"FACE TO FACE"

"Now we see through a glass, darkly; but then face to face..." (1 Cor. 13.12)

INTRO.: A song that takes the language of this verse and applies it to the second coming of Christ, judgment, and going to heaven as a time when we shall see Jesus is "Face to Face" (#399 in "Hymns for Worship Revised" and #379 in "Sacred Selections for the Church"). The text was written by Carrie E. (Mrs. Frank A.) Breck (1855-1934). The tune was composed by Grant Colfax Tullar (1869-1950). A devoted housewife with five daughters, Mrs. Breck gave lyric expression to her faith as she carried out the duties of each day and occasionally sent some of her poems to composer Tullar. In 1898, Tullar was in an evangelistic meeting with the Methodist Church in Rutherford, NY, and staying in the home of the local minister, Charles L. Mead.

One evening there was not enough jelly at the supper table for everyone, and Mrs. Mead, knowing Tullar's fondness for jelly, told him he could have what was left. Tullar replied, "So this is all for me, is it?" The phrase, "All for me," struck him as a good theme for a hymn, so he excused himself to wrote both a text, beginning, "All for me the Savior suffered," and the accompanying music. The song was sung at the evening service. However, Tullar was not fully pleased with his words and resolved to revise them later. The next morning, the postman brought a letter from Mrs. Breck with this poem which exactly fit the melody that he had composed the night before, so he discarded his own text and replaced it with hers. The song first appeared in the 1899 collection, "Sermons in Song #2."

It expresses the joy of being able to greet the Savior when He comes.

I. Stanza 1 says that we are waiting for Christ who died to come back from heaven

"Face to face with Christ my Savior, Face to face, what will it be,

When with rapture I behold Him, Jesus Christ, who died for me?"

A. When Jesus ascended into heaven, it was promised that He would return: Acts 1.11

B. Thus, it is from heaven that we wait for Him to return: Phil. 3.20-21

C. But it is more than just waiting for something to happen, as if seeing an automobile cross over the line and just waiting for it to

crash into another car; rather it is a looking for, an eager expectation: Tit. 2.13

II. Stanza 2 reminds us that our view of Jesus now is only faint

"Only faintly now I see Him, With a darkling veil between,

But a blessed day is coming, When His glory shall be seen."

A. In this life, we see Jesus as if in a mirror rather than in person: 2 Cor. 3.18

B. And even though we wait for Him to return, even now we do not know exactly what we shall be like when we see Him: 1 Jn. 3.1-2

C. But by faith we look forward to the day of the Lord when He shall come back and we can be with Him: 2 Pet. 3.10-13

III. Stanza 3 tells us that when we do see Him, grief and pain will be banished

"What rejoicing in His presence, When are banished grief and pain,

When the crooked ways are straigtened, And the dark things shall be plain."

A. For those who are in Christ at His coming, there will be great rejoicing in His presence: 1 Thes. 2.19

B. At that time, He will usher us into an eternal existence where there will be no grief or pain: Rev. 21.4

C. All the crooked ways will be straightened and the dark things made plain because the corruptible and mortal will be swallowed up in victory: 1 Cor. 15.56

IV. Stanza 4 concludes that when we do see Christ, it will be a blissful moment

"Face to face! O blissful moment! Face to face--to see and know;

Face to face wtih my Redeemer, Jesus Christ, who loves me so."

A. It will be a blissful moment because when Jesus returns, we shall have joy unspeakable and full of glory: 1 Pet. 1.7-9

B. It will be a blissful moment because we shall be reunited with those who have fallen asleep in Christ: 1 Thes. 4.13-17

C. What will make it most blissful is being with our Redeemer, Jesus Christ, who loves us so: Eph. 5.2, Phil. 1.23

CONCL.: The chorus well expresses the hope of the Christian in seeing Jesus when He comes.

"Face to face shall I behold Him, Far beyond the starry sky;

Face to face in all His glory, I shall see Him by and by."

There is a sense in which we can see Jesus "face to face" spiritually, as it were, in His revealed and completed word. But

certainly the most thrilling anticipation for every believer as he reflects about Christ's second coming, the resurrection, and heaven will be that moment of fully being with our Savior "Face to Face."

"FATHER AND FRIEND, THY LIGHT, THY LOVE"

"How precious also are Thy thoughts unto me, O God! how great is the sum of them" (Ps. 139.17)

INTRO.: A hymn that praises God for His omniscient thoughts is "Father And Friend, Thy Light, Thy Love." The text was written by John Bowring (1792-1872). An English Unitarian who became a businessman, social reformer, British politician, diplomat in foreign service, and governor of Hong Kong, he published it in his 1824 "Matins and Vespers," Second Edition. Sometimes the date of 1825 is given. Other famous hymns by Bowring are "In the Cross of Christ I Glory," "God Is Love; His Mercy Brightens," and "Watchman, Tell Us of the Night."

The tune (Hesperus, Quebec, Whitburn, or Venn) was composed by Henry Baker (1835-1910). It was produced in 1854 while Baker was a student in college. Submitted by a friend unsigned to the "Penny Post" of London, England, which in 1861 conducted a search for a new melody for John Keble's "Sun of My Soul," and chosen as winner in 1862 (some sources give this as the date), it was first published without Baker's knowledge or name in "A Hymnal for Use in the English Church" of 1866 by John Grey. After it appeared in "The Hymnal Companion" of 1871 edited by Edward Henry Bickersteth, Baker acknowledged it as his.

Among hymnbooks published by brethren during the twentieth century for use among churches of Christ, the song was used in the 1922 edition of the 1921 "Great Songs of the Church" No. 1 and the 1937 "Great Songs of the Church No. 2" both edited by E. L. Jorgenson; and the 1965 "Great Christian Hymnal No. 2" edited by Tillit S. Teddlie. It is found in the 1971 "Songs of the Church," the 1990 "Songs of the Church 21st C. Ed.," and the 1994 "Songs of Faith and Praise" all edited by Alton H. Howard; the 1986 "Great Songs Revised" edited by Forrest M. McCann; and the 1992 "Praise for the Lord" edited by John P. Wiegand. "Hymns for Worship Revised" uses the same tune with two other hymns (#'s 523 and 646).

The song acknowledges the infinite knowledge and presence of God.

I. Stanza 1 emphasizes the works of God

"Father and Friend, Thy light, Thy love, Beaming through all Thy works we see:
Thy glory gilds the heavens above, And all the earth is full of Thee."

A. The works of God give praise to Him: Ps. 145.10

B. The heavens above declare His glory: Ps. 19.1-2

C. The earth is His and therefore is full of Him: Ps. 24.1

II. Stanza 2 emphasizes the voice of God

"Thy voice we hear, Thy presence feel, While Thou, too pure for mortal sight,

Enwrapt in clouds, invisible, Reignest the Lord of life and light."

A. We hear His voice because He speaks to us through His Son: Heb. 1.1-2

B. However, He is too pure for mortal sight: Exo. 33.20, 1 Jn. 1.18

C. Therefore, He is enwrapt in clouds and invisble: Ps. 97.2, 1 Tim. 1.17

III. Stanza 3 emphasizes the throne of God

"We know not in what hallowed part Of the wide heavens Thy throne may be;

But this we know, that where Thou art, Strength, wisdom, goodness, dwell with Thee."

A. We know that God dwells in heaven: Matt. 6.9

B. However, we do not know exactly in what part of heaven His throne is: Isa. 66.1

C. Yet, we know that strength, wisdom, and goodness dwell with Him: Rev. 4.11

IV. Stanza 4 emphasizes the nearness of God

"Thy children shall not faint nor fear, Sustained by this delightful thought;

Since Thou, their God, art everywhere, They cannot be where Thou art not."

A. God's children shall not faint nor fear because they are preserved by the Lord: Ps. 124.7-8

B. They know that their God is everywhere: Ps. 139.7-12

C. Therefore, they cannot be where He is not because He is not far from everyone of us: Acts 17.27

CONCL.: Hymns such as this were once universal in their usage among people who wished to praise God in song. Unfortunately, over the last forty years, they have largely given way to "praise songs" in many religious services. It is evidently felt by a lot of people that the expressions of worship to God in song from ages past no longer speak to our modern generation's needs. While not necessarily rejecting the new, we should not throw the old out completely. There is nothing outdated in the language of this song as we come before our God and say, "Father and Friend, Thy Light, Thy Love."

"FLING OUT THE BANNER"

"Thou hast given a banner to them that fear Thee, that it may be displayed because of the truth" (Ps. 60.4)

INTRO.: A song which encourages us to hold high the banner of truth that God has given us is "Fling Out The Banner." The text was written by George Washington Doane (1799-1859). It was produced in 1848 for a flag-raising service at the St. Mary's School, Burlington, NJ, first published in Verses for 1851 Commemoration of the Third Jubilee of the S. P. G. (Society for the Propagation of the Gospel), and became famous as a hymn after being used in the 1875 Songs By The Way.

Doane authored several other hymns, the best known of which is probably "Thou art the way, to Thee alone." The tune (Waltham, Camden, or Doane), was composed for this text by Jean (John) Baptiste Calkin (1827-1905). It was first published in The Hymnary of 1872. It has often been used with William Wadsworth Longfellow's holiday carol, "I Heard the Bells on Christmas Day."

Among hymnbooks published by brethren for use among churches of Christ in the twentieth century, the hymn was found in the 1925 edition of the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; and the 1963 Abiding Hymns edited by Robert C. Welch. The tune is found in the 1963 Christian Hymnal edited by J. Nelson Slater and in the 1986 Great Songs Revised edited by Forrest M. McCann, with "Life Up, Lift Up Your Voices Now" translated from the Greek by John Mason Neale in his 1854 Carols for Eastertide.

"Fling Out The Banner" is one of this nation's first great "missionary hymns."

I. Stanza 1 points out that our banner is related to the cross of Christ

"Fling out the banner! let it float Skyward and seaward, high and wide;

The sun that lights its shining folds, The cross on which the Savior died."

A. "Skyward and seaward, high and wide," suggests the need for the gospel to be preached everywhere: Mk. 16.15-16

B. There is a sun which lights its shining folds: Mal. 4.2, Jn. 8.12

C. This light is pictured as coming from the cross on which the Savior died: 1 Cor. 1.18

II. Stanza 2 points out that this banner is the object of angels' concern

"Fling out the banner! angels bend In anxious silence o'er the sign,

And vainly seek to comprehend The wonder of the love divine."

A. Angels are spirits sent forth to minister for those who will be inherit salvation: Heb. 1.13-14

B. Yet, it is said that revelation of God's plan in the prophets and the gospel is something that angels desire to look into: 1 Pet. 1.10-12

C. In this revelation is manifested the wonder of the love divine: Rom. 5.8

III. Stanza 3 points out that this banner should be seen by heathen lands

"Fling out the banner! heathen lands Shall see from far the glorious sight;

And nations, crowding to be born, Baptize their spirits in its light."

A. This banner is not only the subject of angels' concern but should also be the concern of heathen lands: Gal. 1.16, 2.9

B. Therefore, disciples are to be made of all the nations, including those crowding to be born: Matt. 28.18-20

C. These nations can baptize their spirits in its light as individuals hear and obey the gospel in baptism: Gal. 3.26-28

IV. Stanza 4 points out that this banner should be accepted by sin-sick souls

"Fling out the banner! sin-sick souls Who sink and perish in the strife,

Shall touch in faith its radiant hem, And spring immortal into life."

A. Spiritually, mankind is perishing because all have sinned and come short of the glory of God: Lk. 15.17, Rom. 3.23

B. However, just as the woman with the issue of blood touched the hem of Christ's garment and was made whole, whosoever will may come to receive the benefits of this banner: Matt. 9.20-22, Rev. 22.17

C. The result is that they will spring immortal into the life that Jesus came to bring: Jn. 5.24, 10.10

V. Stanza 5 points out that this banner is for everyone everywhere

"Fling out the banner! let it float Skyward and seaward, high and wide;

Our glory only in the cross; Our only hope, the crucified."

A. Repeating the first two lines of the opening stanza, the author again suggests the need for the gospel to be preached everywhere: Col. 1.23

B. One reason for working to see that the gospel is preached everywhere is that we glory only in the cross: Gal. 6.14

C. Therefore, our only hope is the Crucified one, Jesus Christ: Col. 1.27

VI. Stanza 6 points out that this banner is not anything of our own merit

"Fling out the banner! wide and high, Seaward and skyward, let it shine;

Nor skill, nor might, nor merit ours; We conquer only in that sign."

A. Once again, the author repeats nearly the first two lines of stanza one, but changes the order and alters the thought to "let it shine," which is accomplished as God's people let their lights so shine: Matt. 5.14-16

B. Yet, we must recognize that it is not the result of our own skill, might, or merit: Zech. 4.6

C. Rather, we can conquer only in the sign of the cross: Rom. 8.37

CONCL.: Many today might look at this hymn as being too "paternalistic" or "imperialistic" because it suggests that all nations must hear and respond to the gospel to be acceptable to God. This may explain its absence in many modern hymnbooks. A lot of people who call themselves "Christians" today have been infected with multiculturalism and have decided that it is wrong to preach the gospel (which they interpret as being "Western") to other cultures because, they say, each group needs to "find God" in its own way. However, those who accept the truth of the gospel will continue to see the need to "Fling Out The Banner."

"FOR THE BEAUTY OF THE EARTH"

"Every good gift and every perfect gift is from above, and cometh down from the Father..." (Jas. 1.17)

INTRO.: A song which praises God for every good and perfect gift that He has given to us in this world is "For the Beauty of the Earth" (#24 in "Hymns for Worship Revised"). The text was written by Folliot Sandford Pierpoint (1835-1917). Born in Bath, England, he was educated at Queen's College, Cambridge, and did some teaching, but mainly worked as a writer. Although he penned a number of hymns and published seven volumes of poetry, he is best remembered for this song, which first appeared with eight stanzas in the 1864 "Lyra Eucharista," second edition, of Orby Shipley.

The song was intended as a communion hymn. The idea seems to be that as we remember the death of Christ, which is referred to in some later stanzas omitted in our books, we also need to be reminded of all the other things that God has done for us as well. The idea is said to have come come to Pierpoint at the age of 29 as he was walking around the hills near his hometown in the late spring, surrounded by the lovely countryside and the Avon River.

The tune (Dix) had been composed in 1838 by a German church musician named Conrad Kocher (1786-1872). The melody first appeared as a chorale in one of his works. The arrangement was made in 1861 for "Hymns Ancient and Modern" by William Henry Monk (1723-1889). It was used with William Chatterton Dix's nativity hymn about the wise men, "As With Gladness Men of Old," and has been used with other hymns, such as George Conder's "All Things Praise Thee."

Pierpoint's words praise the Lord for all the wonderful things He has given us.

I. Stanza 1 points out that the beauty of the earth and glory of the skies remind us of God's love

"For the beauty of the earth, For the glory of the skies,

For the love which from our birth Over and around us lies."

A. The earth and all its beauty were created by God and belong to Him: Ps. 24.1

B. The skies and all things in the heavens declare the glory of God: Ps. 19.1

C. Thus, we too should be reminded of God's love as we think about all that is lovely--that is why Paul told us to think on things that are lovely: Phil. 4.8

II. Stanza 2 points out that all the specific wonders of nature should direct our thoughts to the one who created them

"For the wonder of each hour, Of the day and of the night,

Hill and vale and tree and flour, Sun, and moon, and stars of light."

A. God created both the day and the night: Gen. 1.3-5

B. He also created the trees and the flowers: Gen. 1.11-12

C. And He created the sun, moon, and stars: Gen. 1.14-17. All these things were made for the benefit of our lives here on earth

III. Stanza 3 points to the fact that our ability to enjoy the beauty of the earth and the wonder of each hour with our senses shows God's wisdom in creation

"For the joy of ear and eye, For the heart and mind's delight,

For the mystic harmony Linking sense to sound and sight."

A. God created both our eyes and ears so that we might see and hear: Prov. 20.12

B. He also created the heart and mind's ability to delight in what we see and hear: Ps. 4.7

C. While scientists can technically explain how the eyse see and the ears hear, there is still much "mystic harmony" in how our senses operate to turn us to God: Rom. 1.20

IV. Stanza 4 points out that we also benefit from the social joys of home and friendship

"For the joy of human love, Brother, sister, parent, child,

Friends on earth and friends above, For all gentle thoughts and mild."

