*STARTLOGIC SUPPORT INSERT/SAVE TEXT. PLEASE REMOVE* Note from Wayne S. Walker: Over the past several years, I have posted on various e-mail lists weekly hymn studies which give biographical information about the authors and composers of different hymns along with background material and a scriptural exposition of each hymn. I am currently trying to go back and post some of the previous hymn studies on this website, and I will start posting current ones each week. They will be arranged in alphabetical order by title. Also, some of these hymn studies, along with many others, are now included in book that I have written entitled Songs of Zion. It can be ordered from the publisher by calling 1-800-423-2484 or going to www.faith-facts.com. If you have any questions or comments, you can contact us by e-mail at: defender@defenderoftruth.com. And if you would like to receive a daily hymn study, similar to those on this website, by e-mail, you can join the Hymn of the Day list by sending a blank e-mail to hymnoftheday-subscribe@yahoogroups.com. "MAKE ME A CHANNEL OF BLESSING" "Therefore if anyone cleanses himself from the latter, he will be a vessel for honor, sanctified and useful for the Master, prepared for every good work" (2 Tim. 2.21). INTRO.: A song which encourages us to be vessels of honor, fit for the Master and prepared for every good work is "Make Me A Channel Of Blessing" (#96 in "Sacred Selections for the Church"). The text was written and the tune (Euclid) was composed both by Harper G. Smyth (1873-1945). A native of New York City, NY, he received his musical training in that city and for two years was a member of the Metropolitan Opera Company. After working briefly in Atlanta, GA, and Indianapolis, IN, he served as song leader on tours with Maud Ballington Booth of the Salvation Army and evangelist J. Wilbur Chapman. This song was produced in 1903. The earliest collection in which it has been found is "Hymns, Psalms, and Spiritual Songs," compiled in 1904 by James McGranahan. In 1913 Smyth settled in Cleveland, OH, where he maintained a vocal studio and was active in the musical life of the city, which included being the official songleader for the National Republican Convention which was held at Cleveland in 1924. In April of 1945 he suffered a stroke while leading singing for a group of recruits at the Army Induction Center and died four months later. Among historic hymnbooks used in churches of Christ, the song is found in the 1921 "Great Songs of the Church" No. 1 (#143) and the 1937 "Great Songs of the Church No. 2" (#117) both edited by E. L. Jorgenson; and the 1935 "Christian Hymns" No. 1 (#56) and the 1948 "Christian Hymns No. 2" (#89) both edited by L. O. Sanderson. Among books currently in use, it is found in the the 1971 "Songs of the Church" (#344) edited by Alton H. Howard; and the 1992 "Praise for the Lord" (#341) edited by John P. Wiegand, in addition to "Sacred Selections." This song tells us how we can be channels of blessing for God I. Stanza 1 says that we must tell the lost of the Savior "Is your life a channel of blessing? Is the love of God flowing through you? Are you telling the lost of the Savior? Are you ready His service to do?" A. The love of God for mankind is wonderful, but if we have received it, He wants it to flow through us to others: 1 John 4.9-11 B. And the way we let this happen is to tell others of what He has done for us, as Jesus asked the healed demoniac to do: Mk. 5.1 19 C. In this way, we will be ready His service to do: Isaiah 6.8 II. Stanza 2 says that we must urge upon those who are straying the message of the cross "Is your life a channel of blessing? Are you burdened for those that are lost? Have you urged upon those who are straying The Savior who died on the cross?" A. Paul was certainly burdened for those who were lost: Rom. 10.1-3 B. And he urged upon those who were straying by preaching the gospel of Christ that they might be reconciled to God: 2 Cor. 5.18-20 C. The message of the Savior who died on the cross may seem as foolishness to the world, but it is the only way of salvation: 1 Cor. 1.18-24 III. Stanza 3 says that we must speak the word of salvation to those in sin "Is your life a channel of blessing? Are you daily telling for Him?" Have you spoken the word of salvation To those who are dying in sin?" A. Speaking for Jesus should be something that is a part of our lives every day: Lk. 9.23, Acts 2.46, Heb. 3.13 B. And what we should be speaking every day is the gospel of Christ which is God's power to salvation: Rom. 1.16 C. Why? Because there is a whole wide world out there who is dying in sin: 2 Cor. 5.10-15 IV. Stanza 4 says that we must have lives that are free from all sin so that we will not be barriers and hindrances to others "We cannot be channels of blessing If our lives are not free from all sin; We will barriers be and a hindrance To those we are trying to win." A. Obviously, the Bible teaches that no one, even Christians, are perfectly free from all sin, but we cannot continue to live in sin and be channels of blessing: 1 Jn. 3.4-9 B. If those who are supposed to be Christians do continue in sin, they will become barriers and hindrances to others: 1 Tim. 5.14, Tit. 2.7-8 C. Therefore, we need to keep our lives pure and holy that we might have an influence for good on those we are trying to win: 1 Pet. 1.15, 2.11-12 CONCL.: The chorus asks God to help us in achieving these goals: "Make me a channel of blessing today, Make me a channel of blessing, I pray; My live possessing, my service blessing; Make me a channel of blessing today." As a Christian, it should be my daily aim and prayer to God that He would help to "Make Me A Channel Of Blessing." "MEET ME THERE" "In the midst...on either side of the river, was there the tree of life..." (Rev. 22.2). INTRO.: A song about heaven that mentions the river on either side of which is the tree of life is "Meet Me There" (#441 in "Sacred Selections for the Church"). The text was written, under the penname of Henrietta E. Blair, by Frances Jane Crosby VanAlstyne, who for professional reasons used her maiden name of Fanny J. Crosby (1820-1915). The tune was composed by William James Kirkpatrick (1838-1921). The song was first published in Kirkpatrick's 1885 "Songs of Joy and Gladness." The copyright was renewed in 1913 by Hope Publishing Co. Fanny J. Crosby was such an enormously popular writer of gospel song texts during the late 1800's and even into the early 1900's that her primary publisher, Biglow and Main of New York City to whom she was under contract, as finding that many of it collections consisted almost entirely of her songs. Therefore, wanting the buyers of their books to think that they were not limited to a single author, they used pennames for many of her hymns. Other publishers, such as Kirkpatrick's Praise Publishing Co. of Philadelphia, had to use pennames for many of her songs because of her contract to Biglow and Main. In songbooks published by members of the Lord's church for use among churches of Christ in the twentieth century, this song first appeared, so far as I know, in the 1956 "Sacred Selections." To my knowledge, it was not included in any of the most popular books during that time, including "Great Songs" by E. L. Jorgenson, the Gospel Advocate's "Christian Hymns" series, and books published by the Firm Foundation. It is found in the 1971 "Songs of the Church" edited by Alton H. Howard and the 1992 "Praise for the Lord" edited by John P. Wiegand. The song both expresses the desire for heaven and the encouragement of others to go. I. In stanza 1, heaven is a place of joy "On the happy, golden shore, where the faithful part no more, When the storms of life are o'er, meet me there; Where the night dissolves away into pure and perfect day, I am going home to stay, meet me there." A. In the figurative language of Revelation, the throne of God is pictured as being surrounded by a sea of glass like crystal: Rev. 4.6; thus in poetry, the eternal state of the redeemed is often pictured as being "on the other shore." B. It is a place of joy because when the storms of life are over, the faithful will part no more but will serve and reign forever: Rev. 22.3-6 C. Another reason for this joy is that the night will dissolve away into pure and day, there being no night there because the glory of God and the Lamb illuminate it: Rev. 21.23-25 II. In stanza 2, heaven is a place of peace. "Here our fondest hopes are vain, dearest links are rent in twain, But in heaven no throb of pain, meet me there; By the river sparkling bright, in the city of delight, Where our faith is lost in sight, meet me there." A. Heaven is contrasted with life on earth where our fondest hopes are vain and dearest links are rent in twain because of death: Heb. 9.27 B. However, heaven will be a place of peace because in it will be no throb of pain: Rev. 21.4 C. This peace will be enjoyed by the river sparkling bright where our faith is lost in sight; faith involves things not seen: Heb. 11.1; however, in heaven the unseen world will become reality, so the poets often speak of heaven as a place where faith is lost in sight III. In stanza 3, heaven is a place of fellowship "Where the harps of angels ring, and the blest forever sing, In the palace of the King, meet me there; Where in sweet communion blend heart with heart, and friend with friend, In a world that ne'er shall end, meet me there." A. The redeemed will be with the angels, whose harps will ever ring; all of our books which have this song follow the change made by Ellis Crum, "Where the songs of angels ring." As I have noted before, I assume that this change was made because some claim that since the book of Revelation mentions harps in heaven we can have instrumental music on earth. Of course, we understand that the "harps" of Revelation are not intended to be literal but symbolic of the beautiful music there. However, it seems to me that if we can read those passages in Revelation which talk about harpers harping on their harps and understand this to be figurative, we can sing songs about harpers harping on their harps and understand them to be figurative also (unless someone wants to go and change all the "harp" references in Revelation to "songs" as well): Rev. 14.1-2 B. The redeemed will also be with the blest of all ages: Matt. 8.11 C. And the redeemed will be with the King in His palace, because that is where Christ is sitting upon His throne: Heb. 8.1 CONCL.: The chorus continues to emphasize the beauty and glory of heaven that makes us want to go there: "Meet me there, meet me there, Where the tree of life is blooming, meet me there; When the storms of life are o'er, on the happy golden shore, Where the faithful part no more, meet me there." The last time that I ever heard the beloved James Cope, well-known gospel preacher and late President of Florida College, speak was at the 1990 Florida College lectures where the theme was "Reemphasizing Bible Basics in Current Controversies" and his closing speech on Thursday night was "The End of the Journey." As he concluded with "A Glimpse of Heaven," he made reference to this song, saying, "While time and opportunity yet afford, I want us to sing about meeting each other there. It is a song our fathers and mothers know well. While we remain here, we can profit greatly by carrying its sentiments constantly in our hearts. Let us sing 'Meet Me There.'" After this, brother R. J. Stevens led the audience in singing this song. As I think about my own desire to go to heaven, as well as all the faithful who have gone on before and all those who will come hereafter, I should want to encourage as many as possible to "Meet Me There." "MOMENT BY MOMENT"
"...The promise of life which is in Christ Jesus..." (2 Tim. 1.1) INTRO.: A hymn which discusses the constant nature of the life which is in Christ Jesus is "Moment By Moment" (#242 in "Sacred Selections for the Church"). The text was written by Daniel Webster Whittle (1840-1901). The tune (Whittle) was composed by his daughter, May Whittle Moody, who was born at Chicago, IL, on Mar. 20, 1870. Her father was a revival evangelist and associate of Dwight L. Moody. Originally named Mary, she preferred to be called "May." At age fifteen, she attended the Girl's School which was established by Moody in Northfield, MA. Later, she was educated at Oberlin College in Ohio and at the Royal Academy of Music in London, England. Having a fine singing voice, she often assisted Whittle and Moody in their evangelistic campaigns. In 1893, when Whittle was at the World's Columbian Exposition in Chicago, an English preacher named Henry Varley remarked to him that he did not care for the song "I Need Thee Every Hour" because he felt that he needed the Lord every moment of the day. After he reflected a while on this remark, Whittle, who had authored several other gospel songs such as "I Know Whom I Have Believed," penned these words and his daughter provided the music. It was first printed that year as a leaflet, but was later published in the 1894 "Christian Endeavor Hymns," and was also included in "Sacred Songs No. 1" of 1896 edited by Ira D. Sankey, James McGranahan, and George C. Stebbins. To be fair, when Mrs. Annie Sherwood Hawks wrote "I Need Thee Every Hour," she did not necessarily mean that she needed Christ at 3:00 but did not need Him again until 4:00. Rather, this was just her way of saying that she needed Him all the time. The year after the "Moment By Moment" was produced, Miss Whittle married William R. Moody, the son of D. L. Moody. They were the parents of six children, two of whom died in infancy, and they lived in Northfield, MA, where her husband was the head of the Northfield Schools and the Mount Hermon Conference Center founded by his father. May Whittle Moody was co-editor with Charles M. Alexander of the "Northfield Hymnal, No. 3." After living a long and fruitful life at Northfield, she died there at the age of 93 on Aug. 20, 1963. This hymn reminds us of the blessings that accompany our daily life with Christ. I. Stanza 1 says that we belong to Him. "Dying with Jesus, by death reckoned mine; Living with Jesus, a new life divine; Looking to Jesus till glory doth shine, Moment by moment, O Lord, I am Thine." A. Christians belong to Jesus because they have died with Him in baptism: Rom. 6.3-4 B. After this, they have been raised with Him as new creatures: 2 Cor. 5.17 C. And throughout their lives, they can look to Jesus as their guide: Heb. 12.1-2 II. Stanza 2 says that He cares for us. "Never a trial that He is not there, Never a burden that He doth not bear; Never a sorrow that He doth not share, Moment by moment I'm under His care." A. He cares for us in our trials: 1 Pet. 4.12 B. Because He cares for us, He promises to help us bear our burdens: Ps. 55.22 C. And we can trust in Him to share all our sorrows: Jn. 16.20-22 III. Stanza 3 says that He thinks on us. "Never a heartache, and never a groan, Never a teardrop and never a moan; Never a danger but there on the throne, Moment by moment He thinks on His own." A. He thinks about us in our heartaches and groanings: 2 Cor. 5.2-4 B. He thinks about us when we are weeping and moaning: Ps. 56.8-11 C. He thinks about us in any danger, and because He is on the throne we can go to Him to find help: Heb. 4.14-16 IV. Stanza 4 says that He abides with us. "Never a weakness that He doth not feel, Never a sickness that He cannot heal; Moment by moment, in woe or in weal, Jesus, my Savior, abides with me still." A. Jesus has promised to abide with us in our weaknesses: 2 Cor. 12.9-10 B. He has promised to abide with us when we are sick, offering healing for both body and mind: Jas. 5.13-15 C. In fact, He has promised throughout life, in both good and bad, to abide with us: 1 Jn. 3.23-24 CONCL.: The chorus reminds us that Christians can have these blessings at all times. "Moment by moment I'm kept in His love; Moment by moment I've life from above; Looking to Jesus till glory doth shine; Moment by moment, O Lord, I am Thine." Of course, as John says, if we want Jesus to abide in us, we must abide in Him by keeping His word. But when we do this, we can have the blessed assurance that He will be with us and bless us "Moment By Moment." "MORE ABOUT JESUS" "But grow in grace and...knowledge of our Lord Jesus Christ" (2 Pet. 3.18) INTRO.: A song which speaks of the work of the Holy Spirit in revealing the will of Christ by which we grow in grace and knowledge is "More About Jesus" (#406 in "Hymns for Worship Revised" and #43 in "Sacred Selections for the Church"). The text was written by Eliza Edmunds Hewitt (1851-1910). A native of Philadelphia, PA, who became a school teacher, she was struck across the back with a heavy slate by a boy in one of her classes, thus receiving a severe injury. As a result, she became an invalid for an extended period of her life. After the injury, she was placed in a heavy cast for six months. Following her confinement, the doctor let Eliza go for a short walk in a nearby park on a warm spring day. Her heart overflowing with joy for her recovery, she returned home and penned one of her first and best-known hymns, "There's Sunshine In My Soul Today." Out of this experience she developed a desire to share her feelings with others through writing poetry and became a prolific writer of children's verses. Various musicians began setting her words to music. Some of her children's poems came to the attention of composer John Robson Sweney (1837-1899). Sweney produced several well-known melodies, such as that used with Fanny Crosby's "Tell Me the Story of Jesus." As a result of this initial contact, the two collaborated on many well-known hymns, including this one, which was first published in "Glad Hallelujahs" co-edited by Sweney in 1887 with William James Kirkpatrick (1838-1921). Kirkpatrick also produced many famous melodies, including the one used with Fanny Crosby's "Redeemed, How I Love to Proclaim It." According to this song, the Holy Spirit reveals to us several things about Jesus Christ in the scriptures: I. According to stanza 1, we learn of His grace "More about Jesus would I know, More of His grace to others show; More of His saving fullness see, More of His love who died for me." A. Paul commends us to the word of God's grace which is able to build us up: Acts 20.32 B. The result of this grace is the saving fullness of Christ: Eph. 2.8 C. And God's grace is manifested through the love of Christ who died for us: 1 Jn. 3.16 II. According to stanza 2, we learn of His holy will "More about Jesus let me learn, More of His holy will discern; Spirit of God my teacher be, Showing the things of Christ to me." A. Christ came to do God's will, and we must determine to do His will also: Heb. 10.9-10 B. But how do we know God's will? The Spirit is our teacher: Jn. 16.13 C. And how do we learn God's will from the Spirit today? By the word revealed to inspired apostles and prophets: Eph. 3.3-5, 6.17 III. According to stanza 3, we learn about His word "More about Jesus in His word, Holding communion with my Lord; Hearing His voice in every line, Making each faithful saying mine." A. It is through the word that we can come into a right relationship with the Lord and have communion with Him: 1 Pet. 2.1-2 B. It is through the word that we hear His voice: Matt. 17.5 C. And it is through the word that we can make each faithful saying ours by obedience: Heb. 5.8-9 IV. According to stanza 4, we learn about His coming "More about Jesus on His throne, Riches in glory all His own; More of His kingdom's sure increase, More of His coming, Prince of Peace." A. The word tells us that Jesus is now on His throne in heaven: Acts 2.30-32 B. The word also tells us that His kingdom increases whenever lost souls are saved and translated into it: Col. 1.13 C. But the word also tells us that He shall return from heaven, and so we need to be waiting and preparing for Him: Phil. 3.20-21 CONCL.: The chorus echoes the desire that each of us should have to know more about Jesus through His word. "More, more about Jesus, More, more about Jesus; More of His saving fullness see, More of His love who died for me." So the Holy Spirit, as the third member of the Godhead, is important to us because it is through His revelation of the scriptures that we can learn "More About Jesus." "MORE HOLINESS GIVE ME" "...Perfecting holiness in the fear of God" (2 Cor. 7.1) INTRO.: A song which encourages us to perfect holiness and asks God for His help in doing so is "More Holiness Give Me" (#352 in "Hymns for Worship Revised" and #44 in "Sacred Selections for the Church). The text was written and the tune (My Prayer) was composed both by Philip Paul Bliss (1838-1876). A native of Pennsylvania, Bliss became an itinerant music teacher but left a promising secular music career to join with revival evangelists Dwight L. Moody and Daniel W. Whittle as a songwriter and music director for their campaigns. He was killed in a tragic train wreck near Ashtabula, OH. "More Holiness Give Me" was first appeared under the title "My Prayer" in the author's second collection of hymns, "Sunshine for the Sunday Schools," published in 1873 by the John Church Music Co. of Cincinnati, OH. Bliss is still well-known today for several famous songs, such as "Almost Persuaded," "Wonderful Words of Life," "Hallelujah! What a Savior," and "The Light of the World Is Jesus," among others. "More Holiness Give Me" has been included in almost all hymnbooks published by members of the Lord's church for use among churches of Christ during the twentieth century. The song makes several practical suggestions on how to be more holy. I. Stanza 1 looks inward. "More holiness give me, More strivings within, More patience in suffering, More sorrow for sin, More faith in my Savior, More sense of His care, More joy in His service, More purpose in prayer." A. One thing necessary to perfecting holiness is to look within and, knowing that we shall face suffering in this life, work to develop more patience in our tribulations: Jas. 1.2-4 B. Something that will help in developing patience is to walk by faith in the Savior and thus be aware of His constant care for us: 2 Cor. 5.7, 1 Pet. 5.7 C. Other characteristics that will assist in developing patience is to have joy in the service of the