerful message of the hymn.
There are two other tunes commonly found in hymnals with this hymn. One is Miles Lane (also called Shrubsole after the composer, William Shrubsole). The composer was a personal friend of Edward Perronet who wrote the words, and he produced the tune expressly to go with them. It is a dramatic melody, and is quite common in Britain. Its only drawback is its octave-and-a-half range, which is too much for many singers. The other tune used for All Hail the Power is Coronation, by Oliver Holden. This seems to be the common setting for the hymn in many hymnals in America.
All hail the pow’r of Jesus’ name! Let angels prostrate fall; Bring forth the royal diadem And crown Him Lord of all!
Let ev’ry kindred, ev’ry tribe, On this terrestrial ball, To Him all majesty ascribe, And crown Him Lord of all!
(2) O Teach Me What It Meaneth (Data Missing)
How little we understand of the meaning of the cross. We may have the basics, but there is so much more. This fine hymn is a prayer for the Lord to help us understand more.
The hymn O Teach Me What It Meaneth is ascribed to English hymn writer Lucy Ann Bennett, of whom we know little. She was born some time in 1850, and died in 1927. [Since this post was written, more information has come to light. The author’s dates are: b. Jan. 8, 1850; d. Mar. 10, 1927.] Here is the hymn, in part. The whole song is worth a look, and you can see it on the Cyber Hymnal.
O teach me what it meaneth, That cross uplifted high, With One, the Man of Sorrows, Condemned to bleed and die! O teach me what it cost Thee To make a sinner whole; And teach me, Saviour, teach me The value of a soul!
O teach me what it meaneth, Thy love beyond compare, The love that reacheth deeper Than depths of self-despair! Yes, teach me, till there gloweth In this cold heart of mine Some feeble, pale reflection Of that pure love of Thine.
O infinite Redeemer! I bring no other plea; Because Thou dost invite me I cast myself on Thee. Because Thou dost accept me I love and I adore; Because Thy love constraineth, I’ll praise Thee evermore!
The eldest of nine children, Isaac Watts was in frail health all of his life. And standing only five feet tall, with a large head, and a long hooked nose, he was not a physically imposing figure. He proposed marriage to a young woman named Elizabeth Singer, but she turned him down, saying, “Mr. Watts, I only wish I could admire the casket [the jewelry box] as much as I admire the jewel!” Rather than face such humiliation again, Watts became a lifelong bachelor.
But Isaac Watts was a genius. Sometimes that word is applied carelessly, but in this case it fits. As a boy, he was learning Latin at the age of four or five, Greek at the age of nine, French at twelve, and Hebrew by the time he was thirteen. He wrote 52 scholarly works on theology, and other subjects. His book on logic was used as a university text for the next century. (For more about Dr. Watts and his hymns, see Today in 1674.)
Yet with all his many accomplishments as an author and a pastor, it is Dr. Watts’s amazing facility with poetry that has left a lasting imprint on history. Known today as the “Father of English Hymnody,” he eventually wrote nearly 800 hymns (the Cyber Hymnal lists 823). His hymns are often strongly doctrinal, but he could express tender emotion too, as he does in this lovely lullaby, or Christmas hymn:
Hush, my dear, lie still and slumber, Holy angels guard thy bed, Heav’nly blessings without number, Gently falling on thy head. How much better thou art tended, Than the Son of God could be, When from heaven He descended, And became a child like thee!
Soft and easy is thy cradle, Coarse and hard thy Saviour lay: When His birthplace was a stable, And His softest bed was hay. Oh, to tell the wondrous story, How His foes abused their King; How they killed the Lord of glory, Makes me angry while I sing.
And Watts wrote children’s hymns as well, though we might not think of them as such today. There is nothing of the trite shallowness of Climb, Climb Up Sunshine Mountain in his song about creation, I Sing the Mighty Power of God, appearing in his book Divine Songs attempted in Easy Language, for the Use of Children–the first English hymnal written especially for children.
I sing the mighty power of God, that made the mountains rise, That spread the flowing seas abroad, and built the lofty skies. I sing the wisdom that ordained the sun to rule the day; The moon shines full at God’s command, and all the stars obey.
Join All the Glorious Names is a hymn Watts published in 1707, calling it originally Offices of Christ. In it, he extols the Lord Jesus Christ using some of His names and titles as found in Scripture. However, he confesses these are too limited to describe the infinite greatness of the Son of God.
Join all the glorious names Of wisdom, love, and power, That ever mortals knew, That angels ever bore: All are too mean to speak His worth, Too poor to set my Savior forth.