A. God wants us to experience the joy of human love; that is why He commanded us to love one another: Jn. 13.34-35

B. One form of human love is that of brother, sister, parent, and child in the family relationship which God ordained for our benefit: Gen. 2.24, Eph. 6.1-4

C. And our friends are common blessings of life that many of us often take for granted, but they are also benefits from God to help us: Prov. 17.17

V. Stanza 5 points out that we should be thankful likewise for the church, which is God's ordained agency to accomplish His purpose in this world

"For Thy church which evermore Lifteth holy hands above,

Offering up on every shore Her pure sacrifice of love."

A. The original read "For Thy bride," and the church is the bride of Christ, which He purchased with His own blood: Acts 20.28

B. This church is to lift up holy hands above, which is a symbol for keeping herself without spot and blemish: Eph. 5.25-27, 1 Tim. 2.8

C. Such holiness is necessary for her to offer her pure sacrifice of love, which is praise to God: Heb. 13.15

VI. Stanza 6 points out that the best gift that God has given mankind is the gift of His Son

"For Thyself, best gift divine, To the world so freely given,

For that great, great love of Thin, Peace on earth, and joy in heaven."

A. Jesus is certainly the greatest gift that has ever been given to the world: Jn. 3.16

B. This gift exhibited the wonderful love of God for our salvation: Rom. 5.8, 1 Jn. 3.16

C. As a result, we can have peace with God here on earth and the hope of eternal joy heaven: Lk. 2.14, Col. 1.5

CONCL. Stanza 6 as quoted here is much altered from the original for various reasons, but it is the form used in most books published today. There are also a couple of other stanzas which are almost universally omitted nowadays. The original last two lines of each stanza read,

"Christ, our God, to Thee we raise This our sacrifice of praise."

According to the "Companion to the United Methodist Hymnal," this was altered to its present form, "Lord of all, to Thee we raise This our hymn of grateful praise," because some were squemish about calling Christ God, and because others wanted to make the hymn one simply of thanksgiving. Whatever form we may use, singing this song brings to our minds the thoughts and emotions aroused by the poet's pictures, and in so doing we praise God "For the Beauty of the Earth."

"GATHERING HOME"

"He will dwell with them and they shall be His people....And God shall wipe away all tears from their eyes" (Rev. 21.3-4).

INTRO.: A song which looks forward to that day when God's people will dwell eternally with Him and each other is "Gathering Home" (#246 in "Hymns for Worship Revised" and #370 in "Sacred Selections for the Church"). The text was written by Miss Mariana B. Slade. No information is available about this author. Sometimes the dates of 1826-1882 are given for her, but that may be due to a misunderstanding which confuses her with Mrs. Mary Bridges Canedy Slade, who did live from 1826 to 1882. Some sources identify Mrs. M. B. C. Slade as the author. The tune was composed by Rigdon McCoy McIntosh (1836-1899). He was a Methodist musician and college professor who lived in Nashville, TN, for a while, later established his own music publishing company in Atlanta, GA, and helped to edit some of the first hymnbooks published by the Gospel Advocate. McIntosh arranged many tunes for use with gospel songs, such as "I Am Bound for the Promised Land" and "Take My Life and Let It Be," and composed a few himself.

I do not have any information as to this song's background circumstances, date, or origin of publication. It is true that Mrs. Slade (who would have been Miss Canedy before her marriage) produced words that were often set to music and published by McIntosh, and this may be why the connection was made, but unless there is some mistake in attribution, the difference in the names makes it highly unlikely that she is the same person as the author of this song. However, I suppose that it is not outside the realm of possibility that Miss Mariana B. Slade might have been the daughter of Mrs. Mary Bridges Canedy Slade, although I have no way of knowing for sure.

The earliest book used in churches of Christ where I have found the song is the 1923 "Choice Gospel Hymns" edited by Thomas B. Mosley and published by the Gospel Advocate. After that it appeared in the 1940 "Complete Christian Hymnal" edited by Marion Davis, the Advocate's 1948 "Christian Hymns" edited by L. O. Sanderson, Davis's 1959 "The Hymnal," the 1959 "Majestic Hymns No. 2" edited by Reuel Lemmons and published by the Firm Foundation, and the 1978 "Hymns of Praise" also from Lemmons and the Firm Foundation. "Hymns for Worship Revised" and "Sacred Selections." are the only hymnbook currently published among brethren that I know of to contain the song.

The song pictures heaven as a place where we shall never sorrow nor roam.

I. The first stanza calls heaven a dwelling

"Up to the bountiful Giver of life, Gathering home! gathering home!

Up to the dwelling where cometh no strife, The dear ones are gathering home."

A. In the scriptures, this dwelling is always referred to as "up": 2 Cor. 12.2

B. It is the abode of God, who is the "Giver of life": Matt. 6.9

C. And it is a "dwelling where cometh no strife" because everything that causes strife will not be there: Rev. 22.14-15

II. The second stanza calls heaven a city

"Up to the city where falleth no night, Gathering home! gathering home!

Up where the Savior's own face is the light, The dear ones are gathering home."

A. Heaven is a city "where falleth no night": Rev. 21.25

B. Also, it is a city where the Savior is and where we shall be with Him: 1 Jn. 3.2

C. And there is no night there because the Savior Himself is the light: Rev. 21.23

III. The third stanza calls heaven a beautiful mansion

"Up to the beautiful mansion above, Gathering home! gathering home!

Safe in the arms of His infinite love, The dear ones are gathering home."

A. Heaven is beautiful because of the mansions there: Jn. 14.1-3

B. It is beautiful because we shall be safe in God's arms: Rev. 22.1-5

C. And it is beautiful because shall experience His love for all eternity: 1 Jn. 2.25

CONCL.: It is interesting that Ellis J. Crum in "Sacred Selections" changed the last line of each stanza from "The dear ones are gathering home" to "The saved ones are gathering home" in his zeal to remind everyone who has "dear ones" who are not among the "saved ones" that they will not be in heaven. Certainly, all Christians must recognize that our loved ones who are out of Christ will not be saved unless they obey the gospel, and we should work to lead them to the Lord. But I have many "dear ones" among those who are saints, and I surely expect to see them in heaven--even as Paul promised (1 Thess. 4.13-18).

The chorus goes on to identify who these "dear ones" that are gathering home will be, saying,

Gathering home! gathering home! Never to sorrow more, never to roam;

Gathering home! gathering home! God's children are gathering home."

Shepard and Stevens did not follow Crum's change in this song, but they were somewhat inconsistent because they did so in other songs (e.g., "Only A Step," stanza 3, line 2--"Saved ones" instead of "Loved ones for you, now watch and wait"). Of course, God Himself will be the judge and ultimately decide who will and will not be in heaven, and we shall have to be satisfied with that. What we need to do is to make sure that we are living in harmony with His will so that we can be among that great throng of the redeemed who when Jesus returns will be "Gathering Home."

"GIVE ME THE BIBLE"

"Thy word is a lamp unto my feet, and a light unto my path" (Ps. 119.105)

INTRO.: Read TEXT. A song which points us to the Bible as a lamp to our feet and a light to our path is "Give Me The Bible" (#500 in "Hymns for Worship Revised" and #501 in "Sacred Selections for the Church"). The text was written by Priscilla Jane Owens (1829-1907). Perhaps her best known hymn is "Jesus Saves." The tune (Grammata) was composed by Edmund Simon Lorenz, who was born at North Lawrence, near Canal Fulton, OH, in Stark County not far from Canton, on Juny 13, 1854, the son of missionary to German immigrants in Ohio. The Lorenz family were originally Adventists who had emigrated from Messer, Russia, near Saratow. Educated at Otterbein University, Union Biblical Seminary of the United Brethren, and Yale Theological Seminary, where he received the LL.D. degree, Edmund also studied music at the University of Leipzig in Germany, where he received at Mus. Doc. degree. At the age of twenty, he was music editor of the first United Brethren hymnbook with tunes, the 1874 "Hymns of the Sanctuary and Social Worship."

It is not known precisely when this hymn was produced, but it was probably around 1883 when it was first published in "Happy Voices for Sunday School," compiled by Lorenz for W. J. Shuey of Dayton, OH. Lorenz became a minister among the United Brethren and served the High St. church in Dayton from 1884 to 1886. During this time, he edited, along with Isaiah Baltzell, "Gates of Praise" and "Notes of Triumph for the Sunday School" for the United Brethren Publishing House. After this he was President of Lebanon Valley College in Annville, PA, from 1886 to 1888. However, he suffered a complete collapse due to overwork and left both church and college work because of his health. Returning to Dayton, he founded the music publishing firm of Lorenz and Company, which published several periodicals, including "The Choir Leader" beginning in 1894, "The Choir Herald," and "Kirchenchor," both beginning in 1897.

Lorenz's published works include "Practical Church Music" in 1909, "Church Music--What Every Minister Should Know About It" in 1923, "Music in Work and Worship" in 1925, and "Practical Hymn Studies." Compiler of several Sunday school song books, in 1935 he edited "The Church Hymnal: the Official Hymnal of the United Brethren in Christ." His best known work is "The Singing Church," published in 1937, and he was in wide demand as a lecturer on church music both in this country and abroad. In addition to editing Sunday school books, hymnals, and choir magazines, he also wrote or arranged many hymns and tunes that have been used among churches of Christ, including "Wonderful Love of Jesus" and "Thou Thinkest, Lord, of Me." He died at Dayton on July 11, 1942.

This hymn stresses the importance of the Bible to our lives here on earth.

I. Stanza 1 teaches us that God's word is a star of gladness gleaming

"Give me the Bible, star of gladness gleaming, To cheer the wanderer lone and tempest-tossed;

No storm can hide that radiant peaceful beaming, Since Jesus came to seek and save the lost."

A. God sent us His word to guide us to Jesus, just as He sent the start to guide the wisemen to Jesus in Bethlehem: Matt. 2.1-2

B. This word brings us cheer when we are lone and tempest tossed, just as Jesus did to His apostles in the storm: Matt. 14.22-27

C. The reason for this is that the word points us to Jesus who came to seek and save the lost: Lk. 10.9

II. Stanza 2 teaches us that God's word is a lamp of faith to show our Savior near

"Give me the Bible when my heart is broken, When sin and grief have filled my soul with fear;

Give me the precious words by Jesus spoken, Hold up faith's lamp to show my Savior near."

A. All people face times of trial when their hearts are broken and sin and grief fill their souls with fear: 1 Pet. 2.12

B. However, we have in the Bible the words by Jesus spoken, confirmed to us by inspired messengers: Heb. 2.1-4

C. Therefore, we can be sustained by a faith which will keep us justified because it comes from His word: Rom. 5.1, 10.17

III. Stanza 3 teaches us that God's word is a lamp which enlightens our steps

"Give me the Bible, all my steps enlighten, Teach me the danger of these realms below;

That lamp of safety o'er the gloom shall brighten, That light alone the path of peace can show."

A. As we journey in these dark realms below, we need something to enlighten our eyes: Eph. 1.18

B. Thus, God gave us the light of the glorious gospel of Christ to brighten the gloom: 2 Cor. 4.4

C. This light alone can show us the strait and narrow pathway to peace: Matt. 7.13-14

IV. Stanza 4 teaches us that God's word is a lamp which guides us to eternal life in heaven

"Give me the Bible, lamp of life immortal, Hold up that splendor by the open grave;

Show me the light from heaven's shining portal, Show me the glory gilding Jordan's wave."

A. The Bible is the lamp of life immortal because it is profitable to equip us for everything that we need: 2 Tim. 3.14-17

B. It shines its splendor by the open grave, reminding us that Jesus Christ was raised from the dead and became the firstfruits of those who sleep: 1 Cor. 15.20

C. As a result, it makes known to us the hope of a home with God in glory: Tit. 1.1-2

CONCL.: The chorus continues to make the request for direction from God's word:
"Give me the Bible, holy message shining, Thy light shall guide me in the narrow way;

Precept and promise, law and love combining, Till night shall vanish in eternal day."

If it is my desire to please God in this life and go to heaven when it is over, then my constant plea must be to "Give Me The Bible."

"GLORIOUS THINGS OF THEE ARE SPOKEN"

"Glorious things of thee are spoken, O city of God" (Ps. 87.3)

INTRO.: A hymn about the glory of the church based upon the above passage is "Glorious Things of Thee Are Spoken" (#143 in "Hymns for Worship Revised"). The text was written by John Newton (1725-1807). Best known as the author of "Amazing Grace," he produced both songs in 1779 for Book 1 of the "Olney Hymns" that he published with William Cowper. The tune (Austrian Hymn or Austria-Haydn) was composed by Franz Joseph Haydn, who was born ar Rohrau, Austria, on Mar. 31, 1732, the son of a wheelwright. Brought up in the Roman Catholic School of St. Stephen's, Vienna, he sang in the choir and received his initial musical training there. His musical ability was recognized at an early age, and he soon established a reputation as a composer. In 1761 he became musical director to the Hungarian family of Prince Paul Esterhazy at their Vienna palace, remaining in this position for the next thirty years. This afforded him rich opportunities for musical creativity and experimentation.

In 1794, Haydn first visited England, heard Britain's national anthem "God Save the King," and desired to write a similar one for Austria. The emperor's birthday on Feb. 12, 1797, provided him the opportunity to do so. He provided this music as a setting for Lorenz Hauschka's "Gott erhalte Franz der Kaiser," and it was first sung on that day to honor Emperor Franz II. It may have been possibly based on a Croatian folksong, "Vjatvo rano se ja vstanem." Later, Haydn used the same tune as a theme for variations in the slow movement of his string quartet known as the "Emperor" or "Kaiser," op. 76, no. 3. Five years after its composition, it was first used for a hymn in England by Edward Miller in his 1802 "Sacred Music." Its first appearance with Newton's text was in the 1889 edition of "Hymns Ancient and Modern." It is still used in Germany for the national song "Das Deutschlanlied," but because of the associations of the first stanza ("Deutschland, Deutschland uber alles") with the Nazis, the third stanza ("Einigkeit und Recht und Freiheit") is now used for the German anthem.

Raised a devout Roman Catholic, Haydn was a firm believer in Christ. He once wrote, "When I think of the divine Being, my heart is so full of joy that the notes fly off as from a spindle; and, as I have a cheerful heart, He will pardon me, if I serve Him cheerfully." During his lifetime, he composed more than one hundred symphonies, 22 operas, four oratorios, several concerti, church music, and a great deal of chamber works. Many themes from these works have been adpated into hymn tunes, and today he is considered one of the greatest composers of the Viennese "classical" period. He always began each manuscript with the inscription, "In Nomine Domini," and signed at the end, "Soli Deo Gloria!" or "Laus Deo." On a subsequent visit to England later in 1797, he received an honorary Mus. D. degree from Oxford University. His death occurred in Vienna, Austria, on May 31, 1809.

This hymn describes the church of our Lord using Old Testament imagery.

I. Stanza 1 calls it Zion, after the city which David conquered and in which was the temple.

"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 mayest smile at all thy foes."

A. Zion of the Old Testament is a type or figure of the church that Christ established in the new: Ps. 48:1-3

B. As the temple of the Old Testament was the symbol of God's presence among His people, so the church is the spiritual abode of God among men: Eph. 2:19-22

C. It is founded upon the Rock of Ages, Jesus Christ Himself: Matt. 16:18, 1 Cor. 3:11

II. Stanza 2 pictures this spiritual city as a beautiful place with living waters

"See, the streams of living waters, Springing from eternal love, Well supply thy sons and daughters, And all fear of want remove:
Who can faint while such a river Ever flows their thirst t'assuage? Grace, which like the Lord the Giver, Never fails from age to age."