Lord and continually going to Him in prayer to cast our cares upon Him: Phil. 4.4-6 II. Stanza 2 looks upward in gratitude and trust to the Lord "More gratitude give me, More trust in the Lord, More praise for His glory, More hope in His word, More tears for His sorrows, More pain at His grief, More meekness in trial, More praise for relief." A. As we look up in gratitude and trust to the Lord, we will want to praise His glory because our hope is in His word: Acts 20.32, 1 Pet. 1.3-5 B. This hope is possible because of His sorrows and grief in His death for our sins: Rom. 5.8, 1 Cor. 15.3 C. Our remembrance of His suffering should motivate us to exhibit more meekness in our trials as well: Rom. 5.3-4 III. Stanza 3 looks outward to the kind of purity and strength that would be a good influence on others "More purity give me, More strength to o'ercome, More freedom from earthstains, More longings for home, More fit for the kingdom, More useful I'd be, More blessed and holy, More, Savior, like Thee." A. In order to be an influence for good on others, we must keep ourselves unspotted from the world with the knowledge that we are but pilgrims and strangers here who are looking for a better home: Jas. 1.27, 1 Pet. 2.11-12 B. When we practice such principles in our lives, then we shall be more fit for use in the Master's kingdom: 2 Tim. 2.20-21 C. But the most important thing that we need to remember in trying to be a good influence for Jesus is that He wants us to be like Him: 1 Pet. 2.21-23 CONCL.: The evident purpose of this song is to cause us to aspire to better lives and service before the Lord. It is a hymn that every Christian would do well to commit to memory and meditate upon from time to time, especially when we are tempted to be less than what Christ wants us to be. Because Jesus died for me and wants me to live with Him forever in heaven, my request throughout life to Him should be, "More Holiness Give Me." "MORE LIKE JESUS" "Let this mind be in you, which was also in Christ Jesus" (Phil. 2.5) INTRO.: A song which encourages us to have the mind in us which was also in Christ Jesus is "More Like Jesus" (#135 in "Hymns for Worship Revised"). The text was written and the tune was composed both by J. M. Stillman. Very little is known about him. The hymn is dated 1878 and was likely first published in "Good Will," a songbook which he compiled with Thomas Martin Towne that year. Among hymnbooks used by churches of Christ, this song appeared in the 1935 "Christian Hymns" No. 1, the 1948 "Christian Hymns No. 2", and the 1966 "Christian Hymns No. 3" all edited by L. O. Sanderson; the 1963 "Christian Hymnal" edited by J. Nelson Slater; and several of Will W. Slater's books, such as "Gospel Songs and Hymns," "Gospel Service Hymnal," and "Hymns of Praise and Devotion." In addition to "Hymns for Worship" it is presently found in the 1992 "Praise for the Lord" edited by John P. Wiegand. The song suggests what our lives will be like if we strive to be more like Jesus. I. Stanza 1 says that we will follow Him day by day "I want to be more like Jesus, And follow Him day by day; I want to be true and faithful, And every command obey." A. Jesus wants us to follow Him, just as He called the apostles to follow Him: Matt. 4.19 B. To follow Him, we must be true and faithful in everything that we do: Rev. 2.10 C. And we must obey His every command: Jn. 14.15 II. Stanza 2 says that we will be kind and gentle "I want to be kind an gentle To those who are in distress; To comfort the broken hearted With sweet words of tenderness." A. We should especially be kind and gentle to those who are in distress: Gal. 6.1 B. Our aim in this should be to comfort the broken-hearted: 1 Thess. 5.14 C. And to do this, we must use sweet words of tenderness: Col. 4.6 III. Stanza 3 says that we will be meek and lowly "I want to be meek and lowly, Like Jesus, our Friend and King; I want to be strong and earnest, And souls to the Savior bring." A. Jesus, our Friend and King, is our example of meekness: Matt. 11.28-30 B. But meekness is not weakness; we must also be strong: Eph. 6.10 C. And with this combination of meekness and strength, we can bring souls to the Savior: Prov. 11.30 IV. Stanza 4 says that we will be pure and holy "I want to be pure and holy, As pure as the crystal snow; I want to love Jesus truly, For Jesus loves me, I know." A. We can be pure as the crystal snow because through the blood of Jesus, our sins can be washed and made white as snow: Isa. 1.18, 1 Jn. 1.7-9 B. But we should strive to remain pure and holy if we truly love Jesus: 1 Tim. 5.22, 1 Jn. 5.3 C. The motivation for us to do this is the fact that Jesus loves us: 1 Jn. 4.19 (KJV) CONCL. The chorus repeats the desire expressed throughout the song and mentions the basic reason for it: "More and more like Jesus, I would ever be; More and more like Jesus, My Savior who died for me." Because Jesus loves us, died for us, and left us an example that we should follow in His steps, it should always be our desire to be "More Like Jesus." "MORE LOVE TO THEE, O CHRIST" "I pray that your love may abound yet more and more..." (Phil. 1.9) INTRO.: A hymn which asks Christ to help us love Him more and more is "More Love to Thee, O Christ" (#142 in "Hymns for Worship Revised" and #45 in "Sacred Selections for the Church"). The text was written by Elizabeth Payson Prentiss (1818-1878). A native of Portland, ME, and daughter of a minister, she began writing at age sixteen and later married a Presbyterian minister. The couple had two children and moved to New York City, NY. In 1856, after eleven years of marriage, the Prentisses had already lost one child and the second one died in an epidemic. Shortly afterward, while experiencing great personal sorrow, physical suffering, and mental anguish, Mrs. Prentiss went to her room to study her Bible and read her hymnbook. She read the story of Jacob in the Bible and noticed the hymn based on it by Sarah Flower Adams, "Nearer My God, to Thee." Following the same pattern as the familiar song, the words, "More love, to Thee, O Christ," came to her mind, and Mrs. Prentiss began writing. She penned the words so hastily that the final stanza was left incomplete. However, she apparently thought so little of the poem that she did not show it to anyone, not even her husband, for some thirteen years. The last line had to be added in pencil before it could be printed, but it was finally published in 1869 as a leaflet for private distribution and at once became very popular. The tune (Pendleton) was composed, probably that same year, by William Howard Doane (1832-1915). Doane wrote many well-known melodies, including that for Fanny Crosby's "Safe in the Arms of Jesus." The song as we know it first appeared in Doane's 1870 "Songs of Devotion." This song emphasizes the love that we need to have for Christ. I. According to stanza 1, it should be our earnest plea to have more love for Christ "More love to Thee, O Christ, More love to Thee! Hear Thou the prayer I make On bended knee. This is my earnest plea: More love, O Christ, to Thee, More love to Thee, More love to Thee!" A. Jesus has shown such a great love for us, that we should love Him all the more: 1 Jn. 4.9-10, 19 B. The idea of making our prayer on bended kneww symbolizes the complete submission to His will that is necessary before the Lord will hear and answer us: 1 Pet. 3.12 C. And it needs to be an earnest plea, since we ought not to think that the Lord will consider our petitions if we pray half-heartedly: Jas. 5.16 II. According to stanza 2, we must love Christ more than anything else in this world "Once earthly joy I craved, Sought peace and rest; Now Thee alone I see, Give what is best. This all my prayer shall be: More love, O Christ, to Thee, More love to Thee, More love to Thee!" A. So many people seek only the joy, peace, and rest that this world offers: Matt. 16.26 B. Therefore, we must learn to seek the will of Christ first and foremost: Matt. 6.33 C. This means that, like Peter, we must make it our prayer to love Christ more than all the other things of this earth: Jn. 21.15-17 III. According to stanza 3, we must not let problems hinder our love for Christ "Let sorrow do its work, Come grief or pain; Sweet are Thy messengers, Sweet their refrain, When they can sing with me, More love, O Christ, to Thee, More love to Thee, More love to Thee!" A. Each of us will surely have his share of sorrow, grief, and pain to work on us in this life: Job. 14.1 B. Yet God sends us "messengers" to provide comfort in all our tribulations: 2 cor. 1.3-7 C. The encouragement of such "messengers" will help us to show our love for Christ even in times of trials and troubles: 1 Pet. 1.6-9 IV. According to stanza 4, there is a reward for those who love Christ "Then shall my latest breath Whisper Thy praise; This be the parting cry My heart shall raise. This still its prayer shall be: More love, O Christ, to Thee, More love to Thee, More love to Thee!" A. Even in this life, no matter what happens, we can sing praise to Christ if we really love Him--cf.: Acts 16.25 B. Then, after a life of faithful service to Christ, our latest breath can be a parting cry of victory: 1 Cor. 15.54-57 C. And following that, the reward for those who truly love Christ will be the crown of life in heaven: Jas. 1.9-12 CONCL.: During her darkest hours, Mrs. Prentiss said, "Our home is broken up, our lives are wrecked, our hopes shattered, our dreams dissolved. Sometimes I don't think I can stand living for another moment, much less a lifetime." Her husband replied, "This is our opportunity to show forth in our lives that which we have been preaching and teaching and believing together for so many years. It is in times like these that God loves us all the more." And she followed his advice. This hymn is like a prayer put into the form of verse and set to music to express the desire that should be in the heart of every Christian, that regardless of what we experience in life we must be determined to let the Lord know that we want to show "More Love To Thee, O Christ." "MUST JESUS BEAR THE CROSS ALONE?" "If any man come after Me, let him deny himself, and take up his cross, and follow Me" (Matt. 16.24). INTRO.: A hymn which encourages us to take up the cross and follow Jesus is "Must Jesus Bear The Cross Alone?" (#286 in "Hymns for Worship Revised" and #300 in "Sacred Selections for the Church"). The text is usually attributed to Thomas Shepherd (1665-1739). A minister in the Church of England who left to become minister of the independent Castle Hill Meeting House in Nottingham, he published several poems in 1693 under the title, "Penitential Cries." The first stanza is an alteration of one of those poems which originally began, "Shall Simon bear the Cross alone, And other Saints be free? Each Saint of thine shall find his own, And there is one for me." Most of the other stanzas seem to date from a missionary hymn collection published at Norwich, England, around 1810. The final stanza appears to have been penned by the composer of the tune (Maitland or Cross and Crown), George Nelson Allen (1812-1877). A native of Manfield, MA, he graduated from Oberlin College in Oberlin, OH, and remained to teach music there. In 1844, he compiled "The Oberlin Social And Sabbath Hymn Book," which included this song. It was also he who apparently altered Shepherd's original stanza to its present form. This is a widely-known song of consecration. I. From stanza 1 we learn that there is a cross for everyone to bear "Must Jesus bear the cross alone, And all the world go free?
No, there's a cross for every one, And there's a cross for me." A. It appears that at first Jesus bore His cross alone: Jn. 19.15-17 B. However, for some reason (some think that it was because Jesus was just too weak to bear its weight), a man named Simon was compelled to bear it: Matt. 27.32, Mk. 15.21, Lk. 23.26 C. Just as Jesus bore the cross and went to Calvary for us, He teaches that we must bear our cross of responsibility to Him: Lk. 9.23 II. From stanza 2 we learn that the cross bearing of Jesus is our example "Disowned on earth, 'mid grief and cares, He led His toilsome way; But now in heaven a crown He wears, And reigns in endless day." A. In addition to His bearing the cross, the entire life of Jesus was one of grief and care: Isa. 43:3-4 B. However, in His life of suffering, He led the way and became our example: 1 Pet. 2:21-22 C. In so doing, He gives hope to all who follow Him that they too can wear a crown with Him because He led the way: Heb. 12.1-2 III. From stanza 3 we learn that there are others who have borne their crosses too "How happy are the saints above, Who once went sorrowing here; But now they taste unmingled love, And joy without a tear." A. The saints above, now in the Hadean realm, are those who once went sorrowing here, many of them even giving up their lives for their faith: Rev. 6.9 B. However, those who have already borne their crosses now have rest and dwell in a place of joy and love: Rev. 14.13 C. Their example encourages us that if they could do it, we can do it too and have the hope of dwelling with them in the presence of the Lord: Rev. 22.1-3 IV. From stanza 4 we learn that we must follow their example in bearing the cross "The consecrated cross I'll bear, Till He [death] shall set me free, And then go home my crown to wear, For there's a crown for me." A. Bearing the cross implies the idea of being crucified to the world: Gal. 6.14 B. And this we must do till He shall set us free in death: Heb. 9:27 C. Also, this is the only way that we can have the hope of gaining the crown of reward that Christ promises the faithful: Jas. 1.12, Rev. 2.10 V. From stanza 5 we learn that the cross-bearing will lead to a reward "Upon the crystal pavement, down At Jesus' blessed feet, Joyful, I'll cast my golden crown, And His dear name repeat." A. The stanza draws upon the figurative language of Revelation in picturing the throne of God as being surrounded by a sea of glass like crystal: Rev. 4.6 B. Those who bear their crosses in this life will be among that number who can cast their crowns at the Lord's feet: Rev. 4.19 C. These are then pictured as ascribing eternal paise and glory to Christ: Rev. 5.8-10 VI. From stanza 6, we learn that the ultimate reward for bearing our cross is that crown of eternal life A. At death, the angels bear away the souls of God's faithful: Lk. 16.22 B. From then on, the souls of the righteous await the resurrection day: 1 Thes. 4.14-17 C. And when that time comes, we shall exchange the cross for a glorious crown, even as the apostle Paul hoped: 2 Tim. 4.6-8 CONCL.: The scriptural qualifications for being a true disciple of Jesus Christ are quite clear. They include denying ourselves, taking up the cross, and following Him. This cross represents whatever responsibilities and hardships that we must face in this life as we strive to live for the Lord. This hymn challenges us to make our commitment to take up the cross. Since Jesus endured His cross for us, each one of should ask himself, "Must Jesus Bear The Cross Alone?" "MY FAITH HAS FOUND A RESTING PLACE" "The Lord redeems His servants" (Ps. 34.22) INTRO.: A hymn which helps us to appreciate the fact that it is the Lord who redeems us is "My Faith Has Found A Resting Place." The only hymnbook published by a member of the Lord's church for use among churches of Christ in which I have found this good song is the 1994 "Songs of Faith And Praise" edited by Alton H. Howard. The text was written, under the pseudonym of Lidie H. Edmunds, by Eliza Edmunds Hewitt (1851-1920). A lifelong resident of Philadelphia, PA, Mrs. Hewitt wrote many songs which became popular and are found in our books, such as "Sunshine in My Soul, "When We All Get To Heaven," "More About Jesus," "Give Me Thy Heart," and "Will There Be Any Stars In My Crown." The tune (No Other Plea, Landas, or Norse Air) is a Norwegian folk melody originally with the words "The Hardy Norseman's House of Yore." It was arranged by William James Kirkpatrick (1838-1920). The song first appeared in "Songs of Joy and Gladness, No. 2" published around 1890 or 1891 which Kirkpatrick compiled for McDonald, Gill and Co. of Boston, MA, and Chicago,IL. Apparently it did not appear in any other collections until the Plymouth Brethren's 1944 "Choice Hymns of the Faith." It is not in many of the older denominational hymnbooks that I have in my collection, but it is found in a large number of the newer ones. A great-nephew of Eliza Edmunds Hewitt contacted me as a result of an internet search on his great aunt in which he came across some of the posts that I have done on her hymns. He told me, "I am in the process of preparing a small biography about her." He also said, "For me this began as an effort to gather historical information on her. I have found and visited the places that she lived and worshiped for example. I have gained very little factual information other than what I have from my family sources (which are pretty good). But what I did not anticipate was the spiritual journey that I have taken as I began to study her music and hear stories about the impact that her music has had on people....I believe that 'My Faith Has Found A Resting Place' is the best statement of faith that exists in hymns." I concur with his sentiment. It is my opinion that perhaps the song was not found in many older denominational hymnbooks because it is somewhat anti-denominational in nature. However, as people eventually became tired of denominational dogmatism and sought for a better, more solid basis for their religious convictions, the song was seen as an expression of that spirit and was included in the more recent denominational hymnbooks. However, it expresses ideas that we who have been calling for a complete return to Bible ways for years have proclaimed. The sheer number of more recent denominational hymnbooks in which this song is found demonstrates its popularity. 1964, "Christian Praise," Broadman 1968, "Great Hymns of the Faith," Sinspiration 1972, "Favorite Hymns of Praise," Tabernacle Publishing Co. 1972, "Soul Stirring Songs and Hymns," Sword of the Lord 1972, "Living Hymns," Encore Publications 1972, "Christian Hymnary," Christian Hymnary Publishers (Mennonite) 1973, "New Church Hymnal," Lexicon Music 1974, "Living Praise Hymnal," Singspiration 1974, "Hymns for the Living Church," Hope Publishing Co. 1976, "Hymns for the Family of God," Brentwood-Benson Music Co. 1977, "Praise: Our Songs and Hymns," Singspiration 1987, "Worship His Majesty," Gaither Music Co. 1989, "Worship The Lord," Warner Press 1991, "Baptist Hymnal," Convention Press 1993, "Sing to the Lord," Lillenas Publishing Co. 1995, "Rejoice Hymnal," Tempo Music Publications 1997, "Celebration Hymnal," Word Music/Integrity Music 2001, "Worship and Rejoice," Hope Publishing Co. A few of these books (including "Songs of Faith and Praise") have some alterations which I believe were made by Fred Bock for his "Hymns for the Family of God." These seem somewhat to "soften" the direct tone of original, which I think is better and therefore personally prefer to the newer version, to make it a little more palatable to the modern ecumenical spirit. This song emphasizes the fact that Jesus Christ as the only basis for our faith. I. Stanza 1 says that Jesus lives "My faith has found a resting place, Not in device nor creed; (the altered version says, "Not in a man-made creed") I trust the ever living One, His wounds for me shall plead. (the altered version says, "That He for me will plead") A. Our faith can find a resting place in Christ because He offers us rest: Matt. 11.28-30, Heb. 4.3 B. Therefore, our faith must be in Him, not in any device, creed, or other expression of human wisdom: 1 Cor. 2.1-5 C. "His wounds for me shall plead" is simply the poet's way of saying that it is because Jesus died for our sins He now is able to make intercession for us: Heb. 7.25 II. Stanza 2 says that Jesus saves "Enough for me that Jesus saves, This ends my fear and doubt; A sinful soul I come to Him, He'll never cast me out." (the altered version says, "He will not cast me out") A. Because Jesus says, He alone can remove all fear and doubt: 2 Tim. 1.7, 1 Jn. 4.18 B. What causes fear and doubt is our sin, and all of us come to Him as sinful souls: Rom. 3.23 C. But He has promised to all who come to Him in simple faith, humble repentance, and submissive obedience that He will never cast them out: Jn. 6.37 III. Stanza 3 says that Jesus leads "My heart is leaning on the Word, The written Word of God; (the altered version says, "My soul is resting on the word, The living Word of God") Salvation by my Savior's name, Salvation through His blood." (the altered version says, "Salvation in my Savior's name") A. The means by which Jesus leads us is the written word of God; it is true that God's word is living and powerful, but we must remember that the means by which God chose to reveal that word to us is in writing: Heb. 4.12, 2 Pet. 1.12-15 & 3.1 B. The written word reveals to us that salvation is only in the name of Jesus: Acts 4.12 C. And it reveals to us that salvation is only through His blood: Rom. 5.8-10 IV. Stanza 4 says that Jesus heals "The great Physician heals the sick, The lost He came to save; For me His precious blood He shed, For me His life He gave." A. The healing of the sick here refers to the spiritual man because the purpose for which Jesus came was to seek and save the lost: Lk. 19.10, 1 Tim. 1.15 B. Therefore, He shed His precious blood for us: Matt. 26.28 C. In other words, He gave His life for us that we might have life in Him: 1 Jn. 3.16 CONCL.: The chorus the points out that we need nothing other than what Jesus provides for us: "I need no other argument, I need no other plea; It is enough that Jesus died And that He died for me." (the altered version reads, "And rose again for me). With this sentiment, I am surprised that this hymn has not been found in more of our hymnbooks. As I look around at all the religious confusion in the world, I need to remember that in Jesus Christ alone "My Faith Has Found A Resting Place." "MY FAITH LOOKS UP TO THEE"