It is worthwhile to pause a moment and record Isaac Watts’s words on his deathbed. They reveal the faith and dedication of this great servant of God. To the one attending him he said:
If God should raise me up again, I may finish some more of my papers, or God can make use of me to save a soul, and that will be worth living for. If God has no more service for me to do, through grace I am ready; it is a great mercy to me that I have no manner of fear or dread of death….I trust all my sins are pardoned through the blood of Christ….I have no fear of dying.
(2) Today in 1871 – Mabel Camp Born
Mabel Johnston, a banker’s daughter, was a gifted pianist and alto soloist. She married a lawyer named Norman Camp, and they both came to Christ in Bible classes taught by an outstanding American Bible teacher named William Newell. She and her husband attended Moody Church in Chicago. Mrs. Camp composed tunes for the songs of others, as with the hymn I Know of a Name, and she wrote gospel songs herself, such as He Is Coming Again (published in 1913).
Lift up your heads, pilgrims aweary, See day’s approach now crimson the sky; Night shadows flee, and your Belovèd, Awaited with longing, at last draweth nigh.
He is coming again, He is coming again, The very same Jesus, rejected of men; He is coming again, He is coming again, With power and great glory, He is coming again!
(3) Today in 1929 – Elisha Hoffman Died
Elisha Albright Hoffman was the son of a clergyman, and he followed in his father’s footsteps, pastoring churches in Ohio, Michigan and Illinois. He also wrote over 2,000 gospel songs, usually providing both words and music, and he edited 50 song books. Among the lyrics Hoffman wrote are:
Are You Washed in the Blood? Down at the Cross I Must Tell Jesus Is Thy Heart Right with God? Is Your All on the Altar? Leaning on the Everlasting Arms What a Wonderful Saviour!
The latter hymn was published in 1891. It repeats the title phrase many times. But the repetition (as in the case of his song I Must Tell Jesus) helps to emphasize the point. Christ is a wonderful Saviour!
Christ has for sin atonement made What a wonderful Saviour! We are redeemed, the price is paid What a wonderful Saviour!
What a wonderful Saviour is Jesus, my Jesus! What a wonderful Saviour is Jesus, my Lord!
George Croly was born in Dublin, Ireland, in 1780. When he was about 30 years of age he moved to London, and took up a ministry there that lasted for the next 50 years. He reopened St. Stephen’s Church in a poor section of the city–a church that had been closed for a century. He proved himself to be a strong fundamentalist preacher, opposing liberalism of any kind. (In spite of the bad press the word fundamentalist has received in recent years, in Christianity, the word simply signifies one who adheres to the fundamental or foundational doctrines of the Bible.)
George Croly also wrote copiously, books on history and biography, as well as on biblical subjects. In addition, he wrote a number of hymns, published in 1854 in a volume entitled Psalms and Hymns for Public Worship. Unfortunately, most copies of this book were destroyed in a fire. It is now an extremely rare volume. But one passionate hymn about the Holy Spirit has survived and is still much used, Spirit of God, Descend Upon My Heart. The text he superscribed as reflective of his song’s intent is: “If we live in the Spirit [i.e. through the new birth], let us also walk in the Spirit” (Gal. 5:25).
Some might be concerned that Croly’s choice of phrasing seems to take us back at times into a pre-Pentecost environment. After all, the Spirit of God not only comes upon but permanently indwells every Christian at conversion (Rom. 8:9, 15). His presence is God’s seal upon us that we belong to Him (Eph. 1:13-14). But if we take Croly to be pleading simply for the active ministry of the Holy Spirit in his life, we can concur.
The baptizing work of the Spirit of God unites us to Christ and makes us a part of His spiritual body, the church (I Cor. 12:12-13; Gal. 3:26-28). So to avoid a confusion of the ministries of the Spirit, some modern editors have changed the line in the last stanza where the author prays for “The baptism of the heaven-descended Dove” to “The kindling of the heaven-descended Dove.” But apart from these things, there are so many choice insights in the hymn it is very much worthy of our meditation.
Spirit of God, descend upon my heart; Wean it from earth; through all its pulses move; Stoop to my weakness, mighty as Thou art; And make me love Thee as I ought to love.
I ask no dream, no prophet ecstasies, No sudden rending of the veil of clay, No angel visitant, no opening skies; But take the dimness of my soul away.
Teach me to feel that Thou art always nigh; Teach me the struggles of the soul to bear. To check the rising doubt, the rebel sigh, Teach me the patience of unanswered prayer.