A. The Old Testament prophets foresaw this Zion as a "place of broad rivers and streams" where "The LORD is our Lawgiver" (Isa. 33:20-22)

B. In it, Jesus gives us the living water which springs up to everlasting life: Jn. 4.10-14

C. All this symbolizes the grace from the Lord, the Giver, by which we are saved and which never fails from age to age: Eph. 2.8-10

III. Stanza 3 changes the figure to God's wilderness provisions for Israel

"Round each habitation hovering, See the cloud and fire appear For a glory and a covering, Showing that the Lord is near;

Thus deriving from their banner Light by night and shade by day, Safe they feed upon the manna Which He gives them when they pray."

A. During their wilderness journey, God guided His people with the pillar of cloud by day and the pillar of fire by night: Exo. 13.22

B. Also, He fed them with manna: Exo. 116.4-18

C. In like manner, God through His Son Jesus Christ provides for and feeds us spiritually in the church because Jesus Himself is the bread of life come down from heaven: Jn. 6:30-35

IV. Stanza 4 makes application of the Old Testament figures to the church

"Blest inhabitants of Zion, Washed in the Redeemer's blood; Jesus, whom their souls rely on, Makes them kings and priests to God.

'Tis His love His people raises Over self to reign as kings; And as priests, His solemn praises, Each for a thank offering brings."

A. The inhabitants of Zion are those who have been saved and added by the Lord to His church: Acts 2:38, 41, 47

B. Thus, they have been washed in the Redeemer's blood: Eph. 1:7

C. The concept of being kings and priests, so prominent in the Old Tesament, is true of the citizens of this spiritual Zion because they have been washed from their sins in Christ's blood: Rev. 1.5-6

V. Stanza 5 concludes with a comparisons of the benefits of spiritual Zion to the things of this world

"Savior if [most of our books have 'since'] of Zion's city I, through grace, a member am, Let the world deride or pity, I will glory in Thy name;

Fading is the worldling's pleasure, All his boasted pomp and show; Solid joys and lasting reasure None but Zion's children know."

A. It is a blessing and a privilege that we can, by the grace of God, be members of his spiritual Zion: 1 Cor. 12.12-13

B. Therefore, we must remember that we are not of this world and not be conformed to the fading pleasures of this world: Rom. 12.1-2

C. Rather, we must recognize that the earthly Zion or church of our Lord becomes the platform upon which we look for the heavenly city in which to dwell with God forever: Rev. 21.1-5

CONCL.: Among hymnbooks published by members of the Lord's church in the twentieth century for use in churches of Christ, this hymn was included in the 1921 "Great Songs of the Church" No. 1 and has been found in many others, though not all. Of the many hymn texts written by Newton, this is considered generally to be one of his finest and most joyous. And when this text is wedded to the stirring music of Haydn, it makes a worthy and uplifting hymn of worship for any congregation. It helps us to be thankful for the church that Jesus purchased with His own blood when we think enough of it to say, "Glorious Things Of Thee Are Spoken."

"GOD IS CALLING THE PRODIGAL"

"For this my son was dead, and is alive again; he was lost, and is found" (Lk. 15.24)

INTRO.: A song which is based on the parable of the son who was lost and then was found is "God Is Calling The Prodigal" (#278 in "Hymns for Worship Revised" and #596 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Charles Hutchinson Gabriel (1856-1932). Born in Wilton, IA, he became a professional musician and was associated with several religious music publishing firms, including those of E. O. Excell and Homer A. Rodeheaver. In 1907 he helped T. B. Larimore edit "The New Christian Hymn Book" for the Gospel Advocate Co.

As a result, many of his songs, for some of which he provided words, some music, and some both, have come into common usage among churches of Christ. These include "Only A Step," "Higher Ground," "I Stand Amazed," "He Lifted Me," "Since Jesus Came Into My Heart," "Jesus, Rose of Sharon," "Send the Light," "Come to the Feast," "Harvest Time," "His Eye Is On The Sparrow," "An Evening Prayer," "Where The Gates Swing Outward Never," "More Like The Master," "Only In Thee," "I Will Not Forget Thee," "The Way Of The Cross Leads Home," "He Is So Precious To Me," and "Glory For Me." In all, he produced around 7000 songs and edited some 108 collections or other musical works.

"God Is Calling The Prodigal" was copyrighted in 1889 by Edwin Othello Excell. By the time of its renewal in 1917 the copyright had passed into the possession of Homer Alvin Rodeheaver. The song was found in the 1921 "Great Songs of the Church" No. 1, edited by E. L. Jorgenson, and has been included in nearly every songbook published for use among churches of Christ since then. However, the editors of the 1986 "Great Songs Revised" apparently did not like Gabriel's own tune, and substituted a new one by Jack A. Boyd, the music editor of the book.

The song encourages those who have wandered away to come to Christ.

I. Stanza 1 emphasizes God's call

"God is calling the prodigal, come without delay; Hear, O, hear Him calling, calling now for thee.

Though you've wandered so far from His presence, come today; Hear His loving voice calling still."

A. God calls us, and does so through the gospel: 2 Thes. 2.14

B. The "prodigal" refers to one who has wasted his life in, as represented by the actions of the young man of Jesus's parable: Lk. 15.11-13

C. And the fact is that all of us at one time or another have wandered away and gone astray: Isa. 53.6

II. Stanza 2 emphasizes God's attitude

"Patient, loving and tenderly, still the Father pleads; Hear, O, hear Him calling, calling now for thee.

O, return while the Spirit in mercy intercedes; Hear His loving voice calling still."

A. God is patient, loving, and tender even toward those in sin: Eph. 2.4-8

B. Therefore, He pleads with us, as He did with Israel of old: Heb. 4.1-7

C. And He makes this plea known by the Spirit who in mercy intercedes with us to come: Rev. 22.17

III. Stanza 3 emphasizes God's blessings

"Come, there's bread in the house of thy father, and to spare; Hear, O, hear Him calling, calling now for thee.

Lo! the table is spread and the feast is waiting there; Hear his loving voice calling still."

A. There is bread, universally the symbol of life: Isa. 55.1-2

B. The table is spread, symbolizing God's bounty for those who follow Him: Ps. 23.5

C. And the feast symbolizes all the spiritual blessings that we have in Christ: 1 Cor. 5.7-8, Eph. 1.3

CONCL.: The chorus continues to stress the fact that God calls all who are weary and wayward to come to Him that they might find rest.

"Calling now for thee; O, weary prodigal, come.

Calling now for thee; O, weary prodigal, come."

This song is most often used for invitation. It is certainly an appropriate one to remind anyone, whether lost sinner or unfaithful Christian, that "God Is Calling The Prodigal."

"GOD IS PRESENT EVERYWHERE"

"Where can I go from Your Spirit? Or where can I flee from Your presence?" (Ps. 139.7)

INTRO.: The text was written by Oliver Holden, who was born at Shirley, MA, on Sept. 18, 1765. At the age of 21 he moved to Charlestown, MA, which had been burned by the British during the Battle of Bunker Hill in 1775, and labored as a carpenter to help rebuild the town. That same year, 1786, while he was working, he beat out the bars of a melody. Later, he failed to show up at work one day, and when friends called at his home they found him at his organ. Having just become the father of a baby girl, he was putting his melody down on paper to celebrate the occasion. Continuing to live in Charlestown, he served as a justice of the peace and even composed a welcoming song for George Washington when the General visited Boston in 1789, even though he had never had a music lesson. Around 1790, having prospered and acquired a great deal of property, he abandoned carpentry and opened a general store.

A member of the Puritan Church in the community, Holden eventually came to serve as its minister. In 1792 he was compiling material for a hymnbook, "American Harmony," and while reading the English periodical "The Gospel Magazine" came across some anonymous verses which he found matched the tune he had composed after his little daughter was born, so he published his melody with "All Hail The Power Of Jesus' Name" in his 1793 "Union Harmony or Universal Collection of Sacred Music." It is the best-known tune used with this hymn in America. In succeeding years, he continued to edit several hymnbooks, including "The Massachusetts Compiler" in 1795, "The Worcester Collection" in 1797, "Sacred Dirges, Hymns and Anthems" in 1800, "Modern Collection of Sacred Music" in 1800, "Plain Psalmody" in 1800, and "Charlestown Collection of Sacred Songs" in 1803.

Around 1808, it is thought that Holden published a small book with 21 of his own poems or hymns which included one beginning "All those who seek a throne of grace," but this cannot be verified. Only one copy of this book remains, and that without a title page, in the possession of Hubert P. Main, who said that it was impossible to identify this hymn because it was signed simply with an "H." A prominent citizen, music teacher, publisher, and real estate agent, Holden served as the Charlestown representative in the Massachusetts House of Representatives for eight terms between 1818 and 1833. The hymn previously mentioned, altered to begin, "They who seek the throne of grace," was published in Peabody's "Springfield Collection" of 1835. Holden died at Charlestown on Sept. 4, 1844. E. S. Lorenz wrote of "They who seek the throne of grace" that "one of his hymns had a wide use in both American and England....After a long and useful life, it, too, has practically disappeared from our hymnals."

The first time I ever saw this hymn, it was used with three stanzas in the 1969 "Hymns of the Spirit," a shaped-note hymnbook edited by Connor B. Hall and published by Pathway Press of Cleveland, TN. The tune was composed by James Henry Fillmore (1849-1936). From there, it was copied directly into the 1977 "Special Sacred Selections" edited by Ellis J. Crum. This is the only book published by someone identified with churches of Christ in which I have seen the song. Since then, as I have continued to collect songbooks, I have seen the text with various tunes in other books, such as the 1902 "Church and Sunday School Hymnal" of the Mennonite Church edited by J. D. Brunk; the 1904 "American School Songs" edited by J. H. Kurzenknabe and published by Hope Publishing Company of Chicago; "The Church Hymnal, The Official Hymnal of the Church of The United Brethren in Christ" of 1935 edited by E. S. Lorenz; "The Hymnal of the Evangelical United Brethren Church" of 1957; and the 1992 "Pilgrim's Praises" another Mennonite book edited by Steven S. Rodabaugh.

Even though this hymn is not well-known among us, it makes some good points about prayer.

I. Stanza 1 says that prayer brings us to the throne of grace.

"They who seek the throne of grace Find that throne in every place;

If we live a life of prayer, God is present everywhere."

A. The Bible teaches that just as ancient kings often allowed citizens to come before their throne to present their petitions, so God has a throne of grace to which we may come to find help in time of need: Heb. 4.14-16

B. Furthermore, because it is a spiritual throne, one does not have to be in some specific physical place to use it but can find it anywhere and everywhere: 1 Kings 8.46-52

C. The basic condition of finding that throne of grace is that we must "live a life of prayer," i.e., live in a right relationship with God what wherever we may be we can "pray without ceasing": 1 Thess. 5.17

II. Stanza 2 says that prayer is useful in both good times and bad.

"In our sickness and our health, In our want, or in our wealth,

If we look to God in prayer, God is present everywhere."

A. In this life, we shall have times of sickness and health: Jas. 5.13-14

B. Also in this life, we shall have times of want and wealth: Phil. 4.11-12

C. However, regardless of our circumstances, if we look to God in prayer, we shall find that His is not far from everyone of us: Acts 17.27

III. Stanza 3 says that prayer is especially helpful in times of woe

"When our earthly comforts fail, When the woes of life prevail,

'Tis the time for earnest prayer; God is present everywhere."

A. There will be times when our earthly comforts fail because of trials and tribulations: Acts 14.22

B. At such times, the woes of life prevail to test our faith and help us develop patience: Jas. 1.2-4

C. Certainly, we should not wait until these times to pray, but when they do come, as they did to Paul, we can go to God in prayer and ask of Him those things that we need: 2 Cor. 12.7-10

IV. Stanza 4 says that prayer is something that God will answer

"Then, my soul, in every strait, To thy Father come, and wait;

He will answer every prayer; God is present everywhere."

A. Sometimes we find ourselves in a "strait," some situation where we are hard pressed: Phil. 1.23

B. When this is the case, we need to come to the Father in prayer and wait: Hab. 2.1-3

C. God has promised that He will hear and answer the prayers of the righteous; the answer may not always be exactly what we want, but the Bible says that His ears are open to our prayers: 1 Pet. 3.12

CONCL.: Obviously, no one hymnbook could contain all the hymns that have ever been written. John Julian's monumental "Dictionary of Hymnology" has 1,768 pages just listing the most commonly used hymns up to that time, and the final edition of it was published in 1908! Think of the hymns written just since then. A few hymns stand the test of time, but some that are popular at one time because they speak to a certain generation are ultimately replaced by others which seem more relevant to succeeding ages. However, even though this rather obscure song is little more than a footnote in the history of hymns, it does have a message that we need to remember. We are children of a loving heavenly Father, and no matter where we happen to be, we can go to Him in prayer because "God Is Present Everywhere."

"GOD IS THE FOUNTAIN WHENCE"

"O Lord...the fountain of living waters, Heal me, O Lord, and I shall be healed" (Jer. 17.13-14)

INTRO.: A hymn that praises God as the fountain of living waters is "God Is The Fountain Whence" (#43 in "Hymns for Worship Revised"). The text was written by Benjamin Beddome, who was born at Henly-in-Arden in Warwickshire, England, on Jan. 23, 1717. The son of John Beddome, a Baptist minister, he was apprenticed to a surgeon in Bristol, but in 1739 went to London where he joined the Baptist Church on Prescott St. and became a minister. In 1740, he began to preach at Bourton-on-the-Water in Gloucestershire, where he remained the rest of his life. A man of some literary culture, he wrote "A Scriptural Exposition of the Baptist Catechism, by Way of Question and Answer" in 1752.

Also, Beddome was a highly respected preacher in his lifetime and was given an honorary M.A. Degree from Providence College in Rhode Island in 1770. It is said that his practice was to prepare a hymn every week to be sung by the congregation after his sermon on Sunday morning. Though they were not intended for publication, he did allow thirteen of them to appear in the 1769 Bristol Baptist "Collection" compiled by Ash and Evans, and 36 in John Rippon's "Selections" of 1787. The date for "God Is The Fountain Whence" is not known, but it may have been somewhere between 1767 and 1787. Beddome died at Bourton on Sept. 3, 1795. The words to this hymn were first published posthumously in 1817, when Robert Hall edited a collection of manuscripts by the Beddome containing 830 of his poems.

That book was called "Hymns Adapted to Public Worship or Family Devotion, now first published from the Manuscripts of the late Rev. B. Beddome, M.A.." Some 100 of these have been included in various collections since then, although only a handful are now in common use. The tune (Gerar) is dated 1839 and is attributed to Lowell Mason (1792-1872). Mason often gave Old Testament names to the melodies which he composed or adapted. "Gerar" is first mentioned in Gen. 10.19. Beddome's hymn originally began, "Love is the fountain whence." The change was possibly made by E. L. Jorgenson when he needed a hymn beginning with the word "God" to fit the alphabetical arrangement of his "Great Songs of the Church" No. 1 which he published in 1921.

Among other popular hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century, this hymn was found in Jorgenson's 1937 "Great Songs of the Church No. 2," the 1963 "Christian Hymnal" edited by J. Nelson Slater, and the 1966 "Christian Hymns No. 3" edited by L. O. Sanderson. Today, it appears in the 1971 "Songs of the Church," the 1990 "Songs of the Church 21st C. Ed.," and the 1994 "Songs of Faith and Praise" all edited by Alton H. Howard; the 1978/1983 "(Church) Gospel Songs and Hymns" edited by V. E. Howard; the 1986 "Great Songs Revised" edited by Forrest M. McCann; and the 1992 "Praise for the Lord" edited by John P. Wiegand; as well as "Hymns for Worship."

The hymn describes some of the blessings that flow to us from God's fountain.

I. According to stanza 1, these blessings include the necessities of life.

"God is the fountain whence Ten thousand blessings flow;

To Him my life, my health, and friends, And every good I owe."

A. God is the fountain whence ten thousand blessings flow because it is He who gives us rain from heavens and fruitful seasons, filling our hearts with food and gladness: Acts 14.15-17

B. Indeed, to Him we owe our very lives, because it is in Him that we live and move and have our being: Acts 17.24-28

C. And we can look to Him to provide for our health, our friends, and the things that we need for them: Matt. 6.25-31

II. According to stanza 2, these blessings include also the comforts and conveniences of life

"The comforts He affords Are neither few nor small;

He is the source of fresh delights, My portion and my all."