"Looking to Jesus the author and finisher of our faith..." (Heb. 12.2) A hymn which encourages our faith to look up to Jesus, the author and finisher of that faith, is "My Faith Looks Up To Thee" (#144 in "Hymns for Worship Revised" and #33 in "Sacred Selections for the Church"). The text was written by Ray Palmer, who was born at Little Compton, RI, on Nov. 12, 1808, the son of Judge THomas Palmer, who gave him his elementary education at home. Although a good student, because of family financial difficulties he was forced at age thirteen to discontinue his schooling and take a job for two years as a clerk at a dry goods store in Boston, MA, where he was a member of the Park St. Congregational Church. Later, he decided to become a minister, so he continued his education at Phillips Academy in Andover, MA, and graduated from Yale University in 1830. To make money for the continuation of his ministerial studies, he taught at a private girls' school in New York City, NY, associated with St. George's Church. Later in 1830, the 22-year-old Palmer was living with the family of the lady who directed the school and having a very discouraging year because of battling illness and loneliness. One evening during the fall while studying and translating some German poetry, Palmer penned this poem in a small morocco-covered notebook which he always carried with him for just such purposes. It was never intended for publication but for private devotion. However, a couple of years later, he made a return visit to Boston and ran into his old friend from Park St. Congregational Church, composer Lowell Mason (1792-1872). Mason was publishing a hymnbook and asked Palmer to produce something for it. Palmer pulled out the notebook and showed Mason the verses that he had already set down. The two men stepped into a nearby drug store so that Mason could jot down a copy. That very night, Mason composed the tune (Olivet). It so excited him that when he saw Palmer again a couple of days later, he said, "Mr. Palmer, you may live many years and do many good things, but I think you will be best known to posterity as the author of 'My Faith Looks Up To Thee.'" The song was first published later that year, 1832, in "Spiritual Songs for Social Worship" edited by Mason and Thomas Hastings (1784-1872). Three years later, Palmer went on to become a Congregationalist minister, serving in Bath, ME, from 1835 to 1850, and Albany, NY, from 1850 to 1865. Then he moved to New York City as corresponding secretary for the American Congregational Union. Also, he took an active interest in education and literature, writing for leading religious papers and publishing several collections of prose and poetry. Because of ill health, he retired in 1878 to Newark, NJ, where he died on Mar. 29, 1887. Mason was right about Palmer. He is best known today as the author of this much-sung hymn. Why should we look up to Jesus? I. According to stanza 1, He is the Lamb of Calvary "My faith looks up to Thee, Thou Lamb of Calvary, Savior divine; Now hear me while I pray, Take all my guilt away, O let me from this day Be wholly Thine!" A. Just as a lamb was offered in Old Testament sacrifices, Jesus came to be the Lamb of Calvary: 1 Pet. 1.18-21 B. Because He is the Lamb of Calvary, He has promised to hear our our prayers to the Father as our Mediator: 1 Tim. 2.5 C. But even more, because He is the Lamb of Calvary, He is able to take away our sins: 1 Jn. 1.7 II. According to stanza 2, His grace is sufficient to give us strength "May Thy rich grace impart Strength to my fainting heart, My zeal inspire; As Thou hast died for me, O may my love to Thee Pure, warm, and changeless be, A living fire!" A. Jesus Christ is the supreme embodiment of God's grace: 2 Cor. 8.9 B. And this grace is able to help us develop the strength that we need to serve God: Acts 20.32 C. Therefore, like Paul, no matter what trials and tribulations we may face, the grace of Christ will help us bear our burdens if we put our faith in Him: 2 Cor. 12.7-9 III. According to stanza 3, He is our guide who provides us access to God "While life's dark maze I tread, And griefs around me spread, Be Thou my guide; Bid darkness turn to day, Wipe sorrow's tears away, Nor let me ever stray From Thee aside." A. While we tread life's dark maze, Jesus makes it possible for us to have access to God by faith: Rom. 5.1-2 B. Thus, He bids darkness turn to day and wipes sorrow's tears away because of this access that He grants us: Eph. 2.12-13, 17-18 C. And if we never stray from Him, He will continue to guide us in the right way so that we can maintain our access to God through Him: Eph. 3.10-12 IV. According to stanza 4, He will lead us to heaven above "When ends life's transient dream, And death's cold, sullen stream Shall o'er me roll; Blest Savior, then in love, Fear and distrust remove; O bear me safe above, A ransomed soul." A. Someday, life's transient dream will end in death: Heb. 9.27 B. But even in death, Jesus has promised to be with us, so that He might remove fear and distrust, and the result of this is that those who die in the Lord have rest: Rev. 14.13 C. Thus, when we put our faith completely in Jesus, as did the centurion, we can have the hope that at life's end we can sit down with the saints of all ages in the kingdom of heaven: Matt. 8.5-11 CONCL.: Palmer once wrote of this hymn, "It had no external occasion whatever....It is well remembered that when writing the last line, 'a ransomed soul,' the thought that the whole work of redemption and salvation was involved in thos words, and suggested the theme of eternal redemption, moved the writer to a degree of emotion that brought abundant tears." As we walk in this life, we should always turn in our hearts to Jesus and say, "My Faith Looks Up To Thee." "MY FATHER KNOWS" "Great is our Lord, and of great power: His understanding is infinite" (Ps. 147.5) INTRO.: A gospel song which expresses trust in our Lord's infinite understanding is "My Father Knows" (#470 in "Sacred Selections for the Church"). The text is credited to S. M. I. Henry, about whom nothing further is known, except that it may be Mrs. Sarepta Myrenda Irish Henry (1839-1900). It is usually dated around 1897 when it was first published. The tune was composed by Edwin Othello Excell (1851-1921). The song was copyrighted by Excell in 1897. The copyright was renewed in 1925 by the Hope Publishing Co. Excell also produced both words and music for the song "Since I Have Been Redeemed," and provided melodies for J. B. Atkinson's "There's A Stranger at the Door" and "In the Shadow of His Wings" and Johnson Oatman's "Count Your Blessings." He also made the modern arrangement of "Amazing Grace." "My Father Knows" appeared 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, and the 1963 "Christian Hymnal" edited by J. Nelson Slater, in addition to "Sacred Selections." The song reminds us of God's love and care for His children. I. Stanza 1 says that God knows the storms of life that we must face. "I know my heavenly Father knows The storms that would my way oppose;
But He can drive the clouds away, And turn my darkness into day." A. We experience many storms in the various trials and tribulations of this life: Jas. 1.2 B. However, our Lord can drive the clouds away just as Jesus stilled the tempests on Galilee: Matt. 8.23-27 C. In so doing, He can turn our darkness into day: 1 Thess. 5.4-5 II. Stanza 2 says that God knows the balm that we need. "I know my heavenly Father knows The balm I need to soothe my woes; And with His touch of love divine, He heals this wounded soul of mine." A. When we experience woes, we need some kind of balm: Jer. 8.22 B. God provides the balm that we need by His love: Ps. 146.8 C. This love can heal our wounded souls: Mal. 4.6 III. Stanza 3 says that God knows how frail we are to meet our enemies "I know my heavenly Father knows How frail I am to meet my foes, But He my cause will e'er defend, Uphold and keep me to the end." A. Yes, God knows how frail and weak we are: Ps. 103.14 B. But He has promised to be a fortress of defense to save us: Ps. 31.1-2 C. Therefore, we can trust Him to uphold and keep us to the end: 1 Pet. 1.5 IV. Stanza 4 says that God knows the hour when our journey here will end "I know my heavenly Father knows The hour my journey here will close, And may that hour, O faithful Guide, Find me safe sheltered by Thy side." A. The hour our journey here will close, of course, refers to the time of death: Heb. 9.27 B. We know not when that hour may come, but God does, and we can look to Him to be our faithful guide: Ps. 48.14 C. The important thing is not when we die but whether we are sheltered safely by His side when that time comes: Prov. 1.33 CONCL.: The chorus affirms that because of God's knowledge, He acts in our best interest:
"He knows, He knows, The storms that would my way oppose; He knows, He knows, And tempers every wind that blows." There are many things about this life, and especially about what the future holds, that we do not know. But we know Him who holds the future, and He knows all things. Therefore, as I continue with whatever is left of my journey upon this earth, I can take great comfort in the fact that "My Father Knows." "MY GOD, MY FATHER, THOUGH I STRAY" "Thy will be done in earth as it is in heaven" (Matt. 6.10). INTRO.: A hymn that is based on these words of Christ in the so-called "Lord's prayer" is "My God, My Father, Though I Stray" (#78 in "Hymns for Worship Revised"). The text was written by Charlotte Elliot (1789-1871). It first appeared in the 1834 appendix of her work "The Invalid's Hymnbook." Miss Elliot was indeed an invalid but a prolific author whose best-known piece is the hymn, "Just As I Am." The tune (Hanford or Sullivan) was composed by Arthur Seymore Sullivan (1842-1900). It was produced in 1871 and first appeared in his 1874 "Church Hymns With Tunes." While he published several hymn tunes, the best-known of which is the melody for "Onward, Christian Soldiers," Sullivan is most famous for the music of the "Gilbert and Sullivan" operettas to the librettos of William Schwenck Gilbert. This hymn is a prayer that God's will may always be done in our lives. I. The first stanza says that we should seek to do God's will no matter how far we may stray "My God, my Father, though I stray Far from my home, on life's rough way, O teach me from my heart to say, 'Thy will be done.'" A. As Christians, we can call upon God as our Father because we have been born again into His family: Jn. 3.3-5 B. The straying here is not necessarily erring from God, but can refer to the roaming that we may be called upon to do from our original roots as we live on this earth; e.g., Paul travelled from place to place far from his home yet learned how to be content: Phil. 4.11-13 C. But regardless of how far we may have to roam, we should always determine from our hearts to do God's will: Eph. 6.6 II. The second stanza says that we should seek to do God's will when our life is filled with sadness "Though dark my path, and sad my lot, Let me be still and murmur not, Or breathe the prayer divinely taught, 'Thy will be done.'" A. Sometimes in life our path is dark and our lot is sad: Psa. 90.10 B. However, we need to learn to be still and not murmur: Phil. 2.14-15 C. And to do this, we need to follow the example of Jesus and pray that prayer that He, when faced with great sorrow and anguish, prayed: Matt. 26.39 III. The third stanza says that we should seek to do God's will from day to day as we live "Renew my will from day to day; Blend it with Thine, and take away All that now makes it hard to say, 'Thy will be done.' A. With the attitude of the song, our inward man will be more ready for the renewing that we can have day by day: 2 Cor. 4.16-18 B. But to do this, we must blend our minds with that of Jesus Christ: Phil. 2.5-8 C. Sometimes, it may be hard to conform our minds to God's will, but it's absolutely essential to please God: Jn. 7.17 IV. The fourth stanza says that we should seek to do God's will even up to death "Then, when on earth I breathe no more The prayer oft mixed with tears before, I'll sing upon a happier shore, 'Thy will be done.'" A. There will come a time when on earth we shall breathe no more: Heb. 9.27 B. When that happens, the faithful child of God dies in the hope of an eternal life on a happier shore without all the tears of this earth: Rev. 21.4 C. But we need to remember that only those who do the will of God will have a home in that wonderful place: Matt. 7.21 CONCL.: To say, "Thy will be done," is not, or at least it should not be, just a variation of the fatalistic concept of "whatever will be will be," with the thinking that whatever happens to us must be God's will. Rather, it is the expression of the desire that we, and others, may always seek to do God's will in our lives. So may this ever be our attitude as we sing and pray, "My God, My Father, Though I Stray." "MY JESUS, AS THOU WILT" "Teach me to do Thy will; for Thou art my God" (Ps. 143.10) INTRO.: A hymn which asks the Lord to help us know and do His will is "My Jesus, As Thou Wilt" (#101 in "Hymns for Worship Revised" and #57 in "Sacred Selections for the Church"). The text was written by Benjamin Schmolke (1672-1737). A German Lutheran minister, he first published it in his 1704 hymnal "Heilige Flammen der himmlisch gesinnten Seele." The English translation was made in 1853 by Jane Laurie Borthwick (1813-1897). It was first published the following year in "Hymns from the Land of Luther" which consisted of 114 translations of German hymns by Jane and her sister Sarah Borthwick Findlater. The first line is sometimes rendered as, "My Savior, As Thou Wilt" in some books. The tune (Jewett) is based on a melody by German Romantic opera composer Carl Maria von Weber (1786-1826). It is taken from the familiar horn section of the overture to his opera "Der Freischutz" ("The Huntsman" or "The Free Archer"), completed in 1820. The hymn tune arrangement was made by Joseph Perry Holbrook (1822-1888). It was first published in Charles S. Robinson's 1862 "Songs of the Church, of Hymns and Tunes for Christian Worship." This hymn expresses the attitude of submission to God's will. I. The first stanza says that in times of joy we must do God's will "My Jesus, as Thou wilt! O my Thy will be mine; Into Thy hand of love I would my all resign; Through sorrow and through joy, Conduct me as Thine own, And help me still to say, 'My Lord, Thy will be done.'" A. Even when things are going well, we must not forget to delight in doing God's will: Ps. 40.8 B.This means that we must resign everything into His hand of love: 2 Tim. 1.12 C. As a result, we will let Him conduct us as His own because we now belong to Him: 1 Cor. 6.19-20 II. The second stanza says that in times of need we must ask the Lord to teach us His will "My Jesus, as Thou wilt! If needy here or poor, Give me Thy people's bread, Their portion rich and sure; The manna of Thy word, Let my soul feed upon, And, if all else should fail, 'My Lord, Thy will be done.'" A. It is when we are needy and poor that we most need to turn to the Lord and seek His will as did Jesus: Heb. 10.7 B. To do this, we must have the manna of His word: Jn. 6.31, 48-50, 63 C. Not only must we have this bread, we must also feed upon it: Mt. 5.8 III. The third stanza says that in times of sorrow we must pray that God's will be done "My Jesus, as Thou wilt! Though seen through many a tear, Let not my star of hope Grow dim or disappear; Since Thou on earth hast wept And sorrowed oft alone, If I must weep with Thee, 'My Lord, Thy will be done.'" A. Throughout our lives, we will have times when things are seen through tears: Acts 20.18-19 B. So we must look to the Lord to help keep our home from dimming or even disappearing: Rom. 8.24-25 C. And the way that we do this is by following the example of Jesus who wept on earth but still determined to see that God's will was done: Mk. 14.36 IV. The fourth stanza says that in times of change we must seek to accomplish God's will "My Jesus, as Thou wilt! All shall be well with me; Each changing future scene I gladly trust with Thee; Straight to my home above, I travel calmly on, And sing, in life, or death, 'My Lord, Thy will be done.'" A. Whatever happens in life, we should live in such a way that we can say that all is well with us by striving to understand the will of the Lord: Eph. 5.17 B. Then, we can trust each changing future scene with Him: Mt. 6.34 C. What will sustain through those changing future scenes is the assurance that God will enable us to travel to our home above: Mk. 10.29-30 CONCL.: After the decision to obey the gospel and accept God's provisions for our salvation, the next most important decision is to continue living after God's will, regardless of what the circumstances are or what the future may bring. Therefore, I need to be reminded that God can empower me to live victoriously for Him only as I have the attitude, "My Jesus, As Thou Wilt." "MY JESUS, I LOVE THEE" "We love Him, because He first loved us" (1 Jn. 4.19). INTRO.: A song which reminds us of what Jesus did for us because He loved us and of our responsibility in loving Him is "My Jesus, I Love Thee" (#110 in "Hymns for Worship Revised" and #28 in "Sacred Selections for the Church"). The text is attributed to William Ralph Featherstone (1846-1873). A native of Montreal, Quebec, Canada, he and his parents were members of the Wesleyan Methodist Church of Montreal, which later became the St. James Methodist Church, and is now the St. James United Church. Some books give the date of this hymn as 1858 with the statement that the author was 16 years old at the time. However, if the date is correct, the author was only 12 years old. If the age of the author is correct, then the date should be 1862. It is now generally believed that the young Featherstone penned these words about a week after his conversion at age 16, which would make the correct date 1862. He then sent the poem to his aunt, Mrs. E. Featherston Wilson of Los Angeles, CA, who liked it and suggested its publication, which occurred in the "Primitive Methodist Magazine" in 1862. The text first appeared as a hymn anonymously with another tune in "The London Hymn Book," published in England in 1864, and by 1868 had made its way into American collections, such as Dwight L. Moody's "Northwestern Hymn Book." The tune (Gordon or Caritas) commonly used today was composed by Adoniram Judson Gordon (1836-1895). While working on assembling a new hymnbook for Baptist churches, Gordon discovered the words, still printed anonymously, but was dissatisfied with the existing melody. So he later provided a new one and the hymn in its present form first appeared in the 1876 edition of "The Service of Song for Baptist Churches," compiled by Gordon and S. L. Caldwell in Boston. For a long time, Featherstone was not given credit for writing the words, and many hymnbooks simply stated, "By an unknown author." But by around 1930 enough research had been done to establish his authorship. The songs presents a number of reasons why we should love Jesus who first loved us. I. In stanza 1 we learn that we should love Jesus because His love for us led Him to become our Redeemer and Savior "My Jesus, I love Thee, I know Thou art mine; For Thee all the follies of sin I resign. My gracious Redeemer, my Savior art Thou: If ever I loved Thee, my Jesus, 'tis now." A. The song says, "Thou art mine." Jesus came, not for Himself, but for us: 1 Tim. 1.15 B. He is our gracious Redeemer, who paid the price to buy us back for God: Gal. 4.4 C. And He is our Savior who takes away our sins: Matt. 1.21 II. In stanza 2 we learn that we should love Jesu because in His love for us He was willing to die for us "I love Thee, because Thou hast first loved me, And purchased my pardon on Calvary's tree; I love Thee for wearing the thorns on Thy brow: If ever I loved Thee, my Jesus, 'tis now." A. Certainly, no one can doubt the depth of Jesus' love as shown in His death: 1 Jn. 3.16 B. Because of His love, He purchased our pardon on Calvary's tree: Lk. 23.33, 1 Pet. 2.24 C. He was even willing to wear the crown of thorns: Mk. 15.16-20 III. In stanza 3 we learn that we should love Jesus because by his love He promises to be with us in both life and death "I'll love Thee in life, I will love Thee in death, And praise Thee as long as Thou lendest me breath, And say when the death dew lies cold on my brow: 'If ever I loved Thee, my Jesus, 'tis now.'" A. We should love Him in life by living for Him: Gal. 2.20 B. We should also love Him in death by being prepared to die in the Lord: Rev. 14.13 C. Thus, we shouild determine that we will manifest the love of Christ in our lives whether in life or in death, as did Paul: Phil. 1.20 IV. In stanza 4 we learn that we shouild love Jesus because His love makes it possible for us to have the hope of heaven "In mansions of glory and endless delight, I'll ever adore Thee in heaven so bright; I'll sing with with the glittering crown on my brow: 'If ever I loved Thee, my Jesus, 'tis now.'" A. Jesus is now preparing His people mansions of glory in endless delight: Jn. 14.1-3 B. These mansions are in heaven so bright: 1 Pet. 1.3-4 C. And when we get there, we can sing with the glittering crown on our brow: Rev. 2.10 CONCL.: The spirituality of this hymn seems the more unusual when we realize that it was written by a teenager. Yet the words are so uncomplicated that they seem to have been written by one with a child-like faith and hope. Believers of every generation and culture can employ such a song as we praise the Lord, saying, "My Jesus, I Love Thee." "MY LORD, MY TRUTH, MY WAY" "I am the Way, the Truth and the Life..." (Jn. 14.6) INTRO.: A hymn which presents Jesus as the truth and the way is "My Lord, My Truth, My Way" (#207 in "Hymns for Worship Revised"). The text is usually attributed to Charles Wesley (1707-1778). Actually, it first appeared, perhaps as early as 1737, anonymously in A Collection of Hymns, for the Use of the People Called Methodists, edited by his brother John Wesley (1703-1791). However, it was also found in Charles's Hymns and Sacred Poems of 1749 and so has been generally considered to have been produced by him. Originally entitled "For Believers" with seven eight-line stanzas, it began "Jesus, My Truth, My Way." Most of our books have used an altered version which contains Wesley's stanza one as stanzas one and