(2) More from Avis Christiansen
Sometimes using pen names such as Christian B. Anson, Avis Burgesson (a variation of her maiden name), and Constance B. Ried, Avis B. Christiansen (1895-1985) produced many fine gospel songs. In 1918, Mrs. Christiansen published It Is Glory Just to Walk with Him. Haldor Lillenas provided the sprightly tune.
It is glory just to walk with Him Whose blood has ransomed me; It is rapture for my soul each day. It is joy divine to feel Him near Where’er my path may be. Bless the Lord, it’s glory all the way!
It is glory just to walk with Him, It is glory just to walk with Him, He will guide my steps aright Through the vale and o’er the height, It is glory just to walk with Him.
’Twill be glory when I walk with Him On heaven’s golden shore, Never from His side again to stray. ’Twill be glory, wondrous glory With the Saviour evermore, Everlasting glory all the way!
Thomas Tallis was England’s leading church musician during the reign of Henry VIII, and other Tudor monarchs that followed him. The composer lived through Henry’s conflict and final break with the Church of Rome, and he wrote music for both the Roman Catholic Church and the Church of England. Tallis served as an organist in Dover, then in London. Around 1543 he became “Gentleman of the Chapel Royal,” probably playing there and composing for the rest of his life.
Tallis is famous for writing the most complex choral work ever produced. Most commonly, choir pieces involve four parts (or voices) singing together–soprano, alto, tenor and bass. Occasionally a higher soprano obbligato is added for effect. But Tallis has given us a choral number in 40 parts, written for eight five-voiced choirs!
Thomas Tallis composed a few hymn tunes that are still in use four centuries after they were written. One is Tallis’ Canon used with All Praise to Thee, My God, This Night. And Tallis’ Ordinal is used with When All Thy Mercies, O My God.
When all Thy mercies, O my God, My rising soul surveys, Transported with the view, I’m lost In wonder, love and praise.
(2) Today in 1872 – John Bowring Died
A prominent British statesman and linguist, John Bowring served two terms as a member of parliament, and was knighted by Queen Victoria in 1854. Bowring also wrote several hymns, including: In the Cross of Christ I Glory, God Is Love–His Mercy Brightens, and the lovely carol Watchman, Tell us of the Night.
Watchman, tell us of the night, What its signs of promise are. Traveler, o’er yon mountain’s height, See that glory beaming star. Watchman, does its beauteous ray Aught of joy or hope foretell? Traveler, yes—it brings the day, Promised day of Israel.
Watchman, tell us of the night, For the morning seems to dawn. Traveler, darkness takes its flight, Doubt and terror are withdrawn. Watchman, let thy wanderings cease; Hie thee to thy quiet home. Traveler, lo! the Prince of Peace, Lo! the Son of God is come!
(3) Today in 1895 – Sylvanus Phelps Died
Sylvanus Dryden Phelps was an American Baptist clergyman who pastored churches in Connecticut and Rhode Island. He also became editor of The Christian Secretary. His son attained wider fame than the father, being an author, critic and scholar, and professor of English at Yale University for 41 years. The son famously said, “This is the first test of a gentleman: his respect for those who can be of no possible value to him.”
Sylvanus Phelps wrote a number of books of both poetry and prose. But he has left us only one fine hymn, written in 1862, Saviour, Thy Dying Love (also called Something for Thee). It was published under the heading, “Lord, what wilt Thou have me to do?” (Acts 9:6, KJV). It is somewhat problematic whether we can actually give God anything, since He has created all things. But rendering to Him our obedience and our sincere worship would seem to fit the case.
Robert Lowry, who wrote the tune, said, “It is worth living seventy years even if nothing comes of it but one such hymn.” Phelps, for his part, said of Lowry’s tune, “Dr. Lowry has given wings to my hymn.” It was the author’s wish that his tombstone recognize him for the hymn, and it was.
Saviour, Thy dying love Thou gavest me. Nor should I aught withhold, dear Lord, from Thee. In love my soul would bow, my heart fulfill its vow, Some offering bring Thee now, something for Thee.
At the blest mercy seat, pleading for me, My feeble faith looks up, Jesus, to Thee. Help me the cross to bear, Thy wondrous love declare, Some song to raise, or prayer, something for Thee.
Give me a faithful heart, likeness to Thee. That each departing day henceforth may see Some work of love begun, some deed of kindness done, Some wanderer sought and won, something for Thee.
All that I am and have, Thy gifts so free, In joy, in grief, through life, dear Lord, for Thee! And when Thy face I see, my ransomed soul shall be Through all eternity, something for Thee.