A. God not only provides for our needs but also gives us good and perfect gifts for our comfort: Jas. 1.17

B. Therefore, our souls can delight in the comforts that He brings us: Ps. 94.19

C. And as a result, we can look to Him as our portion and our all: Ps. 73.26

III. According to stanza 3, these blessing even extend to that which brings true joy to the heart

"He fills my heart with joy, My lips attunes for praise;

And to His glory I'll devote The remnant of my days."

A. Those who have the redemption that is in Christ can rejoice in the Lord: Eph. 1.7, Phil. 4.4

B. And with this joy in our hearts, our lips can be attuned for praise: Jas. 5.13

C. Those who have these spiritual blessings that bring joy will want to devote the remnant of their days to His glory knowing that we praise Him not only with our lips but with our lives: 1 Cor. 10.31

CONCL.: The Bible often uses various figures of speech to describe our relationship with God in which He provides for all of our needs. A thirsty man in a dry place longs for a fountain full of fresh water to quench his thirst and would be grateful to anyone who could give it to him. In like manner, as we live in this dry and thirsty world, we should be thankful that "God Is The Fountain Whence."

"GOD OF OUR FATHERS"

"The Lord of hosts is with us; the God of Jacob is our refuge" (Ps. 46.7)

INTRO.: A majestic hymn which praises God as the Lord of hosts and asks Him to be our refuge is "God Of Our Fathers" (#39 in "Hymns for Worship Revised"). The text was written by Daniel Crane Roberts, who was born at Bridgehampton on Long Island, NY, Nov. 5, 1841. Educated at Gambier College in Kenyon, OH, he served in the Civil War as a private with the 84th Ohio Volunteers and later received a D.D. degree from Norwich University in 1885. In 1866 he became a minister with the Protestant Episcopal Church and began his work by first serving churches in Montpelier, VT, and Lowell, MA.

This hymn was produced in 1876 when Roberts was 35 and minister of the St. Thomas Episcopal Church in the small, rural village of Brandon, VT, for a local celebration of the nation's centennial Independence Day. It was originally set to the tune of the Russian National Anthem composed in 1833 by Alexis Feodorovich Lvov and was later published in several papers. Roberts submitted the hymn anonymously to a committee appointed to revise the Episcopal "Hymnal," and it was included in the 1892 edition with the Russian Hymn tune.

However, a new tune (National Hymn) was composed for Robert's text by a New York City musician, George W. Warren (1828-1902). It was to be used at the centennial celebration of the United States Constitution in 1892, and was later included in J. I. Tucker and W. W. Rousseau's 1894 "Hymnal Revised and Enlarged" for the Episcopal Church. Upon leaving Brandon, Roberts became minister of the St. Paul's Church in Concord, NH, where he served almost thirty years. In addition, he was also president of the New Hampshire State Historical Society and Chaplain of the National Guard of New Hampshire. He died at Concord on Oct. 31, 1907.

The song was used in the 1937 "Great Songs of the Church No. 2" edited by E. L. Jorgenson, the 1963 "Christian Hymnal" edited by J. Nelson Slater, and the 1966 "Christian Hymns No. 3" edited by L. O. Sanderson. Today it can be found in the 1977 "Special Sacred Selections" edited by Ellis J. Crum, the 1971 "Songs of the Church," the 1990 "Songs of the Church 21st C. Ed.," and the 1994 "Songs of Faith and Praise" all edited by Alton H. Howard, the 1978/1983 "(Church) Gospel Songs and Hymns" edited by V. E. Howard, the 1986 "Great Songs Revised" edited by Forrest M. McCann, and the 1992 "Praise for the Lord" edited by John P. Wiegand, in addition to "Hymns for Worship."

Robert's claim to literary fame is a paean of praise to God who has always blessed His people.

I. Stanza 1 expresses praise to God as the one whose hand leads forth the starry band

"God of our fathers, whose almighty hand Leads forth in beauty all the starry band

Of shining worlds in splendor through the skies, Our grateful songs before Thy throne arise."

A. The Lord is referred to as "God of our fathers," a phrase taken from the scriptures: Ezra 7.27

B. Emphasizing the majesty of this God, the words imply that God can lead His people just as He leads the shining worlds: Gen. 1.14-19

C. Therefore, we should raise songs of grateful praise to Him: Ps. 95.1-3

II. Stanza 2 makes a request to God for guidance in the future as in the past

"Thy love divine hath led us in the past; In this free land by Thee our lot is cast;

Be Thou our Ruler, Guardian, Guide, and Stay, Thy word our law, Thy path our chosen way."

A. God's love has always led those who seek to follow Him: Gen. 24.27

B. Our lot has been cast in this free land because it is God who has made every nation and determined the preappointed times and boundaries of their habitations: Acts 17.26

C. The requests made in this stanza remind us that concerned citizens of the heavenly kingdom should also be involved citizens of their earthly realm and work for its righteousness: Ps. 33.12, Prov. 14.34

III. Stanza 3 then asks God to protect His people both physically and spiritually

"From war's alarms, from deadly pestilence, Be Thy strong arm our ever sure defense;

Thy true religion in our hearts increase, Thy bounteous goodness nourish us in peace."

A. While we recognize that God does not deal with nations today as He specifically did with Old Testament Israel, we should certainly do what we can to turn our nation to the ways of God that His arm might be our ever sure defense: 2 Chron. 7.14

B. Therefore, we can pray that His true religion would increase and influence many: Jas. 1.27

C. And we can pray that those who lead us will do so in a way that is pleasing to God and be productive of peace: 1 Tim. 2.1-2

IV. Stanza 4 makes the final request that God's guidance would extend to never-ending day

"Refresh Thy people on their toilsome way; Lead us from night to never-ending day;

Fill all our lives with love and grace divine, And glory, laud, and praise be ever Thine."

A. We should be ever thankful for the influence that God has had throughout the history of the earth, including in the heritage of our own nation: Exo. 3.15

B. The reason this is important because it is God alone who can lead His people, whatever their circumstances may be here on earth, to never-ending day: Matt. 7.13-14

C. Therefore, both in this life and in the life to come we should seek to give glory, laud, and praise to Him who has done so much for us, both nationally and individually: 1 Pet. 5.11

CONCL.: This hymn, with its acknowledgement of God's providential guidance of our nation's past and of our need for reliance on Him in the future, is serviceable for any patriotic or national celebration. However, the same requests that we might make generally for God's guidance in our nation can also be made specifically for His guidance in His church. Therefore, it has special meaning for true Christians, especially citizens of this great land, who wish to express our praise and see help from the "God Of Our Fathers."

"GUARD THE BIBLE WELL"

"Watch ye, stand fast in the faith, quit you like men, be strong" (1 Cor. 16.13)

INTRO.: A song which encourages us to stand fast in the faith like men is "Guard the Bible Well." The text was written by T. McDougall. I have no other information about the author or the background of the song. The tune was composed by William Howard Doane (1832-1915). I do not know when it was first published. Doane was a successful businessman and amateur hymntune composer of the late 19th and early 20th century. His best-known collaborator was Fanny J. Crosby. Together they produced such beloved hymns as "Safe in the Arms of Jesus," "The Blessed Hour of Prayer," "Though Your Sins Be As Scarlet," "Savior, More Than Life To Me," "I Am Thine, O Lord," "Near the Cross," "Pass Me Not," "Rescue the Perishing," "To God Be the Glory," "To the Work," "Will Jesus Find Us Watching," "Hide Me, O My Savior," and "One Blessed Hour With Jesus." However, he provided tunes for hymns of others also, such as Elizabeth Payson Prentiss's "More Love to Thee, O Christ," Lydia Baxter's "Take the Name of Jesus With You," and Kate Hankey's "Tell Me the Old, Old Story."

I do not know whether there is any connection or not, but this song has the same meter and rhythm, with a military, march-like feeling, as William Fiske Sherwin's "Sound the Battle Cry" ("Sacred Selections for the Church," #223) . Both choruses even begin with the words, "Rouse, then" and use the term "rally." The only book in which I have ever seen "Guard the Bible Well" is the 1935 "Christian Hymns" No. 1 (#306), edited by L. O. Sanderson with C. M. Pullias, N. B. Hardeman, E. H. Ijams, and James F. Cox, for the Gospel Advocate Co., Nashville, TN.

The song exhorts us to participate in the defense of God's holy word.

I. Stanza 1 tells us to guard the Bible

"Guard the Bible well, All its foes repel, The sweet story tell Of the Lord;

Guard what God revealed, As our sun and shield; Never never yield His holy word."

A. We must guard or keep that which has been committed to our trust, and that includes the faith once for all delivered to the saints: 1 Tim. 6.20, Jude v. 3

B. This story is what God has revealed by the power of His Spirit to inspired apostles and prophets: Eph. 3.3-5

C. The purpose for its revelation is to be our sun, a lamp to our feet and a light to out pathway: Ps. 119.105

II. Stanza 2 tells us to fight the good fight of the faith

"Book of love divine, Precious word of Thine, Let it ever shine All abroad;

In the Spirit's might We must win the fight, For this Gospel light, The truth of God."

A. The scripture is the word of God: 1 Th. 2.13, 2 Tim. 3.16-17

B. Because it is from God, we must engage in the fight of faith to defend it: Phil. 1.17, 1 Tim. 6.12

C. This requires that we uphold its truth: Jn. 17.17

III. Stanza 3 tells us to be strong in the battle

"Shout the Bible song, Swell the mighty throng, In the cause be strong Of the right;

Look to God in prayer When the foe you dare, And forever wear His armor bright."

A. The Lord wants us to be soldiers in the mighty throng of His spiritual army: 2 Tim. 2:3-4

B. As soldiers, our job is to dare the foe as we wage the good warfare: 1 Tim. 1.18

C. But to do this, we must wear the armor of God's might: Eph. 6.10-18

IV. Stanza 4 tells us to press on to the victory

"O, ye Christian band, For this Bible stand, By the Lord's command, Ne'er give o'er;

Lead the army on Till the strife is done, And the cause is won, Forevermore."

A. Of course, the name by which this great spiritual army is know is "Christians": Acts 11.26, 1 Pet. 4.16

B. What sets them apart from others is that they obey the Lord's command: Jn. 14.15, 1 Jn. 5.3

C. And because they follow the Lord as their Commander, they shall win the victory when the strife is over: Rom. 8.37, 1 Cor. 15.57, 1 Jn. 5.4

CONCL.: The chorus continues to urge us to stand up for God's word:

"Rouse, then, Christians, Rally for the Bible! Work on, pray on, Spread the truth abroad;

Stand, then, like men, In the cause triumphant, For the Bible is the Word of God."

Many of the gospel songs that were "mass produced" in the late 1800's have passed from the scene and are no longer remembered, and this seems to be one of them. Perhaps one reason is that this is not one of Doane's most memorable tunes. But it is still an interesting song because the message of standing firm for the absolute truth of God's word is certainly one that is sorely needed in this day of compromise. And another thought crossed my mind--it is also possible that songs like this are no longer in vogue because far too few people, even some who call themselves "Christians," even want to "rally for the Bible" because they simply no longer really believe that "the Bible is the Word of God." However, all true children of God will be set for the defense of the gospel and determined to "Guard The Bible Well."

"HALLELUJAH! WHAT A SAVIOR!"

"He is...a man of sorrows, and acquainted with grief" (Isa. 53.3)

INTRO.: A hymn which identifies Christ as the fulfillment of Isaiah's prophecy concerning a man of sorrows and many of the consequences of this fact is, "Hallelujah! What A Savior!" (#161 in "Hymns for Worship Revised" and #48 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Philip Paul Bliss (1836-1878). No information is available concerning any background story for this song. As a song director for revival evangelist Daniel W. Whittle, Bliss provided music for texts by others, such as "I Gave My Life for Thee" and "It Is Well With My Soul," and also produced both text and tune for several songs of his own, such as "Almost Persuaded" and "Wonderful Words of Life." This particular hymn was first published in the "International Lessons Monthly" during 1875. Its first hymnbook inclusion was in "Gospel Hymns No. 2" of 1876.

Searching through hymnbooks published by people associated with and in common use among churches of Christ, the earliest one in which I can find this song is the 1956 "Sacred Selections for the Church" edited by Ellis J. Crum. It did appear in the 1963 "Christian Hymnal" edited by J. Nelson Slater, which is no longer published. It is found in the 1971 "Songs of the Church," the 1990 "Songs of the Church 21st C. Ed.," and the 1994 "Songs of Faith and Praise" all edited by Alton H. Howard; the 1978 "(Church) Gospel Songs and Hymns" edited by V. E.Howard; and the 1992 "Praise the Lord" edited by John P. Wiegand.

The song talks about several aspects of the suffering of Christ.

I. Stanza 1 says that the purpose of His suffering was to save sinners

"'Man of Sorrows,' what a name For the Son of God who came

Ruined sinners to reclaim! Hallelujah! what a Savior!"

A. The word translated "sorrows" literally means pains; Jesus knew that He would "suffer many things from the elders and chief priests and scribes": Matt. 16.21

B. Yet, He was the Son of God who came and was willing to do this: Matt. 16.16

C. Why? It was ruined sinners to reclaim: Lk. 19.10

II. Stanza 2 says that the nature of His suffering was that it was in our place

"Bearing shame and scoffing rude, In my place condemned He stood,

Sealed my pardon with His blood; Hallelujah! what a Savior!"

A. In His suffering, He bore shame and scoffing rude: Matt. 26.39-44, Heb. 12.2

B. Yet, He did this so that He could stand in our place--He died for sinners: Rom. 5.8, 1 Cor. 15.3

C. And therefore, He sealed our pardon with His blood: Eph. 1.7

III. Stanza 3 says that the reason for His suffering is that we are guilty

"Guilty, vile, and helpless we; Spotless Lamb of God was He;

'Full atonement!' can it be? Hallelujah! what a Savior!"

A. We are guilty because we have sinned: Rom. 3.23, 1 Jn. 1.8

B. In contrast, He is the Spotless Lamb of God: Jn. 1.29, 1 Pet. 1.18-19

C. And because He suffered for us, we can have full atonement or reconciliation: Rom. 5.11

IV. Stanza 4 says that the end or goal of His suffering was to die for us

"Lifted up was He to die; 'It is finished,' was His cry;

Now in heaven exalted high, Hallelujah! what a Savior!"

A. He was lifted up to die: Jn. 3.14, 8.28, 12.32-34; Phil. 2.5-8

B. Because His death did have a specific purpose, He cried, "It is finished": Jn. 19.30

C. But now, He is in heaven, exalted high: Acts 1.9-11, Eph. 1.20-21, Phil. 2.9-11

V. Stanza 5 says that the result of His suffering is that He is now King

"When He comes, our glorious King, All His ransomed home to bring,

Then anew this song we'll sing: 'Hallelujah! what a Savior!'"

A. Jesus is now sitting on His throne as King of kings: Acts 2.29-33, Rev. 19.16

B. And someday, our King will return to bring His ransomed home: 1 Thes. 4.16-17

C. Then we shall be able to sing this song around His throne forever and ever: Rev. 5.8-14

CONCL.: We often sing this song before partaking of the Lord's supper, and it is a good song to accomplish the purpose of focusing our minds on the death of Christ. But it should not be limited to that. It is also an excellent song of praise to Christ to be sung at other points in a worship service, or at any time for that matter. Because God loved us enough to send His Son to die on the cross that we might be redeemed, we should always want to say, "Hallelujah! What A Savior!"

"HARVEST TIME"

"Lift up your eyes, and look on the fields; for they are white already to harvest" (Jn. 4.35)

INTRO.: A gospel song which encourages us to look on the fields that are white to harvest is "Harvest Time" (#404 in "Hymns for Worship Revised" and #511 in "Sacred Selections for the Church"). The text was written by Mary Brown. No further information about her is available, but she may well be the same Mary Brown to whom credit is given for the first stanza of the song "I'll Go Where You Want Me To Go," beginning, "It may not be on the mountain's height, Or over the stormy sea...."

The tune was composed by Charles Hutchinson Gabriel (1856-1932). He was a prolific gospel songwriter of the late 1800's and early 1900's, one of whose best known songs is probably "O That Will Be Glory." The earliest date given for "Harvest Time" in 1892. However, many books say that it was copyrighted by the Gospel Advocate Co. in 1931, which would be a likely renewal date, but some newer books say that it was renewed by the Gospel Advocate Co. in 1959.