two and the first half of Wesley's stanza five as stanza three. The tune (Ferguson or Kingsley) was composed by George Kingsley, who was born at Northampton, MA, in 1811, and became a self taught musician. Serving as music director first for the Old South Church in Boston, MA, and then for the Hollis St. Church, also in Boston, he later taught music at Girard College in Philadelphia, PA, and was supervisor of music for the Philadelphia public schools. This melody is usually dated 1843 and was probably first published in Ferguson's The Harp of David of 1844. It originally seems to have been joined with Samuel Francis Smith's 1832 baptismal song, "Down to the Sacred Wave." It has also been used for an 1863 hymn, "Dear Lord and Master Mine," by Thomas H. Gill (1819-1906). Kingsley also arranged as a hymn tune a melody (Messiah) by French opera composer Louis Joseph Ferdinand Herold (1791-1833). He published it in The Sacred Choir of 1839 with the well-known hymn "Rock of Ages" by Augustus Montague Toplady (1740-1788). It is sometimes used now with the hymn "Take My Life and Let It Be" by Frances Ridley Havergal (1836-1879). Many of Kingsley's hymn tunes were published in Charles Everest's 1873 Sabbath. Kingsley died in Northampton on Mar. 13, 1884. His music was first joined with Wesley's words in the Methodist Hymnal of 1927. This song has been found in Christian Hymns No. 2, Christian Hymns No. 3, and Abiding Hymns. In addition to Hymns for Worship, it is found in Great Songs Revised. The song contains both praise to Christ as our Lord and a request for His help in life. I. Stanza 1 praises Christ as our sure, unerring Light "My Lord, my Truth, my Way, My sure, unerring Light, On Thee my feeble steps I stay, Which Thou wilt guide aright." A. Jesus is the truth which makes us free: Jn. 8.32 B. He is the narrow way that leads to everlasting life: Matt. 7.13-14 C. And He is the light which will guide us from earth to heaven: Jn. 8.12 II. Stanza 2 praises Christ as our wisdom and asks that He direct our paths "My Wisdom and my Guide, My Counsellor Thou art; O never let me leave Thy side, Or from Thy paths depart." A. Jesus is the wisdom that comes to us from God: 1 Cor. 1.30 B. Thus, we can look to Him as our counsellor: Isa. 9.6-7 C. As we follow His counsel, He will help us never leave His side nor depart from His paths: Prov. 5.7 III. Stanza 3 praises Christ as the Lamb who bled for us "I lift my eyes to Thee, Thou gracious, bleeding Lamb, That I may now enlightened be, And never put to shame." A. Jesus is the Lamb of God who takes away the sin of the world: Jn. 1.29 B. It is only through Him that the eyes of our understanding can be enlightened: Eph. 1.18 C. And when we lift our eyes to Him, we shall never be put to shame: Ps. 119.31 IV. Stanza 4 praises Christ for His redeeming love "Never will I remove Out of Thy hands my cause; But rest in Thy redeeming love, And hang upon Thy cross." A. We can always look to Christ to maintain our cause: Ps. 9.4 B. This is because of His redeeming love for us: Eph. 1.7 C. Thus, we hang upon His cross in the sense of clinging to what it stands for: 1 Cor. 1.18 V. Stanza 5 asks Christ to be our Teacher so that we might be happy here and have eternal life. "Teach me the happy art In all things to depend On Thee: O never, Lord, depart, But love me to the end!" A. Only Jesus can teach us God's will, so we needto look to Him and respect His teachings as from one who has authority: Matt. 7.28-29 B. One thing that He teaches us is to depend on Him in all things: Phil. 4.11-13 C. If we do this, He has promised that He will never depart and that nothing can separate us from His love to the end: Rom. 8.35-39 CONCL.: One of the stanzas by Thomas H. Gill can serve as a fitting conclusion to this hymn:
"Dear Lord and Master mine, Thy happy servant see; My Conqueror, with what joy divine, Thy captive clings to Thee." As I journey through this life toward heaven, I must always look for guidance to Jesus as "My Lord, My Truth, My Way." "MY PRECIOUS BIBLE" "Heaven and earth shall pass away, but My words shall not pass away" (Matt. 24.35) INTRO.: A hymn which extols the scriptures where the words of Christ which shall never pass away are recorded is "My Precious Bible" (#503 in "Sacred Selections for the Church"). The text was written by H. B. Hartzler, of whom I have been able to locate no further information. The tune was composed by Edmund Simon Lorenz (1854-1942). Born at North Lawrence near Canal Fulton in Stark County, OH, of Adventist parents who emigrated from Messer, near Saratow Russia, to be missionaries to German immigrants in Ohio, he was educated in Toledo, OH, public schools. After graduation from high school there, he taught school for a time and then attended Otterbein University, Union Biblical Seminary, Yale Theological Seminary, and the University of Leipzig. At the age of 20, he was music editor of "Hymns of the Sanctuary and Social Worship," which was the first United Brethren hymnbook with tunes. From 1884 to 1886 Lorenz was minister with the High St. United Brethren Church in Dayton, OH, and from 1886 to 1888 was President of Lebanon Valley College in Annville, PA. Leaving church and college work because of failing health, he returned to Dayton and in 1890 founded the music publishing firm of Lorenz and Company, where he edited some forty collections of sacred music, including many songs for which he provided words or music or both. Several of these have found their way into our books, including "Tell It To Jesus," "The Name of Jesus," "Thou Thinkest, Lord, of Me," "Give Me the Bible," "(Come, Let Us All Unite To Sing,) God Is Love," "So Tender, So Precious," "Wonderful Love of Jesus," "Are You Ready? (Soon the Evening Shadows Falling)," and "I'm a Pilgrim." "My Precious Bible" song was first published by Lorenz in "Heavenly Carols," but I have been unable to find a date for it, although it may have been in 1878. Lorenz lived to see his publishing company become one of America's largest and most influential publishers of church music, and he remained active in its operation until shortly before his death at the age of 88. The Lorenz Corporation still exists on E. 3rd St. in Dayton, OH, and celebrated its centennial in 1990. In hymnbooks published for use among churches of Christ during the 20th century, this song was included in the 1935 "Christian Hymns" No. 1, the 1937 "Great Songs of the Church," the 1948 "Christian Hymns No. 2," and the 1963 "Abiding Hymns." Today, it can be found only in the 1956 "Sacred Selections" by Ellis J. Crum. The song identifies the Bible as a source of great cheer and aid for the Christian. I. Stanza 1 calls it a star "Like a star in the morning in its beauty, Like a sun is the Bible to my soul, Shining clear on the way of love and duty, As I hasten on my journey to the goal." A. Jesus Christ is "the bright and morning star": Rev. 22.16 B. Jesus Christ is also the "Sun of Righteousness": Mal. 4.2 C. The light of Jesus Christ shines to us "on the way of love and duty" in the gospel: 2 Cor. 4.4 II. Stanza 2 calls it a light "'Tis a light in the wolderness of sorrow, And a lamp on the weary pilgrim way; And it guides to the bright, eternal morning, Shining more and more unto the perfect day." A. The word of God is given as a lamp to our feet and a light to our pathway: Ps. 119.105 B. The reason that we need such a light to guide our feet is that as pilgrims we are travelling a weary way in this life: 1 Pet. 2.11-12 C. The idea of needing a light while travelling a path implies that there is a goal toward which we are journeying, which is the "eternal morrow" of "the perfect day" where we shall receive eternal life: Prov. 4.18, Matt. 7.13-14 III. Stanza 3 calls it a voice "'Tis the voice of a friend forever near me, In the toil and the battle here below; In the gloom of the valley it will cheer me, Till the glory of His kingdom I shall know." A. Through the scriptures, we hear the voice of Christ: Matt. 17.5, Heb. 1.1-2 B. This voice will be near us in the toil and battle here below as we fight the good fight of the faith: 1 Tim. 6.12 C. And as we journey through the gloomy valleys of this life, it will cheer us until the glory of His kingdom we shall know, which undoubtedly refers to the eternal kingdom of God in heaven: 2 Pet. 1.11 IV. Stanza 4 calls it eternal "It shall stand in its beauty and its glory, When the earth and the heavens pass away; Every telling the blessed, wondrous story of the loving Lamb, the only Living Way." A. God's word, like all His works, will stand fast in its glory and beauty: Ps. 111.8 B. Unlike the grass, the flowers, the glory of man, and even the earth and the heavens, all of which shall pass away, the word of God will endure forever: 1 Pet. 1.24-25 C. And it will ever tell its blessed story of the "Lamb of God" who is "the way, the truth, and the life": Jn. 1.28, 14.6 CONCL.: The chorus continues to extol the majesty and beauty of the scriptures: "Holy Bible! my precious Bible! Gift of God, and lamp of life, my beautiful Bible! I will cling to the dear old holy Bible, As I hasten to the city of the King." Given the number of older hymnbooks among us which included this song, it must have been fairly popular in days gone by, but it has not appeared in any of our books, at least that I know of, which have been published in the latter part of the twentieth century. It is natural for songs which were beloved in former times to fade in use and give way to newer songs. However, for a people whose claim and aim are to believe, preach, and practice only what is found in the inspired word of God, it would seem that we would want to sing more songs like "My Precious Bible." "MY REDEEMER" "...Our Savior Jesus Christ; who gave Himself for us, that He might redeem us from all iniquity..." (Tit. 2.13-14) INTRO.: A song which gives praise to Christ because He came to redeem us is "My Redeemer" (#398 in Hymns for Worship Revised, and #246 in Sacred Selections for the Church). The text was written by Philip Paul Bliss (1838-1876). The tune was composed by James McGranahan, who was born near Adamsville, PA, on July 4, 1840, of Scotch-Irish descent and was a member of a family who may have had roots in the Christian Church or Disciples of Christ. Receiving very little formal education, he possessed a native musical talent and at the age of nineteen began teaching singing schools. During the summers of 1861 and 1862 he attended the Normal Music School at Geneseo, NY, conducted by William Batchelder Bradbury (1816-1868). One of the teachers there was Bliss who encouraged McGranahan to devote his life to gospel music. The two became close friends. Afterwards McGranahan became associated with J. G. Towner and helped to conduct singing schools throughout Pennsylvania and New York from 1862 to 1864. Later, he studied under George Frederick Root (1820-1895). By 1875, he was a member of the faculty at Root's Normal Musical Institute at Somerset, PA, and in 1876 at Towanda, PA. In Dec., 1876, Bliss was killed in a tragic train wreck near Ashtabula OH. He had been the song director for revival evangelist Daniel Webster Whittle (1840-1901). McGranahan was asked to identify the body and met Whittle who had also come for that purpose. This text was found by them in Bliss's trunk, which had escaped damage. It is thought that he had probably produced it earlier that year, intending to provide music for it later. Following Bliss's death, McGranahan went to Chicago, IL, to consider the offer by Whittle to carry on Bliss's work as his song director. While there, McGranahan composed this tune for Bliss's words sometime in 1877, and it was first sung in a service at Whittle's tabernacle. Shortly after that, it was recorded by George Coles Stebbins (1846-1945). This fact makes it one of the earliest songs to be recorded by Thomas A. Edison. The song was first published in 1877 in Welcome Tidings, A New Collection for the Sunday School, edited by Robert Lowry (1826-1899), William Howard Doane (1832-1915), and Ira David Sankey (1840-1908). McGranahan later included the song in his own work, The Gospel Male Choir, published in 1878 at Cincinnati, OH, by John Church and Co. He did choose to go on and become Whittle's song leader. Together they conducted evangelistic crusades throughout the United States and twice visited England in 1880 and again in 1883. They also produced a number of gospel songs together, with Whittle as author and McGranahan as composer, such as "The Banner of the Cross" and "I Know Whom I Have Believed." As a hymnbook compiler, McGranahan published The Gospel Male Choir, Vol. 2, in 1883; The Choice; Harvest of Song with Charles Clinton Case (1843-1918); Gospel Choir, with Sankey; and Gospel Hymns, Nos. 3, 4, 5, and 6, with Sankey and Stebbins, in which most of his successful songs appeared. As a song director, he was known for his fine tenor voice. His health broke down in 1887. Afterwards he settled to live in semi-retirement and continue his writing at Kinsman, OH, where he died on July 7, 1907. This song has been in most hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century. It mentions several aspects of the redemption that is available in Christ. I. From stanza 1 we learn that redemption is possible because of the cross of Christ "I will sing of my Redeemer, And His wondrous love to me; On the cruel cross He suffered, From the curse to set me free." A. There can be no doubt that our Redeemer loved us: Eph. 5.2 B. As an expression of His love and desire to offer redemption, He died on the cross and shed His blood, in order that we might have peace with God: Col. 1.14, 20 C. His purpose in this was to set us free from the curse: Gal. 3.10-13 II. From stanza 2 we learn that redemption is possible because Jesus paid the ransom "I will tell the wondrous story, How my lost estate to save, In His boundless love and mercy, He the ransom freely gave." A. The reason why Jesus came was to save us: 1 Tim. 1.15 B. The motivation for His coming was the love and mercy of God: Tit. 3.5 C. The ransom price that Jesus paid to save us was His precious blood: Matt. 20.28, 1 Pet. 1.18-19 III. From stanza 3 we learn that redemption is possible because of Jesus's power "I will praise my dear Redeemer, His triumphant power I'll tell, How the victory He giveth Over sin and death and hell." A. The triumphant power of Christ to save us from sin is manifested in the gospel: Rom. 1.16 B. Through faith in the gospel, He gives us victory: 1 Jn. 5.4 C. This victory is over sin, and death, and hell based upon His own resurrection from the dead: 1 Cor. 15.54-57 IV. From stanza 4 we learn that redemption is possible because Jesus loved us "I will sing of my Redeemer, And His heavenly love to me; He from death to life hath brought me, Son of God, with Him to be." A. Only the love of God, manifested in Christ, could effect our salvation from sin: Eph. 2.4-5 B. Because of this love, He can bring us from death to life: Jn. 5.24 C. And He gives us the hope of being with Him even when this life is over: Phil. 1.23 CONCL.: The chorus sums up the thought of the four stanzas:
"Sing, oh, sing of my Redeemer, With His blood He purchased me; On the cross He sealed my pardon, Paid the debt, and made me free." With a heart made thankful for all that God in Christ has done to save me from my sins, I should always be singing of "My Redeemer." "MY SAVIOR FIRST OF ALL" "We are...willing rather...to be present with the Lord" (2 Cor. 5.8) INTRO.: A song which talks about the hope of the Christian of being present with the Lord when we are absent from the body is "My Savior First Of All." The text was written by Mrs. Frances Jane Crosby VanAlstyne, better known by her maiden name which she used professionally, Fanny J. Crosby (1820-1915). The tune (My Savior First) was composed by John Robson Sweney (1837-1899). The song first appeared in the 1894 "Songs of Love and Praise," compiled for John J. Hood of Philadelphia, PA, by Sweney, William James Kirkpatrick, and Henry Lake Gilmour. The song may have been produced as early as 1890, since many books give 1918 as the copyright renewal date, and in those days copyrights were renewable 28 years from the original copyright. However, other books give 1891 as the original copyright date. Only four books with widespread usage among churches of Christ in the mid-to-late 20th century contained the song. Two were the 1948 "Christian Hymns No. 2" and the 1966 "Christian Hymns No. 3" both edited by L. O. Sanderson. The other two are the 1977 edition of the 1971 "Songs of the Church" edited by Alton H. Howard, and the 1992 "Praise for the Lord" edited by John P. Wiegand. It was also used in the 1952 "Hymns of Praise and Devotion" edited by Will W. Slater. The song focuses on one of the greatest sights that we shall see in heaven. I. Stanza 1 tells us when we shall see it "When my life-work is ended, and I cross the swelling tide, When the bright and glorious morning I shall see; I shall know my Redeemer when I reach the other side, And His smile will be the first to welcome me." A. Someday our life-work will be ended and we shall cross the swelling tide because it is appointed for each person to die once: Heb. 9.27 B. And when this happens, the righteous will experience a bright and glorious morning: Ps. 30.5 C. At that time, we shall know our Redeemer because "we shall see Him as He is": 1 Jn. 3.2 II. Stanza 2 tells us what we shall see "Oh the soul-thrilling rapture when I view His blessed face, And the luster of His kindly, beaming eye; How my full heart will praise Him for the mercy, love, and grace That prepared for me a mansion in the sky." A. When we stand before Him, we shall be able to see our Lord face to face: Matt. 5.8 B. Then, like the celestial beings that now surround His throne, our hearts will praise Him for His mercy, love, and grace: Rev. 5.11-12 C. And we can be ever thankful that He has prepared for us a mansion in the sky: Jn. 14.1-3 III. Stanza 3 tells us with whom we shall see these things "Oh the dear ones in glory, how they beckon me to come, And our parting at the river I recall; To the sweet vales of Eden they will sing my welcome home, But I long to meet my Savior first of all." A. The dear ones in glory are those from whom we have been parted and for whom we sorrow, but not without hope: 1 Thess. 4.13 B. They beckon us to come in the sense that they have already departed to be with Christ, but we shall be reunited with them in the resurrection: Phil. 1.23 (cf. 1 Cor. 15.51-52) C. And as they wait for us they can be pictured as singing our welcome to the sweet vales of Eden in that just as the original paradise garden was in Eden, so we hope for the eternal paradise garden in heaven: Gen. 2.8-9, Rev. 22.1-5 IV. Stanza 4 tells us why we can hope to see this sight "Through the gates of the city In a robe of spotless white, He will lead me where no tears shall ever fall; In the glad song of ages I shall mingle with delight; But I long to meet my Savior first of all." A. We can have this hope because Christ wants us to enter through the gates of that eternal city: Rev. 21.10-13 B. Also, He wants us to wear a robe of spotless white: Rev. 7.9-14 C. And He wants to lead us to that place where no tears shall ever fall: Rev. 21.1-4 CONCL.: The chorus re-emphasizes the greatest blessing that anyone can imagine in heaven. "I shall know Him, I shall know Him, And redeemed by His side I shall stand; I shall know Him, I shall know Him By the print of the nails in His hand." This song has not been without its critics. I recall several years ago reading a transcription of a lesson by a gospel preacher of the late 19th or early 20th century who quoted from this song and seemed to use it as an illustration of worry that someone might express as to whether we shall be able to know who Jesus is in heaven. I just finished looking for the article but could not find it. However, I must confess that I am unable to see this in the song. To me, it is a clear affirmation of the best thing to which we can look forward in the after awhile, that of knowing and seeing Jesus Himself. Others have been blessed by the song. The story is told that in London a man who styled himself as the Messiah appeared and for many weeks attracted a large crowd to him. However, one night, as he talked in one of the open squares in the city, a small band of people passed along, singing, "I shall know Him, I shall know Him By the print of the nails in His hand." The great crowd joined in the chorus. Someone then pointed to the self-styled Christ and said, "Look at his hands and see if the print of the nails is there." This was done, but no print appeared, and the people quit following him. I can recall singing this song every now and then when I was growing up because the congregation where my family worshipped used "the old brown book" ("Christian Hymns No. 2") for many years. And these words still remind me that of all the good things that I might have to expect in eternity, the one which will make heaven most wonderful of all is that I can be with Jesus and see "My Savior First Of All." "NAILED TO THE CROSS" "Having forgiven you all trespasses; blotting out the handwriting of ordinances...nailing it to the cross" (Col. 2.13-14) INTRO.: A hymn which emphasizes the fact that we can have forgiveness of sins because of what Jesus did at the cross is "Nailed To The Cross" (#158 in "Hymns for Worship Revised" and #316 in "Sacred Selections for the Church"). The text was written by Mrs. Frank A. (Carrie E.) Breck (1855-1934). A native of Vermont who spent most of her married life in Portland, OR, she gave lyric expression to her faith as she carried out the routine duties of her day. The tune was composed by Grant Colfax Tullar (1869-1950). A Methodist minister and evangelistic song leader, he cofounded the Tullar-Meridith Publishing Co. in New York City, NY, which was a successful music printing business. Mrs. Breck often sent her poems to Mr. Tullar so that he could provide music for them. Some of their most famous collaborations are the songs, "Shall I Crucify My Savior?" of 1896, and "Face to face with Christ, my Savior" of 1898. "Nailed to the Cross" song was first published by Tullar-Meridith Co. in 1899. The copyright was renewed in 1927 by Tullar but