Born in Massachusetts, Daniel Webster Whittle was named after the famed New England attorney, statesman and politician Daniel Webster (1782-1852). He served in the American Civil War, attaining the rank of major. During one battle, he was severely wounded, losing an arm, and he ended up in a prisoner-of-war camp. It was during that time that he put his faith in Christ, and his conversion was unusual, to say the least.
Because of his injury, Whittle spent a long time in the prison hospital. Having nothing to read while he convalesced, he took up a New Testament his mother had packed in his belongings. He read and read it, with growing interest. A short time later, an orderly awoke him, saying a dying prisoner wanted him to pray with him. Seeing him reading his Bible, the hospital orderly had assumed he was a Christian, which he was not. But he finally agreed to make his way to the boy’s bedside. Major Whittle says:
I dropped on my knees and held the boy’s hand in mine. In a few broken words I confessed my sins and asked Christ to forgive me. I believed right there that He did forgive me. I then prayed earnestly for the boy. He became quiet and pressed my hand as I prayed and pleaded God’s promises. When I arose from my knees, he was dead. A look of peace had come over his troubled face, and I cannot but believe that God who used him to bring me to the Saviour, used me to lead him to trust Christ’s precious blood and find pardon. I hope to meet him in heaven.
Daniel Whittle went on to become an effective evangelist after the war, and he wrote many gospel songs. Quite a few of these are still found in hymnals and gospel song books. Here are a few of them:
Beloved, Now Are We the Sons of God Christ Liveth in Me Have You Any Room for Jesus? (adapted from an anonymous poem) I Know Whom I Have Believed Moment by Moment The Banner of the Cross The Crowning Day Is Coming There Shall Be Showers of Blessing Why Not Now?
The song I Know Whom I Have Believed is based on the testimony of the Apostle Paul: “I know whom I have believed and am persuaded that He is able to keep what I have committed to Him until that Day” (II Tim. 1:12). It is a reminder that there are lots of things we do not know–at least, not yet. But what we can know for certain, based on the sure promises of God, is that Christ has the power to save and keep those who come to Him.
I know not why God’s wondrous grace To me He hath made known, Nor why, unworthy, Christ in love Redeemed me for His own.
But I know Whom I have believèd, And am persuaded that He is able To keep that which I’ve committed Unto Him against that day.
I know not how this saving faith To me He did impart, Nor how believing in His Word Wrought peace within my heart.
(2) Today in 1900 – Arthur Sullivan Died
Arthur Seymour Sullivan was best known in his day for writing popular operettas with William Gilbert (such as H.M.S. Pinafore). But he wrote a wide variety of other music as well, including many hymn tunes. After he was knighted by Queen Victoria, some criticized him for “lowering” himself to write comic operas, but others praised the genius that enabled him to compose music in so many styles, and do it so well.
The most familiar of his hymn tunes, St. Gertrude, is used with Onward Christian Soldiers. The tune, written in 1871, was named in honour of a friend, Mrs. Gertrude Clay-Ker-Seymer. He often visited the family at their home in Dorsetshire, and wrote the melody there.
Sir Arthur Sullivan died of heart failure at his flat in London. A monument to his memory is inscribed with words from The Yeoman of the Guard, one of Gilbert and Sullivan’s operettas: “Is life a boon [a blessing]? If so, it must befall that Death, whene’er he call, must call too soon.”
John Henry Yates was born and died in Batavia, New York. He held a number of jobs over the years. In his early days he was a shoe salesman, as was D. L. Moody in his youth. Then he had a turn at being a newspaper editor, and a hardware store manager. In 1886, he became a Methodist pastor, later joining the Free Will Baptists.
It was in 1891, during his stint as an editor, that John Yates published the gospel song, Faith Is the Victory. It was one of several song texts that the author sent to musician Ira Sankey, so that he could supply tunes for them.
The basic theme of the hymn mentioned comes from I Jn. 5:4, “Whatever is born of God overcomes the world. And this is the victory that has overcome the world–our faith.” That is, the born again Christian has the power available to have victory over the temptations of this evil world, and faith in God is the key to that victorious living.
Encamped along the hills of light, Ye Christian soldiers, rise. And press the battle ere the night Shall veil the glowing skies. Against the foe in vales below Let all our strength be hurled. Faith is the victory, we know, That overcomes the world.
Faith is the victory! Faith is the victory! O glorious victory, that overcomes the world.
His banner over us is love, Our sword the Word of God. We tread the road the saints above With shouts of triumph trod. By faith, they like a whirlwind’s breath, Swept on o’er every field. The faith by which they conquered death Is still our shining shield.
What Makes a Good Hymn? Not all the hymns in our hymnals are of the highest quality, but some are. And what are some of the characteristics to look for in the best of our hymns? Here are five to consider.