The song urges each Christian to help out in reaping the Lord's harvest.

I. Stanza 1 emphasizes the call

"Arise! The Master calls for thee, The harvest days are here! No longer sit with folded hands, But gather far and near.

The noble ranks of volunteers Are daily growing everywhere, But still there's work for millions more! Then for the fields prepare."

A. Jesus calls us to participate in the harvest, which here refers to the reaping of souls: Matt. 9.37-38

B. Therefore, we should not sit or stand idle but go to work in his harvest: Matt. 20.1-7

C. The field in which He has called us to labor is the world: Matt. 10.38

II. Stanza 2 emphasizes the need

"Go seek the lost and erring ones Who never knew the Lord; Go lead them from the ways of sin, And thou shalt have reward.

Go out into the hedges where The careless drift upon the tide, And from the highways bring them in--Let no one be denied."

A. We need to be involved in this work because many are lost, like the sheep who went astray, and need to be sought: Lk. 15.4-7

B. We also need to be involved in this work because the Lord has a reward for us if we thus serve Him by serving others: Matt. 25.34-40

C. Hence, we should go out into the hedges and the highways and bring the lost in to the Lord: Lk. 14.16-23

III. Stanza 3 emphasizes the means

"The message bear to distant lands Beyond the rolling sea; Go tell them of a Savior's love--The Lamb of Calvary.

Arise! The Master calls for thee! Salvation full and free proclaim, 'Til every kindred, tribe, and tongue Exalt the Savior's name!"

A. We have the message of the gospel that is to be preached to all nations under heaven: Mk. 16.15-16

B. This message tells of the Savior's love shown by His death on Calvary: Rom. 5.8

C. As a result, the gospel message can bring about salvation to everyone who accepts it: Rom. 1.16-17

CONCL.: The chorus continues the thought of the stanzas about the importance of working for the Lord and getting busy as soon as possible:
"Arise! Arise! The Master calls for thee; Arise! Arise! A faithful reaper be. Arise!

The field is white, and days are going by; Awake, awake, And answer, 'Here am I.'"

This is not the easiest song to sing because it requires alto, tenor, and bass singers who know what they are doing. But it has been in most hymnbooks published by members of the Lord's church for use among churches of Christ during the twentieth century, and thus is reasonably well known. It serves a very useful purpose in waking each of us up to the fact that we need to be laboring diligently for the Lord in His "Harvest Time."

"HAVE THINE OWN WAY, LORD"

"We are the clay, and Thou our potter; and we shall be the work of Thy hand" (Isa. 64.8)

INTRO.: A hymn that talks about our being the clay and God the potter is "Have Thine Own Way, Lord" (#146 in "Hymns for Worship Revised" and #84 in "Sacred Selections for the Church"). The text was written by Adelaide Addison Pollard (1862-1934). A talented writer of both prose and poetry, she produced many religious articles and hymns. In 1902, at the age of 40, she made plans to go to Africa as a missionary teacher, but at the last minute her funding failed and she was forced to cancel her trip. The discouraged woman attended a prayer meeting and heard someone make the following statement: "It's all right, Lord! It doesn't matter what you bring into our lives. Just have your own way with us." Thinking about these words on her way home, she put the hymn on paper before retiring that night. The tune (Adelaide or Holy Desire) was composed later by George Coles Stebbins (1846-1945). The song was first published in his 1907 collection, the "Northfield Hymnal."

The song suggests the way to develope the characteristic of submission to God.

I. Stanza 1 says that we must realize that God is in control.

"Have Thine own way, Lord, Have Thine own way! Thou art the Potter, I am the clay.

Mold me and make me After Thy will, While I am waiting, Yieled and still."

A. God is the potter, and we are the clay: Rom. 9.21

B. Thus, we must be molded by the Lord. As in the story of Jeremiah and the potter's vessel, we should see ourselves as the defective pot, needing to be broken and then reformed by the Master Potter after His will: Jer. 18.3-4

C. To do this, we must always be waiting, yielded and still: Rom. 6.13-16

II. Stanza 2 says that we must look to the Lord to cleanse us from sin

"Have Thine own way, Lord, Have Thine own way! Search me and try me, Master, today!

Whiter than show, Lord, Wash me just now, As in Thy presence Humbly I bow."

A. Our prayer should be for God to search our hearts: Psa. 139.23

B. And after He has searched us, we should ask Him to forgive us. It is our own sins that cause us to be unacceptable before God, so the first step in our remolding is to have them washed as white as snow: Isa. 1.18

C. Again, to do this we must humbly bow before Him in complete submission to His will: Phil. 2.10

III. Stanza 3 says that we must depend on the Lord to help us in our struggles

"Have Thine own way, Lord, Have Thine own way! Wounded and weary, Help me, I pray!

Power, all power, Surely is Thine! Touch me and heal me, Savior divine."

A. David understood the importance of going to God in prayer and asking for strength: Ps. 4.1

B. Of course, the gospel is God's power unto salvation: Rom. 1.16

C. Therefore, we must look to teh gospel as God's means to give us spiritual strength just as Jesus touched the blind man and made Him see: Mk. 8.22-26

IV. Stanza 4 says that we must so live that others will see Christ in us

"Have Thine own way, Lord, Have Thine own way! Hold o'er my being Absolute sway!

Fill with Thy Spirit Till asll shall see Christ only, always, Living in me."

A. Christ wants to hold over our being absolute sway or rule in our hearts: Col. 3.15

B. He also wants us to be filled with the influence of His Spirit: Eph. 5.18

C. Only as we so yield ourselves completely to God's will by crucifying ourselves can others begin to see in the influence of Christ in our lives: Gal. 2.20

CONCL.: Too many people spend their whole lives pursuing their own goals and doing what they want to do rather than taking time to seek what God would have them do. But the Christian's life must be one of complete submission to the will of God. And this attitude is well exemplified by the plea, "Have Thine Own Way, Lord."

"HE LEADETH ME"

"I am the Lord thy God...which leadeth thee by the way that thou shouldest go" (Isa. 48.17)

INTRO.: A song which encourages us to look to the God of peace who leads us in the way that we should go is "He Leadeth Me" (#407 in "Hymns for Worship Revised", #50 in "Sacred Selections for the Church"). The text was written by Joseph Henry Gilmore (1834-1918). After studying to become a Baptist preacher, he substituted for a couple of weeks at the First Baptist Church in Philadelphia, PA, before beginning his first full-time work. On Mar. 26, 1862, during the height of the Civil War, the young Gilmore spoke there on a Wednesday night about Psalm 23. Afterwards several went home with the family of one of the deacons named Thomas Wattson, who resided next door. The Gilmores were staying with them, and the talk centered around the lesson, with its application to their present situation with the war. During the conversation, Gilmore took out a pencil and began writing the hymn on the back of his notes, finishing it in his room later that night.

The next morning he handed it to his wife and forgot it. However, a few months later, she sent it, without his knowledge, to the "Watchman and Reflector" magazine, which printed it. In 1863 the words were seen and the tune (Smither) was composed by William Batchelder Bradbury (1816-1868). Making slight alterations, Bradbury published the hymn the following year in his "Golden Censer" hymnbook. In 1865, Gilmore went to Rochester, NY, to "try out" at the Second Baptist Church. Thumbing through the hymnbook to see what hymns were being used and to find a suitable one to go with his lesson, he saw for the first time, much to his surprise, his poem as a song. Gilmore did move to Rochester, where he also served as professor of Hebrew at the Rochester Theological Seminary and later of English at the University of Rochester.

This hymn exhorts us to follow God's leading in our lives.

I. In stanza 1, we are impressed with the need for God's leadership

"He leadeth me! O blessed thought! O words with heavenly comfort fraught!

Whate'er I do, where'er I be, Still 'tis God's hand that leadeth me."

A. The idea that "He leadeth me" is obviously based on scripture: Psa. 23.1-2

B. And the thought that God leads us is filled with heavenly comfort: 2 Cor. 1.3-4

C. Because He leads us, whatever we do or wherever we be, we have nothing to fear: Isa. 41.13

II. In stanza 2, we are reminded that regardless of what happens in life, we can always look to God for help

"Sometimes 'mid scenes of deepest gloom, Sometimes where Eden's bowers bloom,

By waters still, o'er toubled sea, Still 'tis His hand that leadeth me."

A. Sometimes we find ourselves in scenes of deepest gloom: cf. Psa. 27.11-14

B. Other times, we find ourselves in times of joy and bliss as if we were resting where Eden's bowers bloom: cf. Gen. 2.8-9

C. However, God has promised to be our Helper, so that again we will have nothing to fear: Psa. 118.6

III. In stanza 3, we are encouraged to clasp the Lord's hand in ours

"Lord, I would clasp Thy hand in mind, Nor ever murmer nor repine,

Content, whatever lot I see, Since 'tis my God that leadeth me."

A. We understand the idea of clasping God's hand in ours as symbolic of the deep and abiding trust that the Lord wants us to have in Him: Ps. 139.9-10

B. With this kind of trust, there should never be anything about which we would murmer or repine: 1 Cor. 10.10

C. Rather, this trust will help us learn to be content with such things as we have: Phil. 4.11, 2 Tim. 6.6-8, Heb. 13.5

IV. In stanza 4, we look forward to the time when God will lead us through Jordan

"And when my task on earth is done, Why, by Thy grace, the victory's won,

E'en death's cold wave I will not flee, Since God through Jordan leadeth me."

A. The time will come when our task on earth is done: 2 Tim. 4.6, Heb. 9.27

B. If we have served the Lord faithfully during our lives, we can anticipate with eagerness the victory won: 1 Cor. 15.54-57, 1 Jn. 5.4

C. And then, we can trust in God to lead us in the way of everlasting life: Psa. 139.23-24

CONCL.: The chorus continues to remind us of the importance of having God's leadership as we journey on this earth.

"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."

One of the things that I so desperately need to do is to turn to God for peace and guidance by learning to say, "He Leadeth Me."

"HOLY IS THE LORD"

"...Holy, holy, holy is the LORD of hosts..." (Isa. 6.3)

INTRO.: A hymn which praises the Lord as the one who is holy is "Holy Is The Lord." The text was written by Frances (Fanny) Jane Crosby VanAlstyne (1820-1915). The tune was composed by William Batchelder Bradbury (1816-1868). The copyright to the song was held by the Biglow and Main Co. of New York City, NY, which was successor to the William B. Bradbury Co. and with which Fanny Crosby was under contract to provide three hymns a week. It must have been produced before 1868 when Bradbury died, but I have been unable to locate a date or source for it.

In the historic hymnbooks published by members of the Lord's church and used among churches of Christ in the early part of the 20th century, this song appears only in the 1935 "Christian Hymns" (No. 1) edited by Lloyd Otis Sanderson and others for the Gospel Advocate Co. of Nashville, TN. It is in several older denominational hymnbooks that I have and is a good song of praise to God.

The song explains some reasons why we should praise God as the Holy One.

I. Stanza one says that it is because He is King

"Holy, holy, holy is the Lord! Sing, O ye people, gladly adore Him; Let the mountains tremble at His word, Let the hills be joyful before Him.

Mighty in wisdom, boundless in mercy, Great is Jehovah, King over all. Holy, holy, holy is the Lord, Let the hills be joyful before Him."

A. As King, He is worthy to be adored as we sing to Him: Ps. 21.13

B. Also, because He is King, even the hills should be joyful before Him: Ps. 65.11-12

C. And this King is boundless in mercy: Ps. 103.17

II. Stanza two says that it is because He is divine

"Praise Him, praise Him, shout aloud for joy! Watchman of Zion, herald the story; Sin and death His kingdom shall destroy, All the earth shall sing of His glory.

Praise Him, ye angels, ye who behold Him, Robed in His splendor, matchless, divine.  Holy, holy, holy is the Lord, Let the hills be joyful before Him."

A. As divine, He is worthy of all praise: Ps. 99.1-3

B. Because He is divine, the earth shall sing of His glory: Ps. 145.11

C. Even the angels bow down and bless this Divine One: Ps. 103.20-21

III. Stanza three says that it is because He is eternal

"King Eternal, blessed be His name! So may His children gladly adore Him; When in heaven we join the happy strain, When we cast our bright crowns before Him.

There in His likeness joyful awaking, There we shall see Him, there we shall sing. Holy, holy, holy is the Lord, Let the hills be joyful before Him."

A. This Eternal One has made it possible for us to be His children: 1 Jn. 3.1

B. Also He gives us the hope of an Eternal home with Him in heaven where we shall cast our bright crowns before Him: Rev. 4.10-11

C. And in that eternal home before that Eternal One, we shall be in His likeness: Ps. 17.15

CONCL.: This is another one of those gospel songs of yesteryear which have almost but disappeared and given way to what one brother has called "the 'praise song' or 'new age' genre of so-called hymnody." While it is good to have and learn new songs with which to praise God (so long as they actually say something worthwhile), God always remains the same. So there should also still be some room in our singing vocabulary for the grand old songs of Zion with which believers of all ages have praised Him of whom we can sing, "Holy Is the Lord."

"HOW BEAUTIFUL HEAVEN MUST BE"

"And there shall be no more death, neither sorrow,nor crying....and the Lamb is the light thereof" (Rev. 21.4, 23).

INTRO.: A song which expresses the beauty of that eternal home where there shall be no more death and the Lamb is the light is "How Beautiful Heaven Must Be" (#196 in "Hymns for Worship Revised" and #357 in "Sacred Selections for the Church"). The text was written by Mrs. A. S. Bridgewater (c. 1873-c. 1957). Some books just have " A. S. Bridgewater," and a few older books identify the author as "Rev. A. S. Bridgewater," indicating a denominational minister (in many Pentecostal churches, women have been ministers for many years, but there is no actual evidence that Mrs. Bridgewater was one, although it is still possible). Mrs. Bridgewater was born in North Carolina and married A. Samuel Bridgewater from Tennessee. The couple lived near Hanceville, AL, from 1909 to 1917, where he farmed. It is believed that she produced the words to "How Beautiful Heaven Must Be" during this time. The Bridgewaters left Hanceville around 1917, and no further records of them have been found

The tune (Beautiful Heaven) was composed by Andy Pickens Bland (1876-1938). Bland, who was born in Dallas, TX, but moved to the Cullman, AL, area with his parents when he was about six and grew up near Hanceville, was also listed as the owner of the copyright. The song apparently was published around 1920 but I have not been able to find out in what source or by what company, although most of Bland's songs were published by the J. M. Henson Music Company. Trying to find background information on many of these "Southern gospel-type hymns" along with biographical material on their authors and composers can be extremely difficult. Someone involved in hymn research recently told me, "Many of the old song book publishing houses that dotted the south from about 1900-1950 no longer exist and, in most cases, their records (if they had any to start with) were simply destroyed. Firms like James D. Vaughan, Stamps-Baxter, Trio and many others solicited songs from 'average' people who faded out of the records."

The earliest book published by brethren of my collection in which I have found the song is the 1927 "Cross and Resurrection in Song: Revised and Enlarged," edited by Flavil and Samuel Hall (I do not know if it was in the original 1920 edition, since I do not have a copy of that). It was found in some of Will Slater's books, such as the 1952 "Hymns of Praise and Devotion" and the 1944 "Gospel Songs and Hymns" (although my copy of the latter is a reprint that uses a 1966 arrangement by Stamps-Baxter); some of Tillit Teddlie's books, such as the 1943 "Standard Gospel Hymns" and the 1938 "Spiritual Melodies;" the 1944 "New Wonderful Songs" (originally published in 1938 as "Wonderful Songs") from the Firm Foundation; and the 1940 "Complete Christian Hymnal" edited by Marion Davis and Foy E. Wallace Jr. It has been included in most books used among churches of Christ since then.

The song gives several reasons why heaven will be such a beautiful place.

I. Stanza 1 says that it must be beautiful because it's revealed in God's word

"We read of a place that's called heaven; It's made for the pure and the free.

These truths in God's word He has given; How beautiful heaven must be."