after 1943 was owned by the Broadcast Music, Inc. Among hymnbooks published by members of churches of Christ, it appeared in the 1921 "Great Songs of the Church" No. 1 edited by E. L. Jorgenson, and has been in almost all other books in common use among brethren since then. The song reminds us of the blessings that we have because of the cross. I. Stanza one says that all past sins can be forgiven "There was One who was willing to die in my stead That a soul so unworthy might live, And the path to the cross He was willing to tread All the sins of my life to forgive." A. Jesus died in our stead: Matt. 26.28, Rom. 5.8, 1 Cor. 15.3 B. The purpose for His death was that we might live: Jn. 10.10, Rom. 6.2-3 C. And the result of this is that we can have forgiveness: Eph. 1.7, Heb. 10.17-18 II. Stanza two says that our present state can be that of no condemnation "He is tender and loving and patient with me While He cleanses my heart of its dross, But there's 'no condemnation;' I know I am free For my sins are all nailed to the cross." A. Jesus is tender, loving, and patient with us: Rom. 8.31-33, Heb. 7.25, 1 Jn. 2.1-2 B. Even now, when we sin, He is willing to cleanse our hearts: 1 Jn. 1.7-9 C. As a result, we can stand before God with "no condemnation": Rom. 8.1-2 III. Stanza three says that our future can be filled with hope "I will cling to my Savior and never depart; I will joyfully journey each day With a song on my lips and a song in my heart That my sins have been taken away." A. Of course, this hope is conditioned on the fact that we must cling to the Savior and never depart: Heb. 3.6, 4.14, 10.23 B. But if we do that, we can joyfully journey each day: Phil. 4.4, 1 Pet. 1.8 C. And we can have a song on our lips and in our hearts, and can look forward to singing the eternal song of redemption, because of what Jesus did for us at the cross: Rev. 7.9-14 CONCL.: The chorus continues to stress the importance of the fact that Jesus Christ nailed our sins to the cross in the sense that it was there that He shed His precious blood as an atonement for them. "They are nailed to the cross, they are nailed to the cross, O, how much He was willing to bear! With what anguish and loss Jesus went to the cross! But He carried my sins with Him there." This song has often been used to prepare for the Lord's supper, and it is certainly an appropriate one to help us show the Lord's death. And we should ever be thankful that Jesus was willing to bear the anguish and loss of dying for us that all which would cause us to be condemned before God might be "Nailed To The Cross." "NEAR THE CROSS" "God forbid that I should glory, save in the cross..." (Gal. 6.14). INTRO.: A song that helps to keep our minds upon the cross in which we can glory is "Near The Cross" (#154 in "Hymns for Worship Revised" and #46 in "Sacred Selections for the Church"). The text was written by Fanny J. Crosby, whose full married name was Frances Jane Crosby VanAlstyne (1820-1915). Blind from six weeks old, she is credited with over 8,000 gospel song texts. One of her collaborators who frequently provided music for her songs was William Howard Doane (1832-1915). In the case of this hymn, the tune was first composed by Doane and given to Miss Crosby to provide the text. It was first published in the 1869 collection "Bright Jewels" edited by Doane along with William B. Bradbury, William F. Sherwin, and Chester G. Allen. It was included in the 1921 "Great Songs of the Church" edited by E. L. Jorgenson and has been found in almost every hymnbook published by members of the Lord's church since that time. The song helps to focus our minds on what Jesus did for us on the cross. I. Stanza one says that the cross is the means of our salvation "Jesus, keep me near the cross; There a precious fountain, Free to all--a healing stream, Flows from Calvary's mountain." A. It was at the cross that a precious fountain for sin was opened: Zech. 13.1 B. From that precious fountain flows a healing stream: Rev. 22.1-2 C. And all of this is possible because Jesus died on Calvary's mountain: Lk. 23.33 II. Stanza two says that the cross is the expression of God's divine grace "Near the cross, a trembling soul, Love and mercy found me; There the bright and Morning Star Sheds its beams around me." A. It was at the cross that God's love and mercy found us: Eph. 2.4-9 B. This love and mercy were demonstrated in the "Bright and Morning Star": Rev. 22.16 C. And by grace, the beams from this star enable us to walk in the light: 1 Jn. 1.5-7 III. Stanza three says that the cross is the motivation for us to walk with God "Near the cross! O Lamb of God, Bring its scenes before me; Help me walk from day to day With its shadow o'er me." A. It was at the cross that the Lamb of God died to take away our sins: Jn. 1.29 B. This Lamb of God wants us to walk with Him: Eph. 4.1-3 C. But to do this, we must keep its shadow over us, remembering the love that Jesus showed for us in His death: Eph. 5.1-2 IV. Stanza four says that the cross is the pointer that directs us to heaven "Near the cross I'll watch and wait, Hoping, trusting ever, Till I reach the golden strand, Just beyond the river." A. It was at the cross that Jesus gave us hope by His death: Col. 1.27, 1 Pet. 1.3-5 B. Because of what Jesus did for us, someday we can reach that golden strand after death: Heb. 9.27 C. And we can then be with him just beyond the river and have eternal life in His presence: Matt. 25.46, 1 Jn. 2.25 CONCL.: The chorus says that because of what Jesus did for us at the cross, our glory should be in the cross until our raptured souls will find rest beyond the river. "In the cross, in the cross, Be my glory ever; Till my raptured soul shall find Rest beyond the river." This is a good song to help prepare our minds for partaking of the Lord's supper, because it helps to bring the scene of the cross before us. But it is a good song to sing at other times as well, as we continually ask God to keep us "Near The Cross." "NEARER, MY GOD, TO THEE" "It is good for me to draw near to God: I have put my trust in the Lord..." (Psa. 73.28) INTRO.: A hymn which breathes a request to be near to God is "Nearer, My God, To Thee" (#124 in "Hymns for Worship Revised" and #56 in "Sacred Selections fof the Church"). The text was written by Sarah Flower Adams (1805-1848). The daughter of a newspaper publisher and wife of an inventive engineer, she became a writer who also had a successful stage career that was cut short by recurring illness. With her husband and sister, she attended the Unitarian South Place Chapel in Finsburg, a suburb of London, where the minister, William John Fox, was preparing a new hymnbook in 1840. Fox asked Sarah and her older sister Eliza, who was musically talented, to produce a new hymn on the story of Jacob and Esau for the book to accompany a sermon that he was planning to preach on the subject. In preparation, Sarah began reading the Bible account very carefully. But about that same time, Eliza contracted tuberculosis. Thus, Sarah wrote her most famous hymn not only to be used in the hymnbook but also to comfort her dying sister. It was first sung later that year and then published in 1841 with the original tune by Eliza Flower in Fox's "Hymns and Anthems." Unfortunately, while nursing her sister, Sarah caught tuberculosis too. Eliza died in 1846, and Sarah died two years later in London on Aug. 14, 1848, at the age of 43. The tune (Bethany) that is most commonly used with these words in this country was composed on request as a new musical setting for this text in 1856 by Lowell Mason (1792-1872). It first appeared in the 1859 "Sabbath Hymn and Tune Book" edited by Edward A. Park and Austin Phelps in Andover, MA. In 1912, as the Titanic was sinking, the ship's band is said to have played the strains of this song, whereas others dispute this account, although some survivors report that it was the British tune, not the American one, that they heard, which may help to explain these seemingly contradictory accounts. The song well expresses the aim of every Christian to draw nearer to God. I. The first stanza begins with the universal cry of mankind to be nearer to God "Nearer, my God, to Thee, Nearer to Thee, E'en though it be a cross that raiseth me. Still all my song shall be, 'Nearer, my God, to Thee." A. God wants us to draw near to Him: Jas. 4.8-10 B. Just as Jesus was raised up toward heaven on the cross, so we can draw nearer to God in heaven by bearing our cross: Matt. 16.24 C. As we draw near to God, we sing to Him: Ps. 28.6-7; and one aspect of our song to the Lord should be to draw even nearer to Him II. The second stanza illustrates this desire with the experience of Jacob "Though like a wanderer, The sun gone down, Darkness be over me, My rest a stone; Yet in my dreams I'd be Nearer, my God, to Thee." A. Jacob was a wanderer, fleeing the wrath of Esau, and we too are wanderers upon this earth: 1 Pet. 2.10 B. Also, just as darkness was over Jacob and his rest was a stone, so this world is a place of darkness and trouble for us: Job 14.1 C. Yet, consider the dream of Jacob: Gen. 28.10-12a; we too can dream (in the sense of a strong desire or goal) of being nearer to God III. The third stanza personalizes the story by asking that our future paths might be as Jacob's ladder that reached up to heaven "There let the way appear Steps unto heaven: All that Thou sendest me, In mercy given. Angels to beckon me, Nearer, my God, to Thee." A. Though we cannot climb a literal ladder into heaven, this might be thought of as a figure of Jesus Christ who is the way to the Father: Jn. 14.6 B. And while we are travelling toward heaven through Christ, we need to remember that all which God sends or even allows is by His mercy: 1 Cor. 10.13 C. The Bible does not teach that angels beckon us directly to heaven, but consider Jacob's dream of angels: Gen. 28.12b-14; in like manner, God's message in His word beckons us to come to Him IV. The fourth stanza offers praise to God for this wonderful blessing "Then, with my waking thoughts Bright with Thy praise, Out of my stony griefs Bethel I'll raise; So by my woes to be Nearer, my God, to Thee." A. The song pictures the saint, like Jacob, sleeping through the night, then awakening in the morning with a song of praise in his mind and on his lips: Ps. 5.1-3 B. As an expression of his praise and thanks to God, Jacob raised a pillar of stone which he called Bethel: Gen. 28.16-19; in like manner, when we rise each morning, we can raise own own Bethel of praise to express our gratitude to the Lore because of His nearness to us C. In fact, even the woes that we experience in this life can be a means of drawing nearer to God: Jas. 1.2-4 V. The fifth stanza then suggests that as the angels in the dream ascended, so someday we may hope to ascend to immortality and be with God "Or if on joyful wing, Cleaving the sky, Sun, moon, and stars forgot, Upward I fly; Still all my song shall be, 'Nearer, my God, to Thee." A. Even in death, we can look forward to the angels carrying us with their wings to rest in Abraham's bosom: Lk. 16.22 B. And when the Lord returns, upward we shall fly: 1 Thes. 4.16-17 C. Then, the prayer of the song to be nearer to God will be answered in its fullness, because we shall be directly with Him in His presence forever: 1 Jn. 3.2 CONCL.: Each stanza ends with a repetition of the opening line to re-emphasize the main thought of wanting to be nearer to God in our lives here with the hope of being with Him in eternity. "Nearer, my God, to Thee, Nearer to Thee!" Thus, these lines, picturing Jacob at Bethel sleeping on a stone and dreaming of angels, reflect our yearning which we so often express in our prayers to be, "Nearer, My God, To Thee." "NEARER, STILL NEARER" "And I...will draw all men unto Me" (Jn. 12.32). INTRO.: A hymn which expresses the desire that Jesus will draw us nearer to Himself is "Nearer, Still Nearer" (#125 in "Hymns for Worship Revised" #144 in "Sacred Selections for the Church"). The text was written and the tune (Morris or Still Nearer) was composed both by Lelia Naylor Morris (1862-1929). A native of Pennsville in Morgan County, OH, she grew up in nearby Malta, OH, and lived most of her adult life in McConnellsville, OH, across the Muskingum River from Malta, where she married Charles H. Morris. Credited with over 1000 hymn texts and most of the tunes, she produced many songs which appear in our books, such as "Sweet Will of God," "I Know God's Promise Is True," and "Sweeter Than The Years Go By." "Nearer, Still Nearer" first appeared in the "Pentecostal Praises Hymnal," published in 1898 by the Hall-Mack Co. of Philadelphia, PA. In 1913, when Mrs. Morris was in her 50's, her eyesight began to fail, so her son built a large blackboard, 28 feet long, with music staff lines on it to help her continue her songwriting. However, within a year, here eyesight was gone, but she was able to continue writing music with the help of several devoted friends. This song has been in a large number of hymnbooks published by members of the Lord's church and in use among churches of Christ since the 1921 "Great Songs of the Church" No. 1, edited by E. L. Jorgenson. It suggests several ingredients that are essential to being near the Savior. I. In the beginning stanza, we learn that we must have a desire to be close to His breast "Nearer, still nearer, close to Thy heart, Draw me, my Savior, so precious Thou art; Fold me, O fold me close to Thy breast, Shelter me save in that haven of rest." A. The Lord wants us to draw near to Him: Jas. 4.8 B. Surely, it should be the aim of every lover of God to have the Lord close to him: Ps. 145.18 C. And those who thus draw near are sheltered in the haven of rest: Ps. 61.3 II. In the next stanza, we learn that we must look for the cleansing that Jesus' blood brings "Nearer, still nearer, nothing I bring, Naught as an offering to Jesus, my King, Only my sinful, now contrite heart; Grant me the cleansing Thy blood doth impart." A. Nothing that we can bring could be an offering that would atone for sin: Tit. 3.5 B. The only thing we have to bring is our sinful, contrite hearts--contrite means penitent: Lk. 13.3 C. And when we thus come to the Lord, we can have the cleansing that Christ's blood makes available: Rev. 1.5 III. In the following stanza, we learn that we must determine to resign the follies of sin "Nearer, still nearer, Lord, to be Thine; Sin, with its follies I gladly resign: All of its pleasures, pomp, and its pride. Give me but Jesus, my Lord crucified." A. To resign means to abhor and abstain from: Rom. 12.9, 1 Thess. 5.21-22, Tit. 2.10-11 B. But it is not enough just to renounce sin itself--we also need to renounce all its pleasure, pomp, and price--compare the attitude of David: Ps. 19.12-14 C. Instead, we should seek only Jesus, our Lord crucified: 1 Cor. 2.2 IV. In the final stanza, we learn that we must long for that harbor where our anchor is cast "Nearer, still nearer, while life shall last, Till safe in glory my anchor is cast, Through endless ages, ever to be Nearer, my Savior, still nearer to Thee." A. There is no greater motivation to be near the Lord than the hope of a home with Him in heaven--that is why our anchor is cast within the veil: Heb. 6.18-20 B.That hope is of endless ages or eternal life with the Lord: 1 Jn. 2.25 C. And we know that when we get to heaven, we shall surely be nearer the Lord because we shall be in His very presence: Rev. 21.22-23 CONCL.: There is always a danger of being involved in a lot of activity, even "religious," that really does not draw us close to God. But the true disciple will want to be continually developing a closer relationship with his God. Therefore, we should emply the spiritual means which God has provided for us in His word so that we can be drawn "Nearer, Still Nearer." "NEVER GROW OLD" "And God shall wipe away all tears from their eyes; and there shall be no more death" (Rev. 21.4) INTRO.: A song which emphasizes that there will be no more death or even old age in heaven is "Never Grow Old" (#204 in "Hymns for Worship Revised" and #384 in "Sacred Selections for the Church"). The text was written and the tune composed both by James Cleveland Moore (1888-1962). A native of Georgia, he became a Baptist preacher, but was also known as a singer and songwriter. In 1914, while a 26-year old seminary student, Moore visited to preach in his home church at Draketown, GA, where his aging father had led the singing for years. The elder Moore's voice failed him and the son said that he knew that he would not be hearing him sing much longer. Back in school, James produced the hymn with the incident still fresh in his mind, and wrote, "Dedicated to My Father and Mother." Apparently, it was not published until 1930. This song poetically describes the heavenly land for which we hope. I. Stanza 1 says that this land is one where we never shall die "I have heard of a land on the far away strand, 'Tis a beautiful home of the soul; Built by Jesus on high, there we never shall die, 'Tis a land where we'll never grow old." A. Like the patriarchs of old, we look for a land or country beyond this earthly life: Heb. 11.13-16 B. This land has been prepared by God for the redeemed as the home of the soul which cannot be killed: Matt. 10.28 C. Thus, it will be a land where we never shall die. The basic curse of growing old is that it leads to death, but in heaven we shall eat of the tree of life so that there will be no more death and we shall live forever: Rev. 22.1-5 II. Stanza 2 says that this land is a place where we shall sing praise to Christ "In that beautiful home where we'll never-more roam, We shall be in the sweet by and by; Happy praise to the King through eternity sing, 'Tis a land where we never shall die." A. In that land, we shall never more roam because in it we receive eternal life: Matt. 25.41, 1 Jn. 2.25 B. Also, this land is referred to as the "sweet by and by" because it will be a place of rest, peace, joy, and comfort: Rev. 14.13 C. But it will also be a land of activity, and one of the activities of the redeemed in heaven will be to praise God with glory and honor for all eternity: Rev. 21.24-26 III. Stanza 3 says that in this land our voices will blend with those gone before "When our work here is done and the life crown is won, And our troubles and trials are o'er; All our sorrow will end, and our voices will blend With the loved ["Sacred Selections" has "saved"] ones who've gone on before." A. We look forward to the time when our work on earth is done and we shall receive the crown of life in that heavenly land: 2 Tim. 4.6-8, Rev. 2.10 B. But we also recognize that one of the biggest troubles, trials, and sorrows that we have in this life is the parting of loved ones: 1 Thes. 4.13-18 C. One of the greatest blessings that we shall have in that heavenly land will be the reunion with those of our loved ones who have done His commandments: Rev. 22.14 CONCL.: The chorus continues to remind us of the eternal nature of our life in heaven. "Never grow old, never grow old, In a land where we'll never grow old; Never grow old, never grow old, In a land where we'll never grow old." As we face the various problems and tribulations of this life, we can find great strength and encouragement to keep on and remain faithful by focusing our attention not on the things of this earth but on that land where we'll "Never Grow Old." "NIGHT, WITH EBON PINION" "And being in agony He prayed more earnestly: and His sweat was as is were great drops of blood..." (Lk. 22.44) INTRO.: A hymn which reminds us of the great agony that Christ experienced in the Garden of Gethsamene for us is "Night, With Ebon Pinion" (#162 in "Hymns of Worship Revised" and #293 in "Sacred Selections for the Church"). The text was written by Love H. Jameson (1811-1892). It was first published in 1854, but the circumstances of its origin are unknown. Jameson also authored the well-known hymn-text "There Is A Habitation." The tune (Sorrows or Ebon Pinion) was composed by Joseph P. Powell, who was born in 1832 in Oregon, into a well-known Oregon family. He was identified with Christian Churches, teaching vocal music after 1855 and also working with the Fillmore Brothers Music House of Cincinnati. The date and circumstances of the tune's composition are also unkown. It may have been produced around 1871 because it was first published in the "New Harp of Zion," compiled by Augustus Damon Fillmore and his son James Henry Fillmore. While Powell was living at Dundee, OR, in Oct., 1880, he was appointed to the Committee of Revisers selected by the General Christian Missionary Convention to revise "The Christian Hymnal." This revision was the final successor to the series of hymnbooks begun by Alexander Campbell. It was published by the Christian Publishing Co. of St. Louis, MO, in 1882, with the full title "The Christian Hymnal Revised: A Collection of Hymns and Tunes for Congregational and Social Worship, in Two Parts," and contains this hymn. The "Compiler's Preface" signed by J. H. Garrison, J. H. Hardin, and George D. Smitherwood read, "The committee takes great pleasure in acknowledging the very valuable services of J. P. Powell, whose labors on our Church Hymnal have been recognized and appreciated throughout the brotherhood. Having been appointed as musical editor of the Sunday School Hymnal, he met with us in our several meetings, and gave us the benefit of his large experience and musical taste. To him we are largely indebted for the special features of the book above mentioned." Also in 1882, Jameson's text appeared with Powell's tune in J. H. Fillmore's "New Christian Hymn and Tune Book," published in Cincinnati, OH. The following year, Powell apparently helped to edit "The Christian Sunday School Hymnal" as well. Then in the "Christian Evangelist," Aug., 1891, Powell was described as "a very useful man to the brotherhood, humble, sweet-spirited, and true." He died in 1926. The oldest hymnbook in my collection in which I have found the hymn is a little paperback book entitled "International Melodies," dated 1924, edited by Earnest C. Love, and published by "The Pacific Christian" (where it is called "Night with Ebon Pinions"). It was used in the 1935 "Christian Hymns" (No. 1) edited by L. O. Sanderson and