(2) Today in 1927 – James Clem Died
American composer James Bowman Overton Clem was the nephew of Methodist Episcopal bishop Thomas Bowman, and the cousin of Virginia Clem, wife of author Edgar Allen Poe. We know little else about him, other than that he wrote the tune Far and Near for James Thompson’s missionary hymn of the same name. (To read more about this hymn, see the second item under Today in 1790.) The song is based on the words of the Lord Jesus regarding the need of willing workers to serve Him:
The harvest truly is plentiful, but the labourers are few. Therefore pray the Lord of the harvest to send out labourers into His harvest. (Matt. 9:37-38)
Far and near the fields are teeming With the waves of ripened grain; Far and near their gold is gleaming O’er the sunny slope and plain.
Lord of harvest, send forth reapers! Hear us, Lord, to Thee we cry; Send them now the sheaves to gather Ere the harvest time pass by.
O thou, whom thy Lord is sending, Gather now the sheaves of gold; Heav’nward then at evening wending, Thou shalt come with joy untold.
Frances Jane (Fanny) Crosby was blind from infancy, due to a doctor’s mistreatment of an eye infection. But not only did her blindness not seem to hinder her, she actually came to view it in a positive light. She said:
It seemed intended by the blessed providence of God that I should be blind all my life, and I thank him for the dispensation. If perfect earthly sight were offered me tomorrow I would not accept it. I might not have sung hymns to the praise of God if I had been distracted by the beautiful and interesting things about me.
Miss Crosby, who later became Mrs. Alexander Van Alstyne, was the most prolific gospel song writer ever. The exact total of these selections may never be known, since she wrote under a bewildering array of pen names. (It is likely somewhere between 8,500 and 9,000 songs.)
Some hymn historians speak disdainfully of her output, saying most of it isn’t worth much. However, many of her songs have stood the test of time, and continue to appear in hymnals. (Often more of her songs are included than those of any other writer.) And it is still possible to discover lovely gems among the thousands that have not been recently published.
With that many songs to her credit, it may come as a surprise that Fanny was not converted until she was 30 years old, and did not begin writing hymns for another 14 years! (She had written poetry since childhood, and produced a number popular songs, but no hymns before 1864.) This means she had to average writing about four hymns each week from then on! And that is simply an average. Some weeks the total was several times that.
Fanny Crosby put her faith in Christ at a Methodist revival meeting, and it was a hymn that God used to awaken her heart to Him. The congregation was singing Isaac Watts’s Alas, and Did My Saviour Bleed?, and the last stanza says:
But drops of grief can ne’er repay The debt of love I owe; Here, Lord, I give myself away; ‘Tis all that I can do.
Fanny says as the last line was sung, “I surrendered myself to the Saviour, and my very soul was flooded with celestial light.” She was captivated by the love of Christ.
Then, when she was 44 years old, she met gospel music composer William Bradbury. (Bradbury gave us the tunes for Just As I Am, He Leadeth Me, Sweet Hour of Prayer, and many more.) He said, on meeting Fanny Crosby, “I thank God that we have at last met, for I think you can write hymns, and I have wished for a long time to have a talk with you.” He challenged her to come back in one week with a hymn he could set to music, and she did. Here is how Fanny Crosby’s very first hymn begins:
We are going, we are going To a home beyond the skies, Where the fields are robed in beauty And the sunlight never dies. Where the fount of joy is flowing In the valley green and fair, We shall dwell in love together, There shall be no parting there.
William Bradbury was thrilled, and determined to use the song in the hymn book he was presently editing. Then, he gave Fanny a test–without telling her he was doing it. He said he needed a patriotic song to go with a melody he had written. The tune he played for her was a tricky and complicated one, but he wanted to see whether she could handle it.
Fanny returned a day later with the song requested, presenting it to Bradbury’s secretary. The latter responded in open-mouthed astonishment, “How in the world did you manage to write that hymn? Nobody ever supposed that you, or any mortal, could adapt words to that melody!” (The rest, as they say, is history!)
(2) Today in 1871 – Charles Weigle Born
Charles Frederick Weigle, a friend of Billy Sunday’s, was an itinerant gospel musician and evangelist, preaching here and there, as the Lord opened the door.
In researching his life, I came across a sermon he preached in 1903 called “The Three Hells.” (Eye-catching title!) The first was hell in the heart, about the sad state of a debauched life; the second was hell in the home, about sin-riddled disfunctional families; the third was hell in the hereafter, concerning the eternal judgment faced by all those outside of Christ.