A. We do read of a place that's called heaven: Col. 1.1-3

B. It's made for the pure and the free, because nothing that defiles or causes an abomination will enter there, but only those in the Lamb's book of life: Rev. 21.27

C. These truths in God's word He has given because every aspect of truth that He wants us to know is revealed in His word: Jn. 17.17, 2 Tim. 3.16-17

II. Stanza 2 says that it's beautiful because God's light is forever shining

"In heaven, no drooping nor pining, No wishing for elsewhere to be,

God's light is forever there shining; How beautiful heaven must be."

A. There will be no drooping or pining in this new heaven and new earth where God Himself dwells: Rev. 21.1-3

B. There will also be no wishing for elsewhere to be, because everything there will be perfect: Rev. 21.5-8

C. And the reason why this is so is that God's light is forever there shining; thus, there will be no night: Rev. 21.25, 22.5

III. Stanza three says that it's beautiful because the water of life is there

"Pure waters of life there are flowing, And all who will drink may be free;

Rare jewels of splendor are glowing: How beautiful heaven must be."

A. Pure waters of life there are flowing: Rev. 22.1-4

B. And all who drink these waters will be free: Jn. 4.10-14, 7.37-38

C. Also, rare jewels of splendor are glowing; we recognize that this is based on figurative language that is used simply to describe the beauty of that place: Rev. 21.18-21

IV. Stanza four says that it's beautiful because of the angels' singing

"The angels so sweetly are singing Up there by the beautiful sea.

Sweet chords from their gold harps are ringing; How beautiful heaven must be."

A. The Bible does picture the angels in heaven praising God: Rev. 5.11-14

B. The Halls in "Cross and Resurrection" changed the second line of this stanza from "Up there by the beautiful sea" to "Where all is so happy and free," perhaps because of a perceived conflict with the statement, "There was no more sea" (Rev. 21.1): cf. Rev. 4.6, 15.2, where the sea seems to represent physical separation of man from God by time and space. However, the "sea" in the song could be simply understood to refer generally to waters, and we have already seen that the pure water of life there is flowing.

C. The third line of this stanza has also been a source of trouble for some. Many of our books have just omitted the whole stanza because of it. Wallace in "Complete Christian Hymnal" altered it to "Sweet chords from their voices are ringing." Crum in "Sacred Selections" made an even more drastic change with "The song of redemption is ringing," and most books since then have followed suit. Apparently the reasoning behind this is that some have gone to the book of Rev. to prove that instrumental music is scriptural in the worship of the church because of the mention of harps in heaven. So the thinking must be that since the harps are figurative anyway, we should just omit mentioning them. While Rev. never actually mentions the angels as having harps, it does picture the redeemed as having harps and talks about the sound of harpists playing on their harps: Rev. 5.8, 14.2, 15.2. It has always seemed to me that if we can read the book of Rev. and understand the harps as being a figure of the beautiful sound of the singing of the saints (and angels) in heaven, then we can sing songs using the same language with the same understanding. If not, why not? (The editorial comments are thrown in free of charge).

V. For reasons unknown to me (unless it was to bring the song into their copyright realm) Stamps-Baxter removed stanza 3 and replace it with one written by Dwight Brock in 1966 (who also altered the second line of stanza 1 to read, "Prepared for the pure and the free"). It says that heaven is beautiful because it's a place of fellowship with the redeemed of all ages.

"I'm longing to go to fair heaven, To be with the happy and free;

To spend the long ages in singing: How beautiful heaven must be."

(Notice that this stanza omits the rhyme of lines one and three in all the original stanzas--heaven/singing.)

A. God's people certainly are longing to be with the Lord: 2 Cor. 5.1-4, Phil. 1.21-23

B. And one thing that makes us long to go there is to be with those who have gone on before: Rev. 7.9-17

C. Then we we arrive there, we shall spend with them the long ages in singing praises to the Lamb: Rev. 5.8-10

CONCL.: The chorus reemphasizes the fact that heaven must be a beautiful place because it is the home of the happy and free and the fair haven of rest for the weary.

"How beautiful heaven must be, Sweet home of the happy and free.

Fair haven of rest for the weary, How beautiful heaven must be."

Tragedies such as the 9/11/2001 terrorist attacks in New York, Washington, and Pennsylvania remind us that while we have so many blessings of God in this life for which to be thankful, there are also many trials and tribulations, problems and difficulties, heartaches and sorrows on earth as well. At all times, and especially at times like these, we need to remember "How Beautiful Heaven Must Be."

"HOW SWEET, HOW HEAVENLY IS THE SIGHT"

"By this shall all men know that ye are My disciples, if ye have love one to another" (Jn. 13.35)

INTRO.: A hymn which enumerates the blessings that come when the disciples of Christ have love for one anothers is "How Sweet, How Heavenly" (#219 in Hymns for Worship Revised and #652 in Sacred Selections for the Church). The text was written by Joseph Swaim, who was born at Birmingham, England, in 1761. Becoming an orphan in childhood, he was apprenticed to an engraver and subsequently came to London. Converted through a reading of the scriptures, he was baptized into the Baptist Church in 1783 by John Rippon. From the time of his conversion, he began to express his warm religious feelings in hymns.

Swaim's early works include A Collection of Poems on Several Occasions of 1781, and Redemption: A Poem in Five Books of 1789. One of his best-known hymns generally that has appeared in a few of our books is "O Thou, In Whose Presence," published in his 1791 Experimental Essays on Divine Subjects in Verse and sung to a tune that is attributed to Freeman Lewis. Later that same year, Swaim became minister of the Baptist Church on East Street in Walworth, London, after having been a member of Rippon's Carter Lane Baptist Church in Southward for a number of years.

"How Sweet, How Heavenly," originally entitled "The Grace of Christian Love," was produced in 1792 and first published in Swaim's Walworth Hymns. His later works include the Walworth Hymns Supplement and A Pocket Companion and Directory, both from 1794. An extremely successful minister, Swaim died after a short illness in London on Apr. 14, 1796, and is buried in Bunhill Fields. The tune (Brown) was composed by William Batchelder Bradbury (1816-1868). It was first published in his 1844 book The Psalmist, where it was the setting for the hymn, "I Love to Steal Awhile Away" by Phoebe H. Brown.

This hymn portrays the beauty of truly loving one another both here and in heaven.

I. Stanza 1 reminds us that we should delight in one another's peace

"How sweet, how heavenly is the sight When those that love the Lord

In one another's peace delight, And so fulfill the word."

A. First, of course, we must love the Lord: Mk. 12.30

B. Then, we must endeavor to keep the unity of the Spirit in the bond of peace: Eph. 4.1-3

C. In doing this, we shall fulfill the word of Jesus who prayed for unity among believers: Jn. 17.20-21

II. Stanza 2 reminds us that we should feel and bear our brother's burdens

"When each can feel his brother's sigh, And with him bear a part;

When sorrow flows from eye to eye, And joy from heart to heart."

A. If we truly feel our brother's sigh, then we should strive to help him bear his burdens: Gal. 6.2

B. This will mean weeping with those who weep: Rom. 12.15

C. It also means rejoicing with those who are honored: 1 Cor. 12.26

III. Stanza 3 reminds us that we should be willing to forbear one another's faults

"When, free from envy, scorn, and pride, Our wishes all above,

Each can his brother's failings hide, And show a brother's love."

A. We need to put away all malice, deceit, hypocrisy, envy, and evil speaking: 1 Pet. 2.1

B. The phrase, "Each can his brother's failings hide," means not to ignore sin but to be kind to one another and forgive one another: Eph. 4.31-32

C. The reason that we should do this is that love covers a multitude of sins: 1 Pet. 4.8

IV. Stanza 4 reminds us that we should have a love that will flow through every bosom

"When love in one delightful stream Through every bosom flows;

When union sweet and dear esteem In every action glows."

A. Paul reminds us that love is the greatest: 1 Cor. 13.13

B. Having such a love for one another will help us understand how good and pleasant it is for brethren to dwell together in unity: Ps. 133.1

C. However, love is not just an emotional but is something that must be demonstrated in our actions by how we treat others: Gal. 5.13

V. Stanza 5 reminds us that we should glow with love that we might be heirs of heaven

"Love is the golden chain that binds Our happy souls above;

And he's an heir of heaven who finds His bosom glow with love."

A. Love truly is the golden chain that binds because it is called the bond of perfection: Col. 3.12-14

B. All Christians certainly want to be heirs of heaven: 1 Pet. 1.3-5

C. Thus, because love is of God, those who are like God in this life and who will live with God in eternity are those who love one another: 1 Jn. 4.7-8

CONCL.: This little hymn has often been relegated to a closing song. It can surely be used effectively at the conclusion of a worship service, but it is also good to sing as an opening song, a song before prayer, or a hymn before the sermon, especially one dealing with brotherly love. It emphasizes to us that concerning genuine love for our brethren is "How Sweet, How Heavenly Is the Sight."

"I AM BOUND FOR THE PROMISED LAND"

"But now they desire a better country...an heavenly...for He hath prepared for them a city" (Heb. 11:16)

INTRO.: A familiar song which expresses a desire for that better, heavenly country is "I Am Bound For The Promised Land" (#193 in "Hymns for Worship Revised"). The text was written by Samuel Stennett (1717-1795). It first appeared in the "Selection of Hymns" compiled in 1787 at London, England, by John Rippon (1751-1836). Four of Stennett's stanzas are usually used in most of our books with another tune composed in 1877 by Tullius Clinton O'Kane. The older, and perhaps generally better known, tune (Promised Land) is usually identified as an old traditional American melody or folk hymn and was found in many of the oblong tune collections of the shaped note tradition which were widely used in the southern part of this country in the early part of the nineteenth century.

Several secular songs of that time closely resemble this melody, but it seems to have been first published as a hymn tune in the 1835 "Southern Harmony" edited by William Walker (1809-1875). There, it was attributed to a "Miss M. Durham," about whom no other information has been found to establish this composer's identity. Originally in the key of f-sharp minor, it was altered to F-major and the refrain added, perhaps as early as 1874, by Rigdon McCoy McIntosh (1836-1899). This arrangement seems to have been first published in 1895 by Harvey R. Christie in his "Gospel Light." Christie was a well-known singing teacher among Christian churches and churches of Christ. The alteration has enjoyed immense popularity as a hymn tune.

In "Hymns and History," Forrest M. McCann wrote that the original hymn "consisted of eight 4-line stanzas, according to William J. Reynolds. I have been unable to find the eighth." However, in doing research and looking through "The Good Old Songs" compiled in 1913 by C. H. Cayce, who had a publishing company among the Primitive Baptists, I found eight stanzas. Whether the eighth was from Stennett or added from some other source, I cannot tell. What I propose to do in this hymn study is to examine those stanzas which are not in O'Kane's version and thus not as well-known but can be sung to this same tune. In fact, given the original number of stanzas, there could be two completely separate songs with no overlapping.

The whole hymn describes heaven.

I. One stanza depicts heaven as a beautiful vision that rises to our sight (originally #2).

"O the transporting, rapturous scene That rises to my sight!

Sweet fields arrayed in living green, And rivers of delight."

A. Just as John saw the transporting, rapturous scene in his vision come down out of heaven, so we can see it as he records it in the book of Revelation: Rev. 21.1

B. While much of the imagery is drawn from Revelation, some also comes from the Old Testament as the people prepared to cross Jordan and enter Canaan, which is not surprising since the New Testament likens Jesus's giving us eternal rest to Joshua's leading the Israelites into the Promised Land with its fields of green: Deut. 11.13-15

C. The rivers of delight recall the river of pure water of life, clear as crystal, in John's vision of the new heavens and new earth: Rev. 22.1

II. Another stanza depicts the fruit that grows on the trees besides these rivers (originally #3).

"There generous fruits that never fail On trees immortal grow;

There rock, and hill, and brook, and vale With milk and honey flow."

A. John depicts the New Jerusalem as a place where fruit will be yielded every month: Rev. 22.2

B. This fruit will be borne on the tree of life, the same tree that grew in the Garden of Eden: Gen. 2.9, 3.22-24

C. The fruits of the tree of life in the heavenly city are compared to the beauty of Canaan in its description as a land flowing with milk and honey: Exo. 3.8

III. Still another stanza depicts the place where these fruits grow as a perfectly healthy location (originally #5).

"No chilling winds nor poisonous breath Can reach that healthful shore;

Sickness and sorrow, pain and death, Are felt and feared no more."

A. In this life chilling winds often bring about many problems: Matt. 14.24

B. However, across the sea on the "other shore" is where God is: Rev. 4.6, 15.2

C. Thus, because God is there, the heavenly new Jerusalem will be a place where there will be no tears, death, sorrow, crying, or pain: Rev. 21.4

IV. The final stanza depicts the existence of God's people there as eternal (originally #8).

"There, on those high and flowery plains, Our spirits ne'er shall tire,

But in perpetual, joyful strains, Redeeming love admire."

A. On those high and flowery plains our spirits will never tire because we shall be in the presence of God forever and ever to enjoy eternal life: Matt. 25.34, 46

B. There, we shall join with the saints of all ages in perpetual, joyful strains to sing the song of Moses and the Lamb: Rev. 15.3

C. And in that song we shall admire and praise Christ eternally for His redeeming love: Rev. 5.8-10

CONCL.: The chorus again compares our journey toward heaven with Israel's journey to Canaan:
"I am bound for the promised land, I am bound for the promised land;

O who will come and go with me? I am bound for the promised land."

Others may make fun of the Christian's hope of heaven as a "pie in the sky by and by" religion. However, regardless of the sufferings and sorrows, the trials and tribulations, the problems and hardships that I may have to experience in this life, I can endure them all with the knowledge that "I Am Bound For The Promised Land."

"I AM PRAYING FOR YOU"

"He is able to save them...that come unto God by Him, seeing He ever liveth to make intercession for them" (Heb. 7.25).

INTRO.: A song which suggests that we need to be concerned not only about our own salvation but also about the salvation of others is "I Am Praying For You" (#309 in "Hymns for Worship Revised" and #104 in "Sacred Selections for the Church"). The text was written by Samuel O'Malley Gore Cluff, also spelled Clough (1837-1910). A native of Ireland, he became a minister in the Church of Ireland, which was a branch of the Anglican Church, and began serving at Torquay, Ireland, where in 1860 he published a series of hymn poems under the title of "Timogue Leaflets" that included this hymn. The author of over 1,000 hymns, Cluff became associated with the Plymouth Brethren later in life.

The tune (Intercession) was composed by Ira David Sankey (1840-1908). The music director for evangelist Dwight L. Moody, he and Moody were in the British Isles for a series of evangelistic crusades in 1874. While travelling through Ireland, Sankey found the words of this hymn by Cluff printed anonymously in a leaflet and produced the music for it. The hymn was first printed in his "Sacred Songs and Solos" for use in the British Isles. Within a few weeks, Moody and Sankey were in London where this hymn became immensely popular in their meetings. There is no evidence that Sankey ever knew the identity of the author. In America, the song was first published in Sankey's "Gospel Hymns and Sacred Songs" No. 1, in 1875, co-edited with Philip Paul Bliss (1838-1876).

This song expresses our fervent prayer for the lost.

I. Stanza 1 says that because Christians have a Savior, we should pray that others would make Him their Savior too.

"I have a Savior, He's pleading in glory, A dear, loving Savior, though earth friends be few;

And now He is watching in tenderness o'er me, But O, that my Savior were your Savior too!"

A. The Bible teaches that Jesus Christ came to be our Savior: Matt. 1.21, Lk. 2.10, 1 Tim. 1.15

B. In order to become our Savior, He gave His life as the propitiation for the sins of the whole world: 1 Jn. 2.1-2

C. Therefore, it should be our heart's desire and prayer for others that they too might be saved through Him: Rom. 10.1-2

II. Stanza 2 says that because Christians have a Father, we should pray that others would acknowledge Him as Father too

"I have a Father: to me He has given A hope of eternity, blessed and true;

And soon He will call me to meet Him in heaven, But O, that He'd let me bring you with me too!"