published by the Gospel Advocate, and has been included in almost every major hymnbook published by members of the Lord's church for use among churches of Christ since then, except the "Great Songs of the Church" Nos. 1 and 2 (though it was added in the 1975 Supplement), and the 1984 "Songs of Faith and Praise" (bumped, perhaps, for one of the "medlies" or to make room for a "descant" of another song). The hymn recounts the sufferings of christ in the Garden of Gethsemane. I. Stanza 1 says that Christ was the Man of Sorrows "Night, with ebon pinion, Brooded o'er the vale; All around was silent, Save the night-wind's wail, When Christ, the Man of Sorrows, In tears and sweat as blood, Prostrate in the garden, Raised His voice to God." A. The phrase "ebon pinion" has been the subject of many questions through the years. "Ebon" means black. "Pinion" means wing feathers or wing. Thus, night is figuratively pictured as a bird with a very black wing that broods over the earth. Some newer hymnbooks give notes to explain difficult phrases in songs. One such book simply says that "ebon pinion" means "wings of darkness," while another says, "black wing, a metaphor for the deepest darkness." We can safely conclude that Jesus and His disciples went to the Garden of Gethsemane late at night because the disciples are described as being very sleepy, and after the arrest of Jesus in the garden and His following appearances, it is said that morning came, implying that the events prior to this were at night: Mk. 14.40, 15.1 B. I read from someone who objected to the part of the stanza which says, "All around was silent, Save the night-wind's wail," with the argument that since the Bible does not specifically say this, we should not sing it. However, some poetic license must be allowed. We can reasonably infer that since Jesus went late at night to a place which was quite apart from the normal avenues of human activity, undoubtedly so that He could concentrate in His prayer without distractions, it must have been fairly quiet: Mk. 14.26-32 C. The original sixth line read, "In tears and sweat and blood." This is one of the changes that Ellis J. Crum made for "Sacred Selections" and has been continued in "Hymns for Worship" that actually makes sense, because the Bible says absolutely nothing about Jesus "sweating blood" in the Garden of Gethsemane. It simply says that His "sweat became like great drops of blood." Some have pointed to the phenomenon of "bloody sweat" where, under great stress, a few of a person's capillaries might break, allowing some blood to seep into the perspiration glands, so that one's sweat might have a pinkish tinge. However, I do not believe that this is even likely what the passage is talking about. It is simply comparing the size of His sweatdrops rolling off Him to great drops of blood that would roll off a person who was bleeding profusely. All this emphasizes the agony and anguish of Christ, and the term "Man of Sorrows" was applied prophetically to Christ to foreshadow His sufferings for us: Isa. 53.1-3 II. Stanza 2 says that because of His sorrows, Christ wept and prayed. "Smitten for offenses Which were not His own, He, for our transgressions, Had to weep alone; No friend with words to comfort, Nor hand to help was there, When the Meek and Lowly Humbly bowed in prayer." A. Jesus was suffering for offenses which were not His own, the just for the unjust: 1 Pet. 3.18 B. This suffering was so intense, in fact, that He was said to have been weeping as a result: Heb. 5.7 C. And what made it even worse was that He had no human friend with words to comfort or hand to help, because even His closest disciples slept: Matt. 26.36-45 III. Stanza 3 says that the prayer of Christ was that God's will be done "'Abba, Father, Father, If indeed it may, Let this cup of anguish Pass from Me, I pray; Yet, if it must be suffered by Me, Thine only Son, Abba, Father, Father, Let Thy will be done." A. He referred to God as "Abba." This is an Aramaic word for "father," especially used as a term of endearment by a small child: Mk. 14.36, cf. Gal. 4.6 B. It was apparently Jesus's purpose in going to the garden to pray that He might find strength for His upcoming tribulations: Mk. 14.32-35 C. However, He knew that His death on the cross was part of God's plan for the salvation of mankind, and, while from a human standpoint He obviously did not wish to experience the pain of death, He willingly submitted Himself to the will of the Father: Lk. 22.39-42 CONCL.: We often use this song to prepare our minds for the partaking of the Lord's supper. In fact, one hymnbook that I checked had the words "For Communion" printed under the title. And it is a fitting song to accomplish this goal because the purpose of the supper is for us to remember Christ's suffering and death. As we think of "Ebon pinion," we must consider that not only was there physical darkness the night of Jesus's betrayal, but there was also spiritual darkness in that it was the sins of the world that caused the spotless Son of God to suffer and die for us. We are reminded of this whenever we sing, "Night, With Ebon Pinion." "NONE OF SELF AND ALL OF THEE" "Whosoever will come after Me, let him deny himself, and take up his cross, and follow me" (Mk. 8.34) INTRO.: A hymn which exhorts us to deny ourselves and follow Christ is "None of Self and All of Thee" (#431 in Hymns for Worship Revised). The text was written by Theodore Monod, who was born on Nov. 6, 1836, in Paris, France, the son of a French Reformed minister F. Monod. After obtaining the Bachelor of Science and Master of Arts degrees from the University of Paris, he prepared for the legal profession, but decided to enter the ministry. Therefore, he came to America and attended the Western Theological Seminary at Allegheny, near Pittsburgh, PA. After his graduation in 1860, he became minister with the Second Presbyterian Church at Kankakee, IL, in 1861, and served there two years. However, in 1864 he returned to France and became minister with the Chapelle du Nord (Evangelical and Reformed Church) in Paris, where Gaston Doumergue, who later served as the President of the Third Republic, held membership. These words were produced in July of 1874, when Monod was visiting in the home of Lord and Lady Mount-Temple at Broadlands in Hampshire, England, to conduct some private meetings. Mount-Temple liked the poem so much that he had it published in October of that year on a program card for similar services at Oxford. The song's first hymnbook inclusion was in the 1876 Hymnal Companion, Revised and Enlarged edited by Edward Henry Bickersteth Jr. (1825-1906). The original first line was "O the bitter shame and sorrow." The tune used in most of our books was composed by James McGranahan (1840-1907). It was also first published in 1876, very likely in Gospel Hymns No. 2 compiled by Ira D. Sankey. Each stanza originally had five lines, so McGrahanan dropped one line from each stanza and made a few other alterations. In addition to his preaching, Monod edited a magazine, La Liberateur, and wrote several books, including The Gift of God, before his death in Paris on Feb. 26, 1912. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the text appeared in an arrangement made and with a tune composed both by Mrs. Lewis S. Chafer and dated 1912 in the 1921 Great Songs of the Church (No. 1) edited by E. L. Jorgenson. The song was also used in the 1948 Christian Hymns No. 2 and the 1966 Christian Hymns No. 3 both edited by L. O. Sanderson; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1975 Supplement to the 1937 Great Songs of the Church No. 2 originally edited by Jorgenson. Today it may be 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 1977 Special Sacred Selections edited by Ellis J. Crum; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship. The song reminds us of the importance of putting the will of Christ first in our lives. I. Stanza 1 pictures us living totally for self "O, the bitter pain and sorrow That at time could ever be, When I proudly said to Jesus, 'All of self, and none of Thee.'" A. I am sure that most children of God can look back at a time in their lives when they experienced bitter pain and sorrow because of sin: Rom. 3.23 B. Much of this pain and sorrow is the result of pride: 1 Pet. 5.5 C. This pride often leads us to live as if we are saying to God, "All of self, and none of Thee": 1 Pet. 4.1-2 II. Stanza 2 pictures us starting to give a little bit of our lives to Christ "Yet He found me; I beheld Him Bleeding on th'accursed tree, And my wistful heart said faintly, 'Some of self, and some of Thee.'" A. Yet, Christ will find those with good and honest hearts because He goes out to seek the lost sheep: Matt. 18.10-14 B. What draws the honest heart to Him is the fact that He was bleeding on the accursed tree: Jn. 12.32 C. This seed produces the beginnings of faith which can ultimately bring us to Christ: Rom. 10.17 III. Stanza 3 pictures us dedicating more of our lives to Christ "Day by day His tender mercy, Healing, helping, full and free, Brought me lower while I whispered, 'Less of self, and more of Thee.'" A. As we learn more about Christ, we are impressed with His tender mercy, healing, helping, full and free: 1 Tim. 1.13-16 B. This knowledge brings us lower as we become more and more poor in spirit: Matt. 5.3 C. Thus, we find that we are thinking less of self and more of Christ as our faith grows and develops: Mk. 4.26-28 IV. Stanza 4 pictures us giving up self and committing ourselves completely to Christ "Higher than the highest heavens, Deeper than the deepest sea, Lord, Thy love at last has conquered: 'None of self, and all of Thee.'" A. Eventually, if our hearts continue good, we begin to comprehend the width and length and height and depth of Christ's love: Eph. 3.18-19 B. When this happens, the love of Christ has conquered our hearts: Rom. 5.5 C. It is then that we say that we are cucified with Christ and it is no longer we ourselves that live but Christ lives in us: Gal. 2.20 CONCL.: The chorus repeats the last two lines of each stanza to emphasize the progression that one makes from living totally for self to committing himself completely to Christ. Some have objected to this song saying that it sounds too much like boasting because none of us ever completely gives himself to Christ. It may be true that no one ever does this perfectly in this life, but it should certainly be the aim toward which every Christian is striving to be able to say to the Lord, "None of Self and All of Thee." "NOTHING BUT THE BLOOD" "We have redemption through His blood, even the forgiveness of sins" (Col. 1.14) INTRO.: A song which emphasizes the fact that we have redemption only through the blood of Christ is "Nothing But The Blood" (#269 in "Hymns for Worship Revised" and #197 in "Sacred Selections for the Church"). The text was written and the tune (Plainfield) was composed both by Robert Lowry (1826-1899). A native of Philadelphia, PA, he was educated at Bucknell University and became a Baptist preacher, serving churches in West Chester, PA, and New York City, NY, before coming to the Hanson Place Baptist Church in Brookly, NY. While there, he became especially interested in church music and in 1868, after the William B. Bradbury Co. was reorganized as the Biglow and Main Co., he became editor of their Sunday school songbooks following Bradburys death. Lowry produced many gospel songs for these books, sometimes providing both words and music as in "Christ Arose" and "Shall We Gather At The River," as well as "Nothing But The Blood which was first published in the 1876 "Gospel Music" which he co-edited with William Howard Doane (1832-1915). He also gave musical settings to the hymns of others, such as Fanny Crosby's "All The Way My Savior Leads Me," Annie Sherwood Hawks's "I Need Thee Every Hour," Sylvanus D. Phillips's "Savior, Thy Dying Love," and Isaac Watts's "Come, We That Love The Lord," adding a refrain to make it the familiar "Marching To Zion." Moving from Brooklyn, Lowry went to Lewisburg, PA, where he preached, taught at Bucknell and received his doctorate degree, then relocated in Plainfield, NJ, where he worked with the Park Ave. Baptist Church and spent the rest of his life. In hymnbooks published for use among churches of Christ early in the 20th century, the text of "Nothing But the Blood" appeared in the 1921 "Great Songs of the Church" No. 1, and the tune accompanied it in the 1937 "Great Songs of the Church No. 2," both edited by E. L. Jorgenson. It has been included in most other books since then. Nearly all of our books use only three stanzas. "Sacred Selections" and "Hymns for Worship" both have four, but Lowry actually wrote six! The song reminds us how important the blood of Jesus Christ is to us. I. Stanza 1 talks about its power to take away sin "What can wash away my sin? Nothing but the blood of Jesus. What can make me whole again? Nothing but the blood of Jesus." A. Every responsible human being has to deal with the problem of sin: Ro. 3.23 B. This sin needs to be washed away: Acts 22.16 C. Only the blood of Jesus can make us whole again: Mk. 2.17 II. Stanza 2 talks about its power to provide pardon "For my pardon this I see--Nothing but the blood of Jesus. For my cleansing this my plea--Nothing but the blood of Jesus." A. When we sin, we need pardon: Exo. 34.9 B. Not only do we need pardon, we need to see what can bring that pardon: Heb. 2.9 C. And what we see is that only the blood of Jesus can cleanse us from sin: 1 Jn. 1.7 III. Stanza 3 talks about its power to atone "Nothing can for sin atone--Nothing but the blood of Jesus. Naught of good that I have done--Nothing but the blood of Jesus." A. The blood of goats and calves cannot take away sin: Heb. 10.4 B. Naught of good that we might do can atone for our sins: Tit. 3.5 C. Yet, to take away sin, something is needed to atone for it, and it is the death of Christ by which He shed His blood for us: Rom. 5.8-11 IV. Stanza 4 talks about its power to bring righteousness "This is all my hope and peace--Nothing but the blood of Jesus. This is all my righteousness--Nothing but the blood of Jesus." A. Because of what Jesus did for us we can have hope: Col. 1.27 B. Because of what Jesus did for us we can have peace: Eph. 2.14-17 C. And because of what Jesus did for us we can have righteousness: Phil. 3.9 V. Stanza 5 talks about its power to help us overcome "Now by this I'll overcome--Nothing but the blood of Jesus, Now by this I'll reach my home--Nothing but the blood of Jesus." A. God wants us to overcome: 1 Jn. 5.4 B. God wants us to reach our home: Col. 1.5 C. And to make this possible, Jesus shed His blood for our redemption: Matt. 26.28 VI. Stanza 6 talks about its power to produce joy in our lives "Glory! Glory! This I sing--Nothing but the blood of Jesus, All my praise for this I bring--Nothing but the blood of Jesus." A. We should give glory to the Lord: Rev. 1.6 B. We should sing to Him with thanks in our hearts: Eph. 5.19, Col. 3.16 C. And we should praise Him because He has washed our robes and made them white in the blood of the Lamb: Rev. 7.9-14 CONCL.: The chorus emphasizes the importance of Jesus's blood to our redemption. "Oh! precious is the flow That makes me white as snow; No other fount I know, Nothing but the blood of Jesus." "Without the shedding of blood there is no remission of sin" (Heb. 9.22). This can serve as a good invitation song, to encourage those who need to respond to the gospel call to come for cleansing in the blood of Christ upon their compliance with His terms of pardon revealed in the scripture. It can also serve as a hymn of praise to the Lord on the part of Christians for the blessings that we have as a result of the blood of Jesus. But whenever we sing the song, we need to remember that insofar as atonement for our sins is concerned, our salvation is grounded upon "Nothing But the Blood" of Jesus. "O FATHER, GUIDE ME" "The meek will He guide in judgment..." (Psalm 25.9) INTRO.: A song which in effect is a prayer to the Father to guide us in this life as we prepare for judgment is "O Father, Guide Me." The text was written and the tune was composed both by Robert Clifton Welch, who was born Nov. 5, 1916, on a farm at Railton, KY, near Glasgow, the youngest son of eight children born to Ed and Laura Sturdivant Welch. When he was five, his parents started taking him to worship at nearby Carter Schoolhouse where they and two or three other families had begun meeting. At the age of seven, when he was just into reading, he was given a New Testament and then was baptized at the age of eight during a gospel meeting. His father died of tuberculosis when he was twelve. After he had finished elementary school, there was no high school in the community at that time and no money for him to go, so at the age of fourteen he went to stay with an aunt who lived twenty miles away so that he could attend high school at Meador in Allen County and work for his aunt's family to pay for the schooling. Having preached his first sermon at age thirteen, he became interested in music and following his graduation at age seventeen he had an opportunity to lead singing in a meeting not far from home. As the only male member of the congregation, he had been helping to keep the worship going at home, but his mother encouraged him to do as much song leading in other places as he could. In addition, as brethren heard of his work in the home congregation, they would ask him to come and speak for them, and his mother supported him in doing that too. Often, he rode a mule to his preaching appointments throughout southern Kentucky. During this time, he also was working at farming, carpentry, and surveying, but saw the need for further education, so five years after graduating from high school he went to Freed-Hardeman College at Henderson in western Tennessee, where he graduated in 1943. That same year he married Stella Louise Pitts of northern Mississippi whom he had met while in college. To this union were born John, Mary, and Martha. It was at some point during this time that brother Welch was living in Lawrenceburg, TN, where he was working with B. G. Hope, and led singing for a meeting at Florence, AL, in which Roy Cogdill was preaching. Brother Cogdill presented a lesson on some subject related to the authority of the word. That night, after returning to where he was staying, brother Welch produced this song, although it was not published until many years later. From Lawrenceburg, the Welches moved to Springfield, MO, where brother Welch labored with the Johnson and Dale congregation and also completed his college degree at Southwest Missouri State College. Since then, they have lived in Uvalde (where he formed a friendship with Austin Taylor), and Pleasanton, TX; Florence, AL; Louisville, KY (where he labored first at Bardstown Rd. and then at Wendell Ave. and Oak Grove); Birmingham, AL; Nacogdoches, TX; back to Springfield, MO; the to Louisville, KY, again (where he worked with the Eastland church). In 1963, brother Welch compiled and published a hymnbook, "Abiding Hymns," which was very popular among "non-institutional" churches of Christ for a number of years. It contained "O Father, Guide Me" and six other hymns that are by him. From Louisville, the Welches moved across the river to New Albany, IN, where he worked with the Silver St. church, and then to Florence, KY, where he labored with the Northern Kentucky church and also served as an elder for part of his time there. In addition, he has held meetings throughout the nation; conducted three debates, one of which with H. E. Shreiner on premillennialism was published in book form; written a number of books including several commentaries; and edited a quarterly journal, "Faith and Facts," which is still being published by his son. Because of health problems, the Welches decided to move Indianapolis, IN, where he served an elder with the High School Rd. church and led singing at lectures for over twenty years. His death occurred on June 18, 2003, at Indianapolis. This hymn reminds us of our dependance upon God for guidance in life. I. Stanza 1 asks God to guide us "O Father, guide me here below The riches of Thy grace to know; And teach me as I journey on The Word of God to lean upon." A. God has promised to guide His people: Ps. 32.8 B. Those who are guided by Him can know the riches of His grace: Eph. 1.7, Col. 1.27 C. But to have this guidance and its blessings, we must learn to lean upon God's word: Prov. 3.5-6 II. Stanza 2 reminds of us the danger of falling "I know that Thou has made the way So clear that I can never stray; Yet in my weakness I may fall When I forget my All in all." A. God has a strait and narrow way for us to travel: Matt. 7.13-14 B. This way is so clear and plain that it will keep us from straying and stumbling: Ps. 27.11, Isa. 35.8, Eph. 3.3-5, 2 Pet. 1.8-10 C. Yet, when we fail to follow God's way, we will fall: 1 Cor. 10.12, Gal. 5.4 III. Stanza 3 seeks God's help in keeping focused on the right goal "O help me trust in Thee for aid, And by Thy word may I be made To see the glorious height sublime To which my soul, by faith, shall climb." A. A life which walks the narrow way and keeps from straying is one which fully trusts in the Lord: Ps. 37.3-5 B. The one who so trusts in the Lord will be made by God's word to see the glorious height sublime that God has prepared for His people: 2 Cor. 4.16-18 C. But the only way to climb to that height is to live by faith: Rom. 1.17, 2 Cor. 5.7 IV. Stanza 4 points our minds to the eternal bliss of heaven "'Tis faith and hope that light my way To that celestial land of day; God is the light when I get there, Eternal bliss with Him to share." A. It is faith and hope that help us to center our minds on the celestial land of day: 1 Cor. 13.13, Heb. 11.13-16, 1 Pet. 1.3-5 B. God Himself will be the only light that we need when we get there: Rev. 21.23 C. And in that light we shall share eternal bliss with Him: 1 Jn. 2.25 CONCL.: In my experience, this is probably one of brother Welch's best-known hymns, It is also one of my favorites, and I have tried to commit it to memory. I do not believe that I am alone in my assessment. Many years ago, I was visiting in a meeting where brother Welch was