As well as preaching, Charles Weigle wrote about a thousand gospel songs. One from 1903 is Living for Jesus (not to be confused with Thomas Chisholm’s song with the same title). Weigle’s hymn says:
Living for Jesus—O what peace! Rivers of pleasure never cease. Trials may come, yet I’ll not fear. Living for Jesus, He is near.
Help me to serve Thee more and more. Help me to praise Thee o’er and o’er; Live in Thy presence day by day, Never to turn from Thee away.
Living for Jesus—O what rest! Pleasing my Saviour, I am blest. Only to live for Him alone, Doing His will till life is done!
Living for Jesus everywhere, All of my burden He doth bear. Friends may forsake me; He’ll be true. Trusting in Him, He’ll guide me through.
Mr. Weigle had little of this world’s material things, but he believed what he was doing was of eternal worth. However, he returned home from one particular preaching mission to discover a devastating note from his wife of many years.
Charlie, I’ve been a fool. I’ve done without a lot of things long enough. From here on out, I’m getting all I can of what the world owes me. I know you’ll continue to be a fool for Jesus, but for me it’s goodbye!
She had taken their little daughter and moved to a distant city, seeking glamour and excitement. It was the darkest time of Weigle’s life. He was 61 years old and alone in the world. The temptation arose to commit suicide. He thought to himself, “Your work is finished. No one cares whether you’re dead or alive.”
But in his despair a Voice seemed to whisper in his soul, “Charlie, I haven’t forgotten you. Charlie, I care for you.” And he knelt down and asked the Lord’s forgiveness for not trusting Him. He took up his ministry again.
Meanwhile, in that distant place after less than five years of worldly pleasure, his wife lay dying. To someone at her bedside she said, “I wish I had my life to live over.” She told her daughter to try to find her father and “ask him to pray for me.” But word did not reach him in time.
Once again, in deep sorrow, Charles Weigle sought the comfort of the Lord, and he wrote a song as his personal testimony, called No One Ever Cared for Me Like Jesus.
I would love to tell you what I think of Jesus, Since I found in Him a friend so strong and true; I would tell you how He changed my life completely, He did something that no other friend could do.
No one ever cared for me like Jesus, There’s no other friend so kind as He. No one else could take the sin and darkness from me. Oh how much He cared for me.
Without trying to judge Mr. Weigle in particular, I do wonder about what’s behind this troubled time in his life. Is there another way of looking at it? Is there perhaps more to the story? I have put down some thoughts about this in a topical article called Doesn’t Ministry Begin at Home?.
(3) Today in 1872 – I Need Thee Every Hour sung
On this date in 1872, Annie Hawks’s hymn I Need Thee Every Hour was sung for the very first time by the 3,000 delegates at the National Baptist Sunday School Convention, in Cincinnati, Ohio. It became an instant favourite.
I need Thee every hour, most gracious Lord; No tender voice like Thine can peace afford.
I need Thee, O I need Thee; Every hour I need Thee; O bless me now, my Saviour, I come to Thee.
There are at least three versions of the story behind No One Ever Cared for Me Like Jesus–differing in some details from one another. The interesting thing is that two of them come directly from the author, Charles Weigle himself. One is an hour long reminiscence that includes the story behind the hymn. The other (here) is a short account, more specifically about the song. Both clearly were given when Mr. Weigle was elderly, and it is understandable that some of the details had become hazy. However, the more I listened to these recordings, the more uncomfortable I felt.
The story as I originally tracked it down, was that Weigle’s wife was a wayward and worldly woman who, in the end, couldn’t continue to stomach his Christian stand, and so she left him. But from the man himself we get a hint something a little different.
Charles Frederick Weigle was a travelling evangelist, constantly on the go, often away from home. Reading between the lines of his own description, his wife comes across as a lonely, and possibly weak woman. It seems they had at least one child (a daughter). And there Mrs. Weigle was left alone, to raise her daughter almost as a single mother, and to face her personal temptations and spiritual struggles on her own.
Mrs. Weigle, again by her husband’s own account, pled with him again and again to please stay home and help her. But he adamantly refused, saying he was called of God to be an evangelist, and called to do the work of the Lord. He virtually says that his wife’s pleadings were the devil’s attempt to hinder his work for God.
Exactly at this point, I have a problem. And I must tread carefully here. I do not presume to sit in judgment over this man, who left us more than four decades ago. His evangelistic ministry seems to have borne fruit, and his many songs are heartwarming. Further, I don’t think there is one inflexible rule in this matter. The Lord does lead different people different ways. But without condemning Charles Weigle in particular, I do think there are issues that need a closer look.