A. God is in a sense the Father of everyone's spirit by reason of physical creation: Gen. 1.26-28, Heb. 12.9

B. However, only certain ones are in a right relationship with God whereby they can call Him their spiritual Father: Matt. 6.9

C. Hence, we need to pray that others will be born again into His spiritual family by coming to Him through Christ: Jn. 3.3-5

III. Stanza 3 says that because Christians have a robe of whiteness, we should pray that others would be able to receive such a robe too

"I have a robe: 'tis resplendent in whiteness, Awaiting in heaven my wondering view;

O when I receive it all shining in brightness, Dear friend, could I see you receiving one too!"

A. Those who will have such robes are people out of every nation, tribe, people, and tongue who have been washed and made pure in the blood of the Lamb: Rev. 7.9-14

B. Since it awaits them in heaven, this emphasizes that the blessings of heaven are reserved only for those who are begotten again: 1 Pet. 1.3-5

C. We should thus labor to bring as many to Christ that they might receive such a robe, too, because no one can come to the Father except by Him: Jn. 14.6

IV. Stanza 4 says that because Christians have a peace that is calm as a river, we shoiuld pray that others will come to know this peace also

"I have a peace: it is calm as a river, A peace that the friends of this world never knew;

My Savior alone is its Author and Giver, and O, could I know it was given to you!"

A. God has always promised to those who would serve Him that they could have peace like a gentle river: Isa. 66.12

B. However, this wonderfuly peace is found only in Christ by yielding our lives in submission to His will: Phil. 4.6-7

C. As we pray that others might know this peace and do what we can to preach the gospel of peace to them, we become peacemakers: Matt. 5.9, Rom. 10.15

V. Stanza 5 says that once Jesus has saved an individual, we should pray that such a person will then seek to take the gospel message to even others

"When Christ has found you, tell others the story That my loving Savior is your Savior too;

Then pray that your Savior will lead them to glory, And prayer will be answered--'twas answered for you."

A. Some have objected to the clause, "When Christ has found you," saying that Christ does not just happen to find us but we must come to Him, and some books have changed it to "When Jesus saves you." However, the process by which this takes place is described by the Lord as when a shepherd goes out and finds His lost sheep: Lk. 15.4-5

B. Once others have come to the Lord for salvation, we should encourage them to teach others also and thus spread the invitation for sinners to come: 2 Tim. 2.2, Rev. 22.17

C. Together, we should pray that the gospel would be preached and that others will be saved: Mk. 15.15-16

CONCL.: The chorus reiterates the main idea of the song, that we should pray for the salvation of others.

"For you I am praying, For you I am praying,

For you I am praying, I'm praying for you."

Certainly, we cannot rightly pray that God will save people in their sins. But it should be our heart's desire and prayer to God for all who are lost that they will come to believe in Jesus as the Savior, turn from their sins in repentance, confess Jesus as their Lord, and obey His will in baptism that they might be saved. Therefore, as a Christian, I ought to have a fervent desire to let others know, especially in regard to the salvation of their souls, that "I Am Praying For You."

"I KNOW GOD'S PROMISE IS TRUE"

"And this is the promise that He hath promised us, even eternal life" (1 Jn. 2.25)

INTRO.: A song which stresses the promise that God has made to us is "I Know God's Promise Is True" (#432 in Hymns for Worship Revised, and #479 in Sacred Selections for the Church). The text was written and the tune was composed both by Lelia Naylor (Mrs. Charles H.) Morris (1862-1929). It was copyrighted in 1899, assigned to the Nazarene Publishing Co., and renewed in 1927 by the Lillenas Publishing Co. I have not been able to locate its origin of publication. Some of Mrs. Morris's other well-known hymns that have appeared in many of our books include "Nearer, Still Nearer," "Let Jesus Come Into Your Heart," "Sweet Will Of God," and "Sweeter As The Years Go By."

Among hymnbooks published by brethren for use in churches of Christ during the twentieth century, "I Know God's Promise Is True" was found in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; the 1940 Complete Christian Hymnal edited by Marion Davis; the 1944 New Wonderful Songs edited by Thomas S. Cobb; the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; and the 1966 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. Today, it can be located in the 1971 Songs of the Church and the 1990 Songs of the Church 21st C. Ed. both edited by Alton H. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand, in addition to Hymns for Worship and Sacred Selections.

The song reminds us of the blessings that are available to us because of God's promise.

I. Stanza 1 mentions the gift of God's Son for our sin

"For God so loved this sinful world, His Son He freely gave,

That whosoever would believe, Eternal life should have."

A. The song begins with the fact that promise of God is based on His love that sent Jesus Christ to die for our sins: Rom. 5.8

B. In Sacred Selections, and several of our books since then, "would believe" has been changed to "would obey," evidently due to the thinking that someone might misunderstand and think "faith only" (interestingly enough, the Complete Christian Hymnal, which was one of the first books among brethren to make changes in hymns for "soundness," did not change this song at all). However, the statement in the song is obviously based on a specific passage of scripture, and if it is scriptural to read, "That whosoever believeth in Him should not perish but have everlasting life," then it should not be unscriptural to sing it: Jn. 3.16 (or should we cross out "whosoever believeth" in the scriptures and substitute "whosoever obeyeth"?)

C. The result of the fact that God loves us and sent Christ to die for us is that we can have the hope of eternal life: Tit. 1.2

II. Stanza 2 mentions the gospel call to come to Christ

"I was a wayward wandering child, A slave to sin and fear,

Until the blessed promise fell Like music on my ear."

A. Peter says that at one time we were all wayward like straying sheep: 1 Pet. 2.25

B. In such a condition, we were slaves of sin: Rom. 6.16

C. However, we are called to come out of sin by the gospel, which reveals God's blessed promise: 2 Thes. 2.14

III. Stanza 3 mentions the freedom from sin that is in Christ

"The 'whosoever' of the Lord, I trusted was for me;

I took Him at His gracious word, From sin He set me free."

A. The call of the gospel is "Whosoever will may come": Rev. 22.17

B. Of course, the means by which we take the Lord at His gracious word is to obey Him: Rom. 5.8-9

C. When we do this, He makes us free from sin: Jn. 8.32-36

IV. Stanza 4 mentions the hope of eternal life that we can have

"Eternal life, begun below, Now fills my heart and soul;

I'll sing His praise forever more, Who has redeemed my soul."

A. Again, in Sacred Selections and many of our books since then, "begun below" has been changed to "promised below" (Hymns for Worship has "the promise below"). It is true that eternal life is not something that we have now as a present possession, but something that we shall receive in the life that is to come: Mk. 10.30

B. However, it might be said that eternal life is begun below in that it is in this life that we meet the conditions upon which God will give us eternal life so that we do have it now as a promise and a hope; this is the sense in which Jesus says that a person "has eternal life": Jn. 6.54

C. Therefore, because Jesus came to offer us eternal life, we should sing praises to Him in whom we have redemption through His blood: Eph. 1.7

CONCL.: The chorus emphasizes the fact that we can place absolute confidence in God's promise.

"'Tis true, O yes, 'tis true, God's wonderful promise is true,

For I've trusted, and tested, and tried it, And I know God's promise is true."

I will most likely face times of fear and doubt in my life. However, as I see in the scriptures all the promises that God has made and how wonderfully He has kept them, then "I Know God's Promise Is True."

"I LOVE HIM BECAUSE HE FIRST LOVED ME"

"We love Him, because He first loved us" (1 Jn. 4.19)

INTRO.: A song which reminds us of the love that Christ had for us and the things that He did for which we love Him is "I Love Him Because He First Loved Me" (#305 in "Sacred Selections for the Church" ). The text was written by Frank E. Roush, who was born on Apr. 11, 1884, at Dodsonville in Highland County, OH, to Isaiah and Lida McDaniel Roush. With his family, he moved to nearby Lynchburg in 1897. The on Feb. 25, 1903, he was baptized and became a member of what is now the First Church of Christ ("independent," instrumental Christian Church) in Lynchburg. Devoting his life to living for Christ, he expressed himself in well over 200 gospel songs, not all published. This is believed to be the most popular of all his hymns. This writer also happened to be born and raised in Highland County, Ohio (though seventy years after Mr. Roush). I never had the privilege of knowing him, but I knew some folks who had known, or at least known of, him, and they reported that he was reputed to have had somewhat of an eccentric personality.

In my possession are several songs, one printed and four copied from handwritten sheets, of songs by Roush with music by others--Bernadine E. Minzler, who also lived at Lynchburg; Paul Jones, who was a long-time minister with the First Church of Christ in nearby Hillsboro, OH; Ed Bousman, who was another Christian Church preacher in Highland County and had a national radio broadcast for many years; Roberta Bousman, who was Ed Bousman's wife and a noted musician; and David W. Williams, about whom I know nothing. The printed sheet announces "Frank Roush Day" on Sunday, November 15, 1959, at the First Church of Christ in Lynchburg, saying, "Since the death of Fanny Crosby, Frank is believed to have more songs to his credit than any remaining living Gospel writer." I sent some messages out seeking further material on him, but I have been unable to find any information about him after 1959, although I assume that his death occurred sometime in the 1960's or early 70's.

The tune was composed by J. E. Sturgis. I have been unable to find very much information on him either, except that he was also apparently associated with the "independent," instrumental Churches of Christ and Christian Churches. According to Forrest M. McCann in "Hymns and History," he co-edited the "Christian Hymnal" in 1924 and edited "Favorite Hymns" in 1933 for Standard Publishing Co., a firm in Cincinnati, OH, which was founded by and produces material for members of the Christian Church. "I Love Him Because He First Loved Me" was copyrighted in 1922 by Sturgis, and it was renewed in 1950 by the Stamps-Baxter Co.

The earliest hymnbook used among (non-instrumental) churches of Christ in which I have found the song is the 1935 "Christian Hymns" No. 1, edited by L. O. Sanderson. It next appeared in the 1940 "Complete Christian Hymnal," edited by Marion Davis. The only other book in print today which I know of that has it is the 1978/1983 "Church Gospel Songs and Hymns" edited by V. E. Howard. I have also seen it in "Wonder Hymns of Faith" published by Standard Publishing Co. (the title page is missing in my copy, so I do not know its date), and "Favorite Hymns of Praise," published in 1972 by Tabernacle Publishing Co., a division of Hope Publishing, which was very popular among Christian Churches in my home county.

The song identifies four ways in which Jesus showed that He first loved us.

I. Stanza one focuses on Christ's coming from heaven to earth

"Christ Jesus, my Lord, from heaven came, To save me from guilt and sin and shame;

His death on the cross of Calvary Brought pardon and gave me liberty."

A. Jesus did indeed come from heaven to earth: Phil. 2.5-9

B. His purpose in so doing was to save us: Lk. 19.10

C. And the result is that we can have liberty or freedom from sin: Rom. 6.17-18

II. Stanza two focuses on Christ's agony in the garden of Gethsemane

"He sweat drops as blood in prayer for me, Heartbroken in old Gethsemane,

While angels from blessed realms of light Gave strength to His aching heart that night."

A. The original read, "He sweat drops of blood;" however, this is not what the scriptures say. They say that "His sweat became like great drops of blood," referring not to the makeup or even color but the amount of sweat: Lk. 22.44

B. This occurred in Gethsemane, where Jesus went to pray with His disciples just before His betrayal and arrest: Matt. 26.36

C. And the agony that He experienced there was so great that an angel from the realm of light came to strengthen Him: Lk. 22.43

III. Stanza 3 focuses on Christ's death on the cross

"Up Calvary's hill the cross He bore, And for me a crown of thorns He wore;

They nailed Him upon the tree to die, Then darkness came over earth and sky."

A. As an expression of the hatred that many had for Jesus, they put a crown of thorns on His head in mockery: Matt. 27.27-39

B . Then they led Him out to Golgotah (Calvary) to be crucified on the cross (tree): Matt. 27:31-35

C. It is often said that perhaps the darkness was sent by God to show the blackness of the deed that was being done in putting His Son to death: Matt. 27.45

IV. Stanza four focuses upon Christ's resurrection

"My Lord who was slain by sinful man, A wonderful friend to me has been;

He rose from the tomb with victory, And now I love Him as He loves me."

A. Because Jesus was willing to be slain for us, He is a wonderful friend to us: Jn. 15.13-15

B. But even more wonderful is that He rose from the tomb with victory: Rom. 1.3-4

C. And because He is our living Savior, we should certainly love Him as He loved us: Mk. 12.30

CONCL.: The chorus re-emphasizes the main theme of the song:

"I love Him because He first loved me, He first loved me, He first loved me;

I love Him because He first loved me, And died on the cross of Calvary."

After the congregation among whom I grew up purchased "Sacred Selections," while I was still living at home I often led this song, because some of the members had known or at least known of Mr. Roush. However, since then, even when working with churches that used "Sacred Selections" and trying to introduce the song, I found that very few brethren seemed familiar with it. Editor Crum puts it in with songs that can be used before the Lord's supper, and it is a very good hymn for that purpose. I find that it is good to be reminded from time to time how much "I Love Him Because He First Loved Me."

"I LOVE THEE, I LOVE THEE"

"O love the LORD, all ye His saints: for the LORD preserveth the faithful..." (Ps. 31.23)

INTRO.: A song that encourages us to show our love for the Lord in both praise and obedience is "I Love Thee, I Love Thee." The text is sometimes attributed to John Adam Granade (late 1700's or early 1800's). However, it is generally considered of folk origin and is now known to have first appeared in the 1801 "Collection of Hymns and Spiritual Songs" published by Richard Allen (1760-1831). The tune (Charity) is also most likely of folk origin. Both words and music appear to have been arranged in their present form by Jeremiah Ingalls, who was born in Andover, MA, on Mar. 1, 1746. When he was thirteen, his father, Abijah Ingalls, died from the hardships and privations of being a soldier in the Revolutionary War.

Jeremiah later settled in Newbury, VT, and married Mary Bigelow. At various times he made his livelihood by working as a farmer, a cooper or barrelmaker, an inkeeper, and a singing teacher. In fact, the Ingalls family was a very musical group. All of Jeremiah's hcildren played instruments--violin, flute, clarinet, and bassoon--with their father leading the ensemble with his bass fiddle. At Newbury, Ingalls was a deacon and the song director in the local Congregational Church. During this time, he compiled a much used hymnbook, "The Christian Harmony, or Songsters Companion," which was published in 1805 by Henry Ranlet of Exeter, NY, and contained a number of tunes composed or arranged by Ingalls.

It is from this collection that the hymn, "I Love Thee, I Love Thee," is taken, its being the first appearance of the melody in print. The Ingalls family moved to Rochester, VT, in 1819, and later to Hancock, VT, where Jeremiah died at the age of 64 on Apr. 6, 1828. Ingalls's hymnbook was evidently quite well known in early nineteenth century New England, but only this song seems to have maintained any lasting degree of popularity. The first songbook published by members of the Lord's church for use among churches of Christ in which I saw the song was the 1963 "Christian Hymnal" edited by J. Nelson Slater, but it has appeared in several others since then.

It mentions some things we do to express love for Christ.

I. Stanza 1 says that how much we love Christ will be shown by our actions

"I love Thee, I love Thee (some books substitute "my Jesus" for the second "I love Thee" to avoid so much repetition), I love Thee, my Lord; I love Thee, my Savior, I love Thee, my God.

I love Thee, I love Thee, and that Thou dost know, But how much I love Thee my actions will show."

A. The Bible teaches us that we are love the Lord: Matt. 22.37

B. We should love Him precisely because He is our Savior and our God: 1 Tim. 2.3-4

C. But if we truly love the Lord, we must obey Him: Jn. 14.15, 1 Jn. 5.3

II. Stanza 2 says that our love for the Lord enables us to stand on the mount

"I'm happy, I'm happy, O wondrous account! My joys are immortal, I stand on the mount!

I gaze on my treasure and long to be there, With Jesus and angels and kindred so dear."

A. Those who are in Christ can rejoice always in the Lord: Phil. 4.4

B. If they really love Him, they will stand up for Him on His mount: Eph. 6.10-13, Rev. 14.1

C. Standing with Christ, they can gaze on their treasure: Matt. 6.19-20

III. Stanza 3 says that when we love the Lord, His love will be our song

"O Jesus, my Savior, with Thee I am blest, My life and salvation, my joy and my rest:
Thy name be my theme, and Thy love be my song, Thy grace shall inspire both my heart and my tongue."