preaching. The congregation just happened to use his songbook, and I recall overhearing the song-leader's telling brother that he felt that this hymn was more spiritual than many others and therefore led it often. Unfortunately, since "Abiding Hymns" is no longer in print, and newer hymnbooks, even those claiming to emphasize songs by members of the Lord's church, have not used any of brother Welch's songs, they are not very well known today. However, as we journey through this life toward eternity, whether we know this particular song or not, our daily prayer should be, "O Father, Guide Me." (Note: this song was copyrighted in 1963; the words have been reprinted by permission) "O GOD, OUR HELP IN AGES PAST" "Lord, Thou hast been our dwelling place in all generations" (Ps. 90.1) INTRO.: One of the great hymns of the ages based on Ps. 90 is "O God, Our Help In Ages Past" (#20 in "Hymns for Worship Revised"). The text is one of five metrical versions of the psalm written by Isaac Watts (1674-1748). Originally covering verses 1-5 and in nine stanzas, it was produced perhaps as early as 1714 and first published in 1719 in his work "The Psalms of David Imitated in the Language of the New Testament." Watts himself marked stanzas 6-8 as suitable for omission, and most books today contain no more than six stanzas. Several minor alterations were made, mostly for poetical reasons, by John Benjamin Wesley (1703-1791). These include from "Our God" to "O God" in the first stanza,from "Under the shadow" to "Beneath the shadow" in stanza two, and from "While troubles last" to "While life shall last" in the last stanza, and are found in his "Psalms and Hymns" of 1738. The tune (St. Anne) most commonly used is usually attributed to William Croft, who was born at Nether Eatington (now Ettington) in Warwickshire, England, and "baptized" on Dec. 30, 1678. After serving as a chorister under John Blow at St. James' Chapel Royal, in 1700 he became organist at St. Anne's in Soho, where he remained for eleven years. In 1704 he and Jeremiah Clark were appointed joint organists at the Chapel Royal. Then in 1707, when Clark died, he became sole organist and in 1708 succeeded John Blow as organist at Westminster Abbey and composer to the Chapel Royal, a position which he occupied for the rest of his life. Later, in 1713, he received his doctorate of music from Oxford University and in 1725 was one of the founders of the Academy of Vocal Musick. His published works include "Musicus Apparatus" in 1713 and "Musica Sacra" in 1724 which was the first edition of English church music in full score, as well as instrumental music for cembalo and recorder. In his early life, Croft composed theater and other secular music but in later years devoted himself entirely to church music. Of particular interest are his psalm tunes which are some of the earliest examples of the English psalm tune as distinguished from the French/Genevan psalm tunes. This one first appeared anonymously as a setting for Ps. 62 ("As Pants The Heart") in the "Supplement to the New Version of the Psalms," sixth edition, published at London in 1708 by Tate and Brady. In 1715 the seventh edition of Abraham Barber's "Book of Psalm Tunes" titled the tune "Leeds" and attributed it to Mr. Denby. But in Philip Hart's 1720 London "Collection" of psalm melodies, Croft is ascribed as the composer, and it is now believed that Denby merely prepared a new arrangement. He died at Bath, England, on Aug. 14, 1727, and is buried in Westminster Abbey. The modern harmonization of the tune was made by William Henry Monk (1823-1889). It was done for the 1861 "Hymns Ancient and Modern" which was the first hymnbook to combine Watts's words with Croft's music. This has been called one of the greatest hymns in the English language, and has been included in almost every hymnbook printed--except many that were in common use among churches of Christ in the mid-20th century. It was found in the 1921 "Great Songs of the Church" (No. 1) but with a tune (Harvey's Chant) by William Batchelder Bradbury. The 1938 "Great Songs of the Church No. 2" printed St. Anne as a second tune. It was not used in the the "Christian Hymns" series until the 1966 No. 3, where it is set to a tune by L. K. Harding and the words had to be arranged, probably by L. O. Sanderson, to fit the tune. The St. Anne tune was used in the 1963 "Christian Hymnal." Today, the Harvey's Chant tune 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." The St. Anne tune is found in the 1977 "Special Sacred Selections," the 1978/1983 "(Church) Gospel Songs and Hymns," and the 1986 "Great Songs Revised." The 1992 "Praise for the Lord" has both. This hymn praises God for His goodness and guidance. I. Stanza 1 emphasizes God's power "O God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast, And our eternal home." A. God has used His power to help His people throughout the past: Ps. 33.20 B. Also, He will use His power to give His people hope for the future: Ps. 146.5 C. Thus, His people can look to His power to provide shelter from the stormy blast: Ps. 61.3 II. Stanza 2 emphasizes God's protection "Under/Beneath the shadow of Thy throne Thy saints have dwelt secure; Sufficient is Thine arm alone, And our defense is sure." A. The place of God's protection is under His throne: Ps. 47.8 B. There, the saints can dwell secure: Ps. 4.8 (some books have "Still may we dwell secure" which sounds as if it was intended as "updated" language) C. The means of God's protection is His strong arm: Ps. 44.3 III. Stanza 3 emphasizes God's perfection "Before the hills in order stood, Or earth received her fame, From everlasting Thou art God, To endless years the same." A. It was God who established the hills and mountains: Ps. 65.5-6 B. It was God from whom the earth received her frame: Ps. 33.8-9 C. This God is perfect because He is an everlasting God: Ps. 93.2 IV. Stanza 4 (Watts's no. 5) emphasizes God's eternal life "A thousand ages in Thy sight Are like an evening gone; Short as the watch that ends the night Before the rising sun." A. Years and ages are nothing to God: Ps. 102.24-27 B. Even a thousand ages are as the coming of evening would be to man: Ps. 104.23 C. They would be short as the watches of the night, usually about 3-4 hours: Ps. 63.6 V. Stanza 5 (Watt's no. 7) emphasizes man's mortality in contrast to God's nature "Time, like an ever-rolling stream, Bears all its sons away; They fly forgotten as a dream Dies at the opening day." A. We are creatures bound by time and the antithesis of God's never-ending life is that time for us is short Ps. 89.47 B. Therefore, time bears all its sons away in death: Ps. 89.48 (Some modern denominational hymnbooks alter hymns to eliminate what the editors call "gender exclusive" language, and have changed "Bears all its sons away" to "Soon bears us all away" or "Bears all who breathe away." However, even Carlton Young in "Companion to the United Methodist Hymnal" remarked that this "exemplifies good intentions corrupting a classic text.") C. Therefore our lives are as dreams which disappear upon awaking in the morning: Ps. 73.20 VI. Stanza 6 (Watts's ninth) emphasizes how man's weakness is caught up in God's care "O God, our help in ages past, Our hope for years to come, Be Thou our guard while life shall last, And our eternal home." A. In a repetition of the first two lines of stanza 1, God is identified as the God of both the past and the future because of His everlasting nature: Ps. 41.13 B. Therefore we can look to Him to be our guard to provide refuge and strength while life shall last: Ps. 46.1 C. And we can look to Him to give us life everlasting in His eternal home: Ps. 133.3 CONCL.: This hymn may reflect the troubled times in which Watts lived, with severe persecution threatened against the Dissenters (of whom Watts was one), but what he wrote is just as appropriate for God's people of all ages. Indeed, after 250 years, his words are still a timely reminder that God's faithfulness throught the past is the basis for His sure promises of the future. Even today, we can call upon Him, saying, "O God, Our Help In Ages Past." "O HOW LOVE I THY LAW" "The law of the Lord is perfect, converting the soul....the judgments of the Lord are true and righteous altogether" (Ps. 19.7-9) INTRO.: A hymn that is based upon the portion of Ps. 19 which concerns God's revelation of Himself in the written word is "O How Love I Thy Law" (#354 in "Hymns for Worship Revised" and #76 in "Sacred Selections for the Church"). The text of the stanzas is a paraphrase of Ps. 19.7-13 and is taken from "The Psalms of David in Metre: According to the Version Approved by The Church of Scotland," more commonly known as the Scottish Psalter, of 1650. The modern adaptation was most likely made and the tune (Kinsman) was definitely composed by James McGranahan (1840-1908). A member of a family with roots in the Christian Church/Disciples of Christ of the 1800's, McGranahan was a song leader for the revival campaigns of Major Daniel W. Whittle and a well-known composer of gospel song melodies. The original Scottish Psalter text contained the entire Psalm, with a stanza per verse. McGrahanan began his adaptation with verse 7 and continued it through verse 13. For the chorus, he used the words of Ps. 119.97. The song was copyrighted in 1897. It was first owned by Charles M. Alexander and later renewed by the Hope Publishing Co. Other melodies for which McGranahan is famous include those with "Christ Returneth," "I Know Whom I Have Believed," "I Will Sing Of My Redeemer," "None of Self and All of Thee," "Sometime We'll Understand," "Christ Receiveth Sinful Men," "Christ Liveth In Me," and "The Banner Of The Cross." Among hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century, "O How Love I Thy Law" has been included in "Great Songs of the Church" Nos. 1(1921) and 2 (1937); "Great Songs Revised" (1986); and "Praise for the Lord" (1992), all of which omit McGrahanan's first stanza, in addition to "Sacred Selections" and "Hymns for Worship" which actually begin with stanza 3 of McGranahan's adaptation. The chorus alone was used in the "Christian Hymnal" (1963). Many denominational books contain an "updated" version of the psalm text taken from "The Psalter" of 1912. The song extols the blessings of God's word in our lives. I. Stanza 1 points to the power of God's word to convert and make wise. "God's law is perfect and converts The soul in sin that lies; God's testimony is most sure And makes the simple wise." A. In spite of the claim of some that we are not under law but under grace today, God still does have a law for us: 1 Cor. 9.21, Jas. 1.25 B. It is God's law, for us found in the New Testament scriptures, which has the power to convert or change the sinner from lost to redeemed: Acts 3.19 C. And once the sinner has been redeemed, the testimony of God's law is able to make him wise unto salvation: 2 Tim. 3.15 II. Stanza 2 points to the power of God's word to give joy and enlighten the eyes. "The statutes of the Lord are right And do rejoice the heart; The Lord's command is pure and doth Light to the eyes impart." A. Following the statutes of the Lord is what enables us to rejoice in the Lord: Phil. 4.4 B. The Lord's commandments are pure because they are designed for our good: Jn. 14.15, 15.14 C. When we obey His commandments, our eyes will be enlightened: Eph. 1.18 III. Stanza 3 points to the power of God's word to endure and to promote truth and righteousness. "Unspotted is the fear of God And ever doth endure; The judgments of the Lord are truth And righteousness most pure." A. The "fear of God" here stands for His word which will abide forever: 1 Pet. 1.25 B. The "judgments of the Lord" are found in His word which is truth: Jn. 17.17 C. And in these judgments of the gospel are found the righteousness of God: Rom. 1.16-17 IV. Stanza 4 points to the power of God's word to be precious and desirable. "They more than gold, yea, much find gold, To be desired are; Than honey from the honeycomb That droppeth--sweeter far." A. The word of God is more valuable than fine gold: Prov. 8.10, 19 B. Therefore, it is much to be desired, because it is by His word that we can dwell in His house: Ps. 27.4 C. To us, then, the word of God is sweet just as honey is sweet: Rev. 10.9-10 V. Stanza 5 points to the power of God's word both to warn and to reward "Moreover, they Thy servant warn How he his life should frame; A great reward provided is For them that keep the same." A. It is by the teaching of God's word that we are warned so that we can be presented perfect in Christ: Col. 1.27 B. It warns us how we should live so as to be pleasing to Christ: Gal. 2.20 C. When we heed these warnings, there is a great reward awaiting us: Rev. 22.12 VI. Stanza 6 points to the power of God's word to help us deal with sin "Who can his errors understand? From secret faults me cleanse; Thy servant also keep Thou back From all presumptious sins." A. The question, "Who can understand his errors?", does not mean that it is impossible for us to know the sins that we commit; it is simply the poet's way of expressing his wonderment that, in view of all that God has done for us and given us, who can understand why it is that we continue to rebel against Him? But we do: Rom. 3.23 B. However, thanks be to God that when we meet the conditions laid down in His word, the blood of Jesus Christ is available to cleanse us from our sins: 1 Jn. 1.7-9 C. Also, if we allow the word of God to control our lives, it will keep us from presumptuous sins: Ps. 119.11 VII. Stanza 7 points out the power of God's word to make us righteous "O do not suffer sin to have Dominion over me; I shall be righteous, then, and from The great transgression free." A. Sin does not have to have dominion over us because we choose whether to serve sin or to serve the Lord: Rom. 6.11-18 B. Thus, when we follow the righteous will of God, we shall be righteous: 1 Jn. 3.7 C. In this way, we can keep ourselves from great (footnote says much) transgression: Jude vs. 20-21. CONCL.: The chorus then sets out what our attitude should be toward such a word as is able to do these things: "O how love I Thy law, O how love I Thy law; It is my meditation all the day; O how love I Thy law, O how love I Thy law; It is my meditation all the day (all the day)." The word of God is a lamp to our feet and a light to our pathway (Ps. 119.105). It is able to build us up and give us an inheritance with the saints (Acts 20.32). Because of all that it has done and can do for me, my attitude should be, "O How Love I Thy Law." "O JESUS, I HAVE PROMISED" "If any man serve Me, let him follow Me; and where I am, there shall also My servant be" (Jn. 12.26) INTRO.: A hymn which asks Jesus to help us keep the promise to follow Him so that we can be with Him is "O Jesus, I Have Promised" (#132 in "Hymns for Worship Revised"). The text was written by John Ernest Bode, who was born at St. Pancras, London, England, on Feb. 23, 1816, the son of William Bode. Educated at Eton, Charterhouse, and Christ Church in Oxford, where he was the first winner of the Hertford Scholarship in 1835, he received his B. A. in 1837, followed by his M. A. For six plus years after his graduation, he was a tutor and classical examiner at Christ Church and then became a minister for the Anglican Church in 1841. During his life, Bode served three churches, the second of which was at Westwell in Oxfordshire, where he began in 1847. In 1855 he was honored by being asked to deliver the Brampton Lectures at Oxford. In addition, he published three volumes of verse: "Ballads from Herodotus" in 1853, "Short Occasional Poems" in 1858, and "Hymns from the Gospel of the Day for Each Sunday and Festivals of Our Lord" in 1860. Also in 1860, he moved to Castle Camps, where he spent the last fifteen years of his life. This hymn was produced around 1866, originally beginning, "O Jesus, we have promised," for the confirmation of his daughter and two sons in the Church of England. At that time Bode told his children, "I have written a hymn containing all the important truths I want you to remember." It was first printed as a leaflet in 1868 by the Society for the Propagation of Christian Knowledge, and then published in the 1869 appendix to this organization's "Psalms and Hymns for Public Worship" in 1869. Just five years later, Bode died at Castle Camps, Cambridgeshire, England, on Oct. 6, 1874, at the age of 58. The tune (Angel's Story) was composed by Arthur Henry Mann (1850-1929). A well-respected English musician, he originally provided this music for Emily H. Miller's "I love to hear the story that angel voices tell." It was first included in "The Methodist Sunday School Tune Book" of 1881. Among hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century, the song was used in the 1921 "Great Songs of the Church" No. 1 and the 1947 "Great Songs of the Church No. 2" both 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. It can be 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 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." The hymn expresses the desire for the constant presence of Christ in our lives. I. In stanza 1 we learn the we need Christ to face the battle and keep us from wandering. "O Jesus, I have promised To serve Thee to the end; Be Thou forever near me, My Master and my Friend; I shall not fear the battle If Thou art by my side, Nor wander from the pathway If Thou wilt be my Guide." A. When we obey the gospel and become Christians, we are in essence making a promise to serve Christ because we are confessing Him as our Lord: Rom. 10:9-10 B. Following this, one's life as a Christian becomes a great battle, and we should look to Jesus for help to wage a good warfare: 1 Tim. 1:18 C. We must also look to Him as our guide to keep us from wandering from the strait and narrow pathway that leads to everlasting life: Matt. 7.13-14 II. In stanza 2 we learn that we need Christ to overcome the danger of worldliness "O let me feel Thee near me: The world is ever near; I see the sights that dazzle, The tempting sounds I hear; My foes are ever near me, Around me and within; But, Jesus, draw Thou nearer, And shield my soul from sin." A. The world here refers to the lust of the flesh, the lust of the eyes, and the pride of life that tempt us away from Christ: 1 Jn. 2.15-17 B. The foes, both without and within, are led by our adversary the devil, who goes about as a roaring lion, seeking whom he may devour: 1 Pet. 5.8 C. However, if we will but draw nearer to the Lord, He will draw nearer to us and help to shield our souls from sin so that we can resist the devil: Jas. 4.7-8 III. In stanza 3 we learn that we need Christ to withstand the storms of life. "O let me hear Thee speaking, In accents clear and still, Above the storms of passion, The murmurs of self-will; O speak to reassure me, To hasten or control; O speak, and make me listen, Thou guardian of my soul." A. The means by which we hear Jesus speaking to us today is through the scriptures which reveal His words to us: Matt. 24:35, Jn. 12:48 B. As we listen to Him, His words can calm the tempests of our life just as He stilled the storms on the Sea of Galilee: Matt. 8.25-27 C. In this way, we can look to Jesus as the guardian of our soul to keep us from stumbling: Jude v. 24 IV. In stanza 4, we learn that we need Christ as our example "O let me see Thy footprints, And in them plant mine own; My hope to follow duly Is in Thy strength alone. O guide me, call me, draw me, Uphold me to the end; And then in Heaven receive me, my Savior and my Friend." A. By the life that He lived, as recorded in the scriptures, Jesus left us an example that we should follow in His steps: 1 Pet. 2.21 B. He wants us to learn from His example and apply the principles that we find in both His life and His teaching to our lives no matter what; this is how we follow Him: Matt. 16.24 C. As we strive to do this on our journey from earth to heaven, Jesus has promised to uphold us with His presence: Matt. 28.20 V. In stanza 5, we learn that we need Jesus to help us keep our promise "O Jesus, Thou hast promised To all who follow Thee, That where Thou art in glory There shall Thy servant be; And Jesus, I have promised To serve Thee to the end: O give me grace to follow My Master and my Friend." A. Jesus has promised that He will come and receive us unto Himself: Jn. 14.1-3 B. This stanza is the final request for complete discipleship, strength, and guidance from Jesus to help us to be faithful unto death: Rev. 2.10-11 C. Therefore, we look to Christ for His grace that is sufficient for us to follow Him all the days of our lives: 2 Cor. 12.9 CONCL.: Every day we should set aside some time for reflecting on and evaluating the past as well as for setting serious goals for the future. Of all Bode's poems, only this one has survived as a hymn, but it is almost universally used because it meets this need for reflection. It concentrates on personal consecration by reminding me that when I became a Christian, I was saying to my Lord who promised to save me if I obey Him, "O Jesus, I Have Promised." "O SACRED HEAD"
"And when they had woven a crown of thorns, they put it upon His head...and smote Him on the head" (Matt. 27.29-30)
INTRO.: A hymn which reminds us of the suffering that Jesus experienced during and after the time when the crown of thorns was placed on His head is "O Sacred Head" (#136 in "Hymns for Worship Revised"). The text is based on a Latin hymn, "Salve caput cruentatum," taken from a lengthy medieval poem "Rhythmica Oratio" beginning "Salve mundi salutare," having its roots in twelfth-century monastic life. It has traditionally been dated around 1150 and attributed to Bernard of Clairvaux (1091-1153). More recent research questions this and suggests that the actual author may have been a later writer, Arnulf von Loewen (1200-1251). The earliest manuscript is from the fourteenth century, around 1350. Some think that Bernard may have written earlier parts of the poem and Arnulf the latter, or that Arnulf may have based his poem on meditations by Bernard. Others just consider it anonymous. The hymn was translated into German by Paul Gerhardt, who was born at Grafenhainichen in Saxony, near Wittenberg, Germany, on Mar. 12, 1607, the son of a burgermeister.