Though it’s possible to see a travelling evangelistic ministry as a noble service, requiring great sacrifice, there is another point of view. There is something inflating to the ego about moving masses of people by emotional appeals, and hearing words of praise for “your wonderful ministry,” over and over. And it is much easier to put on a pious Christian face with strangers, those who do not get a chance to see us in our worst moments. It is often harder to stay at home and deal with the colds and flu, and shopping, and broken water lines, and bills, and the inevitable conflicts. But that and more is all a part of family life.
I do not know what vows were repeated at the Weigles’ wedding. But given the time in which they lived, they likely followed the traditional form. That would mean the groom was called upon to respond in the affirmative to a question something like this, regarding his bride:
“Wilt thou love and comfort her, honour and keep her, and in joy and sorrow, preserve with her this bond, holy and unbroken, until the coming of our Lord Jesus Christ, or God by death shall separate you?”
Now, some questions:
Even if the Lord were to call a husband to some kind of public ministry–pastor, evangelist, missionary, or something else–does not the care of his wife and family remain a significant part of his Christian service?
Is the latter service for the Lord to be relegated to second place, and the former always to take the bulk of the man’s time, and energy, and financial resources?
Can he fulfil God’s command to love his wife just as Christ loved the church and gave Himself for her (Eph. 5:25), by rarely being home to give practical support to those committed to his charge?
What if such a husband were called to a time-consuming ministry that pressured him to be more and more an absentee from the home? But what if he determined to curtail those absences significantly, and put more focus on his family? Would the Lord not honour that?
And if he was open to it, could the Lord not have revealed some new kind of ministry that husband and wife could be involved in together? Or one that enabled him to be the involved husband and father he should be?
Again I say, the Lord leads different people in different ways. I’m not presuming to judge in any individual situation. But I do think this issue deserves a very careful and prayerful examination. I’ve met MKs and PKs (missionaries’ kids, and pastor’s kids) who grew up bitter and resentful toward the church and the things of God, because they were always relegated to second place after “the Lord’s work.” I’m not for a moment excusing a bitter spirit in such a case, but I do wonder if the fault is all on one side. The Lord’s work, like charity, surely begins at home.
This hymn by Julia Ward Howe was born during the American Civil War. The author heard soldiers singing the tune with other lyrics, and determined to write something that would contain more worthy sentiments. She says:
I awoke in the grey of the morning, and as I lay waiting for dawn, the long lines of the desired poem began to entwine themselves in my mind, and I said to myself, “I must get up and write these verses, lest I fall asleep and forget them!” So I sprang out of bed and in the dimness found an old stump of a pen, which I remembered using the day before. I scrawled the verses almost without looking at the paper.
When the song was sung at a rally later, President Lincoln shouted, with tears streaming down his face, “Sing it again!” The hymn was also sung at the inauguration of Ronald Reagan.
In Howe’s original version, written in wartime, when soldiers were giving their lives for their country’s survival, the last line of the fifth stanza was “Let us die to make men free.” Contemporary versions change this to “Let us live to make men free.
If you have never heard the stirring 1944 arrangement by Peter Wilhousky, it is worth a listen. The Mormon Tabernacle Choir made a million-selling recording of it in 1959. See here.
Mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of His terrible swift sword; His truth is marching on.
Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! His truth is marching on.
(2) Today in 1885 – Haldor Lillenas Born
Haldor Lillenas was born in Norway, and came to the United States when a child. His family settled in South Dakota, later moving to Oregon. Lillenas was a pastor and evangelist, but we know him today chiefly as a prolific gospel song writer. He founded the Lillenas Music Company, and worked there until his retirement in 1950.
Mr. Lillenas wrote some 4,000 song texts and tunes. His lovely song, Wonderful Peace speaks of our peace with God through Christ (cf. Rom. 5:1-2). (There is also a fine song by Warren Cornell entitled Wonderful Peace.)
Coming to Jesus, my Saviour, I found Wonderful peace, wonderful peace; Storms in their fury may rage all around, I have peace, sweet peace.
Peace, peace, wonderful peace, Peace, peace, glorious peace; Since my Redeemer has ransomed my soul, I have peace, sweet peace.
Few men have managed to have a varied career such as Russell Kelso Carter’s. He attended the Pennsylvania Military Academy, and was a star athlete there (in baseball and gymnastics). After graduation in 1867, he was hired to teach at the academy–chemistry, natural science, civil engineering, and higher mathematics.
Then, for three years, he was a sheep rancher in California. Later he was ordained as a Methodist clergyman, and was active in the camp meetings of the day. He wrote many books–on mathematics, science, and religion–and authored several novels. He helped A. B. Simpson edit the first edition of Hymns of the Christian Life, a hymnal still in use by the Christian and Missionary Alliance denomination. And finally, Kelso Carter became a medical doctor in Baltimore!