A. We are blest with Jesus because in Christ all spiritual blessings are found: Eph. 1.3

B. Because He is our Savior, He is our life and salvation, our joy and our rest: Matt. 1.21

C. If we love Him, then we shall sing with grace in our hearts to Him: Eph. 5.19, Col. 3.16, Jas. 5.13

IV. Stanza 4 says that those who love the Lord will praise Him with notes loud and clear

"Oh, who's like my Savior? He's Salem's bright King: He smiles, and He loves me, and helps me to sing;

I'll praise Him, I'll praise Him in notes loud and clear, While rivers of pleaserue my spirit shall cheer."

A. Jesus is Salem's bright King because He is after the order of Melchizedek: Heb. 7.1-17

B. Because He is our King, He smiles, and loves us, and helps us to sing as He is seated at the right hand of the throne of the Majesty in the heavens: Heb. 8.1

C. If we love Him, then we must serve Him and praise Him: Heb. 12.28, 13.15

CONCL.: This song, especially in the first stanza, is somewhat repetitive, and for this reason, a couple of recent books have omitted it altogether. However, it contains an excellent message about our love for the Lord. Could it be that an ulterior motive for omitting the stanza is to avoid having people sing, "But how much I love Thee my actions will show"? Such words encourage each of us to examine our lives and to ask ourselves the question, "Can I really say to Christ, 'I Love Thee, I Love Thee'"?

"I SHALL BE LIKE HIM"

"...When He shall appear, we shall be like Him" (1 Jn. 3.2)

INTRO.: A song that emphasizes the importance of being like Jesus here so that we might be like Him when He appears is "I Shall Be Like Him" (#569 in "Sacred Selections for the Church"). The text was written and the tune was composed both by W. A. Spencer (19th century). I have not been able to find any information further about Spencer, the background of the song, or its origin of publication other than that it was first published in 1897.

It was used in the 1921 "Great Songs of the Church" No. 1 and the 1937 "Great Songs of the Church No. 2" both edited by E. L. Jorgenson. It appeared in the 1948 "Christian Hymns No. 2" edited by L. O. Sanderson, but the title, first line, and chorus were all changed to "We Shall Be Like Him." And it was found in the 1963 "Abiding Hymns" edited by Robert C. Welch. Other than "Sacred Selections," it is not included in any hymnbooks commonly used among churches of Christ today. 'Tis a pity!

The song connects the need for Christlikeness in this life with the promise of His coming.

I. Stanza 1 points forward to the time of Christ's coming

"When I shall reach the more excellent glory, And all my trials are past,

I shall behold Him, O wonderful story! I shall be like Him at last."

A. "Glory" here refers to the exalted state that the redeemed will have in the presence of God, just as Jesus Himself was received up into glory: 1 Tim. 3.16

B. When we reach that state, we shall behold Him: Matt. 5.8

C. However, not only shall be behold Him, we shall also be like Him: Phil. 3.20-21

II. Stanza 2 points to the present and the fact that we can be like Him spiritually even here

"We shall not wait till the glorious dawning Breaks on the vision so fair;

Now we may welcome the heavenly morning, Now we His image may bear."

A. Someday the glorious dawning will break on our vision so fair when Jesus comes again: Acts 1.11

B. However, even now we may welcome the heavenly morning by having Christ dwell in our hearts by faith: Eph. 3.17

C. While it is true that when Christ shall appear, we shall be like Him, conformed to His glorious body, we do not have to wait till then to be "like Him;" we can and should strive to be conformed to His image here: Rom. 8.29

III. Stanza 3 ties the future with the present saying that our being like Him now enables us to be make like Him then

"More and more like Him, repeat the blest story, Over and over again;

Changed by His Spirit from glory to glory, I shall be satisfied then."

A. The Lord wants us to be more and more like Him as we continue our journey on earth by following in His steps: 1 Pet. 2.21

B. This is possible as we allow ourselves to changed by His Spirit from glory to glory: 2 Cor. 3.18

C. Then, when this process is completed, we can be satisfied as our vile bodies are raised in glory with the image of the heavenly Man: 1 Cor. 15.48-49

CONCL.: The chorus continues to repeat the idea that we can be like Him:

"I shall be like Him, I shall be like Him, And in His beauty shall shine;

I shall be like Him, wondrously like Him, Jesus, my Savior divine."

As I journey here upon this earth toward heaven, striving to emulate in my life the example of Jesus Christ, I can be encouraged by the certain hope that when He comes again for me, "I Shall Be Like Him."

"I STAND AMAZED"

"Christ also hath loved us and hath given Himself for us an offering and a sacrifice..." (Eph. 5.2).

INTRO.: A song which emphasizes the love that Christ has shown for us by giving Himself as an offering and a sacrifice for us is "I Stand Amazed," also known as "My Savior's Love" (#186 in "Hymns for Worship Revised" and #303 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Charles Hutchinson Gabriel (1856-1932). Born in Iowa, he became a singing teacher and music publisher, lived in Chicago, IL, for a number of years during which time he was associated with the Homer Rodeheaver Company, and died in California. His work is known among churches of Christ primarily from the fact that he assisted T. B. Larimore in editing "The New Christian Hymn Book" for the Gospel Advocate in 1907. Often, he used the pseudonym "Charlotte G. Homer."

Many of his other hymns have become familiar to us, such as "Only a Step," "He Lifted Me," "Send the Light," "O That Will Be Glory," "More Like the Master," "I Will Not Forget Thee," "God Is Calling the Prodigal," and "The Gates Swing Outward Never." He composed tunes for the songs "Harvest Time," "Higher Ground," "Only In Thee," "An Evening Prayer," "Jesus, Rose of Sharon," and "The Way of the Cross Leads Home." And he wrote the text for "All Things Are Ready" (or "Come to the Feast"). Nothing is known of the circumstances of the writing of "I Stand Amazed." It was first published at Chicago in E. O. Excell's little 1905 hymnbook "Praises."

Among hymnbooks used by churches of Christ, the song was included in the 1921 "Great Songs of the Church" No. 1 and the 1937 "Great Songs of the Church No. 2" both edited by E. L. Jorgenson; the 1963 "Christian Hymnal" edited by J. N. Slater; the 1963 "Abiding Hymns" edited by R. C. Welch; and the 1966 "Christian Hymns No. 3" edited by L. O. Sanderson. It is still found today in the 1971 "Songs of the Church," the 1990 "Songs of the Church 21st C. Ed.," and the 1994 "Songs of Faith and Praise" all edited by A. H. Howard; the 1978/1983 "(Church) Gospel Songs and Hymns" edited by V. E. Howard; the 1986 "Great Songs Revised" edited by F. M. McCann; and the 1992 "Praise for the Lord."

The song mentions the many expressions of Christ's love for us.

I. Stanza 1 says that He was "Jesus the Nazarene"

"I stand amazed in the presence Of Jesus the Nazarene,

And wonder how He could love me, A sinner, condemned, unclean."

A. A "Nazarene" was an inhabitant of Nazareth, so this immediately implies His leaving heaven and coming to earth as a human being: Jn. 1.1, 14; Phil. 2.5-8.

1. That Jesus was a Nazarene is identified as the subject of prophecy: Matt. 2.23; however, no specific prophecy of this nature is found in the Old Testament (note--it has nothing to do with being a Nazirite; cf. Judg. 13.5)

2. Some suggest that the root of the name "Nazareth" is branch and that this has reference to the prophecies which call the Messiah "the branch": Isa. 11.1, Jer. 23.5, Zech. 6.12

3. Others suggest that it may have reference to the fact that the Messiah was to be despised and rejected in that people would say, "Can any good thing come out of Nazareth?": Isa. 53.3, Jn. 1.46

B. In any event, this Nazarene certainly did love us: 1 Jn. 3.16

C. And it is amazing love because He loved us even while we were yet sinners, condemned and unclean: Rom. 5.8

II. Stanza 2 says that He agonized in the garden for us

"For me it was in the garden He prayed, 'Not My will, but Thine;'

He had no tears for His own griefs, But sweat-drops of blood for mine."

A. It was for us in the garden of Gethsemane that He prayed,"Nevertheless, not as I will, but as You will" or "Nevertheless, not My will, but Yours be done": Matt. 26.39, Lk. 22.42

B. "Sacred Selections" omits this stanza completely and "Hymns for Worship" changes it to, "He cried with tears in His sorrow." Apparently Shepard and Stevens felt that He did have tears for His own griefs or sorrows based on Heb. 5.7. However, through the years that I sang the song in its original version, I always thought that this meant simply that His suffering, which included the agonizing in the garden, was not for any griefs brought about by sin on His part but that all His tears and crying were the result of our sins, the just suffering for the unjust: 1 Pet. 3.18

C. The last line of this stanza might be changed to "But sweat-drops AS blood for mine" (sweat here is not a verb but an adjective describing drops which is a second object of the verb had). While I am not sure that the change of the previous line by Shepard and Stevens was necessary, I do believe that this change is warranted based on what the scriptures actually say, "And being in agony, He prayed more earnestly. Then His sweat became like great drops of blood falling down to the ground" (Lk. 22.44; KJV--"And his sweat was as it were great drops of blood"). Some people teach that Jesus actually sweat blood in the garden, thus making atonement for our sins there. But the scriptures do not say that. Sometimes this passage is explained by pointing to a phenomenon known as "bloody sweat," that under extreme pressures, sometimes little blood vessels break so that some blood gets into the sweat and tinges it red or pink. That may be true, but the text does not even demand that. It is not talking about color but size, saying simply that Jesus was sweating so profusely that it was pouring off Him in the same way that blood would pour off a person who was cut severely. In any event, I understand the statement to mean that all of His suffering was for us, on account of our sin: 1 Pet. 4.1

III. Stanza 3 says that He had sorrows for us

"In pity angels beheld Him, And came from the world of light

To comfort Him in the sorrows He bore for my soul that night."

A. The agony of Jesus in the garden was not the end, but in fact the beginning of His sorrows, so an angel appeared from heaven, strengthening Him not only during the agony of the garden but undoubtedly for the rest of His tribulations as well: Lk. 22.43

B. And certainly Jesus did experience many sorrows for us: Isa. 53.4-9

C. And these sorrows included that very same night the unjust trial that He underwent, with all the cruel mocking: Matt. 26.47-69

IV. Stanza 4 says that He died for our sins

"He took my sins and my sorrows, He made them His very own;

He bore the burden to Calvary, And suffered, and died alone."

A. He took our sins and made them as though they were His very own: 2 Cor. 5.21, 1 Pet. 2.24

B. Thus, He bore the burden to Calvary, which is the Latin name of the place Golgotha, where Jesus died for us: Lk. 23.33, Jn. 19.17-18, 1 Cor. 15.3

C. There He suffered and died alone. The statement that He died alone is undoubtedly occasioned by His cry, "My God, My God, why have You forsaken Me?" in Mt. 27.46 (Mk. 15.34). Theologians and even brethren have debated the precise meaning and application of this phrase for years, but the usual explanation is that because Jesus was bearing our sins, it was necessary for God to turn away from Him at that time and let Him die alone.

V. Stanza 5 says that He makes possible the hope of glory

When with the ransomed in glory His face I at last shall see,

'Twill be my joy through the ages To sing of His love for me."

A. "Glory" here refers to being in the very presence of God Himself: Psa. 73.24, Col. 1.27

B. When we stand in glory with the ransomed, then at last His face we shall see, for when He comes we shall see Him as He is: 1 Jn. 3.1-2

C. And at that time, we can join with the redeemed of all ages to sing of His love for us eternally: Rev. 5.8-14

CONCL.: The chorus concludes by remarking how marvellous and wonderful is Christ's love for us.

"How marvelous! how wonderful! And my song shall ever be:

How marvelous! how wonderful Is my Savior's love for me!"

The whole song is filled with joyful praise for the suffering and sacrifice that Jesus was willing to undergo so that we might have salvation and the hope of heaven. We often use this song to prepare our minds for partaking of the Lord's supper, and it is a good one for that purpose. But I can sing the song anytime, and should sing it often, to remind myself that in the presence of Him who loved me and gave Himself for me, "I Stand Amazed."

"I SURRENDER ALL"

"Whosoever he be of you that forsaketh not all that he hath, he cannot be my disciple" (Lk. 14.33)

INTRO.: A song which expresses the idea of forsaking all to be a disciple of Jesus is, "I Surrender All" (#332 in "Hymns for Worship Revised" and #98 in "Sacred Selections for the Church"). The text was written by Judson Woodbridge VanDeVenter (1855-1939). He was an artist who became a preacher in the Methodist Episcopal Church who did evangelistic work. The words were penned in 1896 while he was conducting a meeting at East Palestine, OH, to recall an earlier time when, after a long struggle between continuing in art or going into fulltime religious work, he had finally surrendered and dedicated his life to Christ. The tune (Surrender) was composed by Winfield Scott Weeden (1847-1908). Weeden was the song director for VanDeVenter's evangelistic campaigns. The song was first published in Gospel Songs of Grace and Glory, compiled in 1896 by Weeden, VanDeVenter, and Leonard Waver in Philadelphia, PA, for the Hall-Mack Co. Originally the music was written for soprano-tenor duet. However, some alterations were made to the text and an arrangement for full four-part harmony was done in 1935 for "Christian Hymns" (No. 1) by the editor Lloyd Otis Sanderson (1901-1992).

The song suggests what we must do to surrender to Jesus.

I. In stanza 1, we must freely give all to Him

"All to Jesus I surrender, All to Him I freely give;

I will ever love and trust Him, In His presence daily live."

A. Giving our all means that we must put His will first in our lives: Mt. 6.33

B. It also means loving Him with all our heart, soul, mind, and strength: Mk. 12.30

C. In short, it means having the attitude that Peter expressed when he said, "We have left all and followed You": Lk. 18.28

II. According to stanza 2, we must humbly bow at His feet

"All to Jesus I surrender, Humbly at His feet I bow;

Worldly pleasures all forsaken, Take me, Jesus, take me now."

A. Bowing at Jesus' feet is an expression of the repentance that God demands: Psa. 51.15-17

B. It demands that we submit ourselves fully to Him and forsake all worldly pleasure: Lk. 14.33

C. Paul is an example of this complete submission to Christ: Gal. 2.20

III. In stanza 3, we must come with the desire to belong wholly to Him

"All to Jesus I surrender, Make me, Savior, wholly Thine;

Let me know the joy of living, Truly know that Thou art mine."

A. Asking Jesus to make us wholly His is the attitude that Jesus demands of His followers: Mt. 16.24-26

B. Only those who so live in Christ can know the joy of living: Phil. 4.4 (the original read, "Let me feel the Holy Spirit")

C. Of course, for Christ to make us wholly His, we must make sure that He is wholly ours by doing the will of the Father: Matt. 7.21

IV. As stanza 4 tells us, we must give OURSELVES to Jesus

A. Giving ourselves to Jesus simply means that we must give Jesus first place in our lives before all else: Mt. 10.34-38

B. This should call to our remembrance the total commitment of the Macedonians, who first gave themselves to the Lord: 2 Cor. 8.5

C. An example of one who surrendered himself to Jesus in order that he might know the true joy of living was the Philippian jailor: Acts 16.30-34

V. Stanza 5 concludes with the blessings that come from surrendering all to Jesus

"All to Jesus I surrender; Now I feel the sacred flame.

O the joy of full salvation! Glory, glory, to His name!"

A. Most of our books have omitted this stanza, perhaps because the editors thought this might be confused with some direct operation of the Holy Spirit, but the sacred flame could be understood simply to refer to the influence of God's word in our hearts: Jer. 20.9

B. Those who surrender to Christ in full obedience can know the eternal salvation that Christ offers: Heb. 5.8-9

C. And as such, they will want to give glory to His name: Rev. 14.7

CONCL.: The chorus repeats the commitment that is made in each stanza to surrender all to Jesus.

"I surrender all, I surrender all;

All to Jesus I surrender, I surrender all."

This song demonstrates the sort of full self-sacrifice that is necessary to come to Jesus, receive His salvation from sin, live for Him here, and have the hope of eternal life in heaven with Him. If I wish to please Christ, I must tell Him, "I Surrender All."