As if all of this were not enough, Kelso Carter also wrote dozens of hymns, often including both words and music. Most are forgotten today, but many hymn books still contain Standing on the Promises, for which he provided both words and music. It appears to have been written during his years at the military academy, and one can almost hear the steady march of the cadets in the 4/4 rhythm of the song.
Standing on the promises of Christ my King, Through eternal ages let His praises ring, Glory in the highest, I will shout and sing, Standing on the promises of God.
Standing, standing, Standing on the promises of God my Saviour; Standing, standing, I’m standing on the promises of God.
That is a firm foundation on which to stand, the sure promises of the living God. As King Solomon put it, “Blessed be the Lord, who has given rest to His people Israel, according to all that He promised. There has not failed one word of all His good promise, which He promised through His servant Moses” (I Kgs. 8:56). A stanza of Mr. Carter’s song not usually used today says:
Standing on the promises I now can see Perfect, present cleansing in the blood for me; Standing in the liberty where Christ makes free, Standing on the promises of God.
Congregational singing tempo: In one of my topical articles I share a few thoughts about the speed at which we sing our hymns and gospel songs. (See The Tempo of Congregational Hymns.) To illustrate the extremes, here are a couple of versions of the above hymn.
The first might better be described as racing through the promises! If only out of consideration for us seniors who can’t think (or breath!) as easily as we could years ago, this is ridiculous! Click on Racing Through.
I must say I laughed heartily at the contrast between the former and this next one that seems more like dozing over the promises! Perhaps the intention is to make the song a meditative prayer. Fair enough. But this may go beyond reasonable limits. Click on Dozing Over.
Somewhere in between these two extremes seems about right to me, give or take a little. That gives us time to consider the words we are singing, without dragging the song out too much.
(2) Today in 1866 – I Love to Tell the Story
The painting to the left has been in our family for generations. I was told as a child that the one boy was sad because he had been unable to sell his papers. But the other boy encouraged him kindly by telling him of the love of Jesus.
We all enjoy a good story. And English hymn writer Arabella Katherine Hankey, the daughter of a banker, had one to tell. In her early thirties she contracted a serious illness that left her bedridden for an extended period. She determined to tell the story of the life of Christ by writing a long poem about it.
Two gospel songs have been taken from this poem. In the first section (completed Jan. 29, 1866), which the author called “The Story Wanted,” are found the words of Tell Me the Old, Old Story. From the second section (completed Nov. 18, 1866), “The Story Told,” we have the song I Love to Tell the Story.
I love to tell the story of unseen things above, Of Jesus and His glory, of Jesus and His love. I love to tell the story, because I know ’tis true; It satisfies my longings as nothing else can do.
I love to tell the story, ’twill be my theme in glory, To tell the old, old story of Jesus and His love.
(3) Today in 1945 – William Ovens Died
The background of a hymn attributed to Ovens came to light after a long search–a search that still goes on! William Gilbert Ovens was an English clergyman who, for over 30 years, conducted children’s meetings in Northern Ireland under the Children’s Special Service Mission (now a part of Scripture Union). The hymn that bears his name is Wounded for Me. But none of my resources gave any information on the song. Finally, contacting Scripture Union in Britain yielded the following story.
One day in the years following the First World War, W. G. Ovens saw a wounded veteran limping past on the street and was impressed by the thought that, in a sense, the young man had taken that wound for him. After the soldier passed by, he instantly drew a parallel to the Lord Jesus Christ, whom the Bible says was “wounded for our transgressions” (Isa. 53:5).
Ovens was a man with a single purpose in life. It was said of him “the consuming passion of his life was Jesus Christ–to know Him, to love Him, to serve Him, to share with others the joy he found in Him, to lead others to Him, and to draw still others nearer to Him.” And one observed, “There was no shadow of compromise with him. He had no time for half-heartedness or lukewarmness.” After the above incident, Ovens wrote a little chorus that says:
Wounded for me, wounded for me, There on the cross He was wounded for me; Gone my transgressions and now I am free, All because Jesus was wounded for me.
Later the chorus was expanded into a hymn by Gladys Westcott Dobson Roberts (1888-1983). She and her husband Watkin Roberts served as missionaries in India. Mrs. Roberts added four more stanzas that complete the picture of Jesus dying for me, risen for me, living for me, finally ending with:
Coming for me, coming for me, One day to earth He is coming for me; Then with what joy His dear face I shall see, O how I praise Him–He’s coming for me!