Gerhardt was educated at the Elector's school in Grimma and at the University of Wittenberg. In 1642 he went to work as a tutor to the family of Andreas Barthold, an attorney in Berlin, where he became acquainted with Johann Cruger (1598-1662). Cruger was music director at St. Nicholas Church. At the age of 44, Gerhardt became a Lutheran minister, serving first at Mittenwalde and in 1655 marrying Barthold's daughter Anna. Since he had begun to write hymns during his stay in Berlin, many of them, including this translation in ten stanzas, were included in the "Praxis Pietatis Melica" published by Cruger in 1656. Then in 1657, Gerhardt returned to Berlin where he began an eleven year stay at St. Nicholas, renewing his association with Cruger. His wife died in 1668, and after that he moved to the church at Lubben, Germany, where he remained until his death on May 27, 1676. During his life, he produced a total of 123 hymns.
The English translation of eight stanzas was made from Gerhardt's German translation by a Virginia-born Presbyterian minister and professor at Princeton University, James Waddell Alexander (1804-1859). It was first published in 1830 in Joshua Leavitt's "The Christian Lyre." In various books, Alexander's text has been much altered, with certain lines moved to different positions. The tune (Passion Chorale) was composed by Hans Leo Hassler (1564-1612). It originally appeared in his "Lustgarten neuer Deutscher Gesang" published in 1601 at Nurnberg and was set to a secular love song, "My heart is distracted by a gentle maid." Cruger was the first to adapt it as a setting for Gerhardt's translation, and it has been associated with this hymn ever since in both German and English. The modern harmonization was made by Johann Sebastian Bach (1658-1750). It was done in 1729 for his "St. Matthew Passion."
Among hymnbooks published in the twentieth century by members of the Lord's church for use in churches of Christ, two stanzas of the text appeared in the 1921 "Great Songs of the Church" No. 1 edited by E. L. Jorgenson, and both text of two stanzas, though slightly altered, and tune appeared in the 1937 "Great Songs of the Church No. 2" also edited by Jorgenson. This version has been used in most of our other books since then, including the 1966 "Christian Hymns No. 3" edited by L. O.
Sanderson; 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; and the 1986 "Great Songs Revised" edited by Forrest M. McCann; as well as "Hymns for Worship." The 1992 "Praise for the Lord" has three stanzas. Most older denominational books give five stanzas, as
indicated below.
The hymn emphasizes the great sacrifice that Jesus made by His death.
I. Stanza 1 tells what the eye sees--the wounds, the look of pain, the crown of thorns, and the gore.
"O sacred Head, now wounded, With grief and shame weighed down!
Now scornfully surrounded With thorns Thine only crown:
O sacred Head, what glory, What bliss till now was Thine!
Yet, though despised and gory, I joy to call Thee mine."
A. In the death of Christ we see the grief that He suffered when He was wounded for our transgressions: Isa. 53.1-5
B. He who wore the crown of thorns deserved to wear the eternal crown of heaven: Rev. 19:11-12
C. All of this suffering is contrasted with the victim's former beauty to show that Jesus, the just, suffered for the unjust: 1 Pet. 3.18
II. Stanza 2 speaks of the shame that Jesus experienced in His death
"O noblest brow and dearest, In other days the world
All feared when Thou appearest; What shame on Thee is hurled!
How art Thou pale with anguish, With sore abuse and scorn;
How does that visage languish Which once was bright as morn!"
A. The brow upon which those thorns were placed belonged to the very Creator of the world: Jn. 1.1-3
B. Yet, this one who created everything was willing to suffer the shame of the cross: Heb. 12.1-2
C. Our hearts are made sad as we read of the sore abuse and scorn that Jesus received on the cross, yet we know that it was necessary for our salvation: Matt. 27.39-43
III. Stanza 3 gives the reason for this horrible scene
"What Thou, my Lord, has suffered Was all for sinners' gain:
Mine, mine was the transgression, But Thine the deadly pain.
Lo, here I fall, my Savior! 'Tis I deserve Thy place;
Look on me with Thy favor, Vouchsafe to me Thy grace."
A. The Bible definitely teaches that Jesus suffered on the cross: Heb. 12.12, 1 Pet. 2.21-23
B. Yet, it was for our gain because He died for us and for our sins: Rom. 5.8, 1 Cor. 15.1-3
C. He did this so that we might be saved by His grace: Eph. 2.5-10
IV. Stanza 4 expresses the impossibility of adequate thanksgiving for such a gift
"What language shall I borrow To thank Thee, dearest Friend,
For this Thy dying sorrow, Thy pity without end?
O make me Thine forever; And should I fainting be,
Lord, let me never, never Outlive my love to Thee."
A. Certainly, because of what He has done, Jesus Christ deserves our undying thanks: 1 Tim. 1.12
B. While the condescension of Christ cannot be fully extolled in human language, it does call forth bowing the knew and confessing with the tongue: Phil. 2.5-11
C. This is one way that we show our love for Him: 1 Pet. 1.7-8
V. Stanza 5 concludes with a request for Christ to be with us throughout life
"Be near when I am dying, O show Thy cross to me;
And for my succor flying, Come, Lord, to set me free;
These eyes, new faith receiving, From Jesus shall not move;
For he who dies believing, Dies safely, through Thy love."
A. Unless the Lord comes first, we must die: Heb. 9.27
B. Yet, even in death, we can keep our eyes on Jesus and glory in His cross: Gal. 6.14
C. Therefore, we can die with hope rather than fear, because Jesus died for us and will succor us even in death: Heb. 2.14-18
CONCL.: While this hymn comes from a medieval, monastic background with the monk's contemplation of Christ's suffering, there is still spiritual value to be derived from it today. As the goal of the monks, though perhaps misguided in their efforts, was to seek a deeper relationship with Christ, it will help us to realize the great price paid by our Savior to redeem our souls. We praise the dying love of Jesus and acknowledge our boundless debt to Him as we sing, "O Sacred Head." "O SPREAD THE TIDINGS 'ROUND" "How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things" (Rom. 10.15) INTRO.: A song which talks about bringing the glad tidings that Jesus Christ is both Lord and King is "O Spread The Tidings 'Round" ("#14 in "Hymns for Worship Revised"). The original text was written by Francis (Frank) Bottome, who was born at Belper in Derbyshire, England, on May 25, 1823. After migrating to the United States, he became a minister with the Methodist Episcopal Church in 1850. A number of his hymns are found in his two published works, "Centenary Singer" of 1869 and "Round Lake" of 1872, and in "Gospel Songs" which he helped to compile with R. P. Smith in 1872. Also in 1872 he received an honorary D.D. degree from Dickinson College at Carlisle, PA. The words for "O Spread The Tidings 'Round" first appeared in the 1890 edition of hymnbook "Precious Hymns for Times of Refreshing and Revival" with the tune (Comforter) composed by William James Kirkpatrick (1838-1921). It was edited for John J. Hood of Philadelphia, PA, by Thomas Harrison, John Robson Sweney, and Kirkpatrick. Bottome returned to England and died at Gunnislake near Travistock in Devonshire, Cornwall, on June 29, 1894. The hymn originally made reference to the Holy Spirit and was entitled, "The Comforter Has Come." Most of our books contain a version where three stanzas were altered and the chorus was rewritten to place the emphasis on Jesus Christ by Lloyd Otis Sanderson (1901-1992). This version was first published in the 1948 songbook "Christian Hymns No. 2" which Sanderson edited for the Gospel Advocate Co. It is also found in the 1963 "Abiding Hymns" edited by Robert C. Welch; the 1966 "Christian Hymns No. 3" edited by Sanderson too; 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; and the 1978/1983 "(Church) Gospel Songs and Hymns" edited by V. E. Howard. The original version, "The Comforter Has Come," is found in the 1975 Supplement to the 1937 "Great Songs of the Church" originally edited by E. L. Jorgenson; the 1986 "Great Songs Revised" (without the chorus) edited by Forrest M. McCann; and the 1992 "Praise for the Lord" edited by John P. Wiegand. The song mentions a number of reasons why we should spread the tidings. I. Stanza 1 says that we should spread the tidings because sin is universal. "O spread the tidings 'round, wherever man is found, Wherever human hearts and human woes abound; Let every Christian tongue proclaim the joyful sound: 'Our Lord is Lord of lords.'" A. The gospel is needed wherever man is found because God wants all men to be saved: 1 Tim. 2.4 B. Wherever man is found, sin is also found, but the Lord of lords is the solution: Rom. 3.23, 8.1 C. Thus, every Christian's tongue should proclaim the joyful sound: Acts 8.4, 2 Tim. 2.2 II. Stanza 2 (not in our books) says that we should spread the tidings because they bring day "The long, long night is past, the morning breaks at last; And hushed the dreadful wail and fury of the blast, As o'er the golden hills the day advances fast: Our Lord is Lord of lords." (note: I have edited the two omitted stanzas to conform to Sanderson's pattern.) A. The sinfulness of this world is often pictured as the darkness of night: Jn. 3.10-21 B. However, Jesus Christ is the bright and morning star who brings light: 2 Pet. 1.19, Rev. 22.16 C. Hence, the tidings of Jesus as Lord will end the night of sin and bring in a new day: Rom. 13.12, 1 Thess. 5.4-5 III. Stanza 3 says that we should spread the tidings because they reveal Jesus as healer "Lo, the great King of kings, with healing in His wings, To every captive soul a great deliverance brings; And through the vacant cells the song of triumph rings: Our Lord is King of kings." A. Christ is the great Sun of righteousness who is risen with healing in His wings: Mal. 4.2 B. To every captive soul He brings deliverance: Gal. 1.4, Col. 1.13 C. Therefore, it ought to be the goal of every Christian to make known the tidings of Jesus so that the song of triumph can ring: 1 Cor. 15.57, 1 Jn. 5.4 IV. Stanza 4 (not in our books) says we should spread the tidings because of God's endless love for all mankind "Sing, till the echoes fly above the vaulted sky, And all the saints above to all below reply, In strains of endless love, the song that ne'er will die: Our Lord is King of kings." A. The songs that we sing not only teach and admonish others but also are directed above to the vaulted sky: Eph. 5.19, Col. 3.16 B. Our songs join the songs of those above who sing of God's love manifested in the death of Christ for us: Rev. 5.8-10 C. Indeed it is the love of Christ that constrains us to sing the song of redemption to a lost and dying world: 2 Cor. 5.14 V. Stanza 5 says that we should spread the tidings because God wants us to tell of His matchless grace "O boundless love divine! how shall this tongue of mine To wondering mortals tell the matchless grace divine-- That I, in earth's decline, should in His image shine! In Him, the Word of heaven." A. As those who have been redeemed by the blood of Christ, God wants us to use our tongues to confess Christ before men: Phil. 2.11 B. In so doing, we are telling to others about the grace of God which has appeared to bring salvation to all mankind: Tit. 2.11 C. And by telling this wonderful news, both we and those who will hear us can have the hope that we may in His image shine: 2 Cor. 3.18, Phil. 3.20-21, 1 Jn. 3.1-2 CONCL.: The chorus reminds us that it is only in Christ that redeption is found. "Of lords, He is the Lord, Divine, the living Word! His name, the sweetest heard, His will redemption brings; O spread the tidings 'round, wherever man is found--The Lord is King of kings." In Sanderson's arrangement, it becomes both a hymn of praise to Jesus Christ and a song of evangelism. If we truly believe that Jesus Christ is King of kings and Lord of lords in whom alone sinful mankind can be saved, we should praise Him with all our being and then heed His command, "O Spread The Tidings 'Round." "O THOU FOUNT OF EVERY BLESSING" "Samuel took a stone, and set it...and called the name of it Ebenezer, saying, Hitherto hath the Lord helped us" (1 Sam. 7.12). INTRO.: Many of the hymns that we sing contain specific scriptural allusions and seek to make application of those allusions to us. A song which uses the imagery of Samuel's setting up a stone whose name, Ebenezer, meant, "Hitherto hath the Lord helped us," is "O Thou Fount of Every Blessing" (#420 in "Hymns for Worship Revised" and #545 in "Sacred Selections for the Church"). The text was written by Robert Robinson (1735-1790). His father died when he was eight, and at age fourteen he was sent to London as an apprentice to a barber. There he became associated with a notorious gang of hoodlums and led a debauched life. However, in 1752, at the age of 17, he heard a sermon preached by George Whitefield. Three years later, he professed Christianity and at age 20 became minister of a Calvinistic Methodist chapel. A few months later, Robinson left the Calvinistic Methodists and organized an Independent congregation at Norwich in Suffolk. This hymn was produced in 1757 or most likely 1758 to show gratitude to God for saving him from a life of dissipation. It first appeared in "A Collection of Hymns used by the Church of Christ in Angel Alley, Bishopsgate," published in 1759. In 1759, he again changed religious affiliation and became minister at the Stone Yard Baptist Church in Cambridge, where he remained until his retirement in 1790. In his later years, he became a friend of Joseph Priestly, the Unitarian philosopher, who greatly influenced his life, some think perhaps to more liberal theological views. The tune is a traditional American melody often attributed to Asahel Nettleton (1783-1844). Robinson's hymn was included in his popular 1825 "Village Melodies" but the book contained no music and Nettleton was not known as a composer. The first appearance of the tune was in the 1813 "Repository of Sacred Music," compiled by John Wyety (1770-1858). No composer's name is given but it is called a new tune, leading to speculation that Wyeth may have composed it, but he was not known as a composer either. Thus, it is not known precisely where the tune came from nor who was responsible for it. Some books credit it to the French philosopher and amateur musician Jean Jacques Rousseau (1712-1778). Others suggest that a friend of Nettleton's composed it and named it in his honor. Various alterations have been made in the text through the years. The original hymn began "Come, Thou Fount of every blessing." The last four lines of the first stanza originally read, "Teach me some melodious sonnet, Sung by flaming tongues above; Praise the mount, I'm fixed upon it, Mount of Thy redeeming love." Why these changes have been made in our books is not known. The original lines five and six of the third stanza read, "Prone to wander, Lord, I feel it, Prone to leave the God I love." These were likely amended because they sounded a lot like total hereditary depravity. The source of these changes has not been identified, but the text that we use is that found in hymnbooks published by those associated with Christian churches and churches of Christ in the nineteenth century. The hymn praises the Lord as the source of everything good. I. Stanza 1 points out that the Lord is the fount of every blessing "O, Thou Fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise. Teach me ever to adore Thee; May I still Thy goodness prove, While the hope of endless glory Fills my heart with joy and love." A. God opened a fountain for our salvation: Zech. 13.1; and is the giver of every good gift: Eph. 1.3, Jas. 1.17 B. All these blessings call for songs of loudest praise: Heb. 13.15 C. In so doing, we prove His goodness: Rom. 12.1 (In one book this stanza read, "May I still MY goodness prove," prompting the objection that in the midst of a song praising God, all of a sudden we are singing about our own goodness; this was corrected in a later edition) II. Stanza 2 points out that the Lord is our helper "Here I raise my Ebenezer: Hither by Thy help I've come; And I hope by Thy good pleasure Safely to arrive at home. Jesus sought me when a stranger, Wandering from the fold of God; He to rescue me from danger Interposed His precious blood." A. The story of Samuel raising up the stone at Ebenezer is used to remind us that it is by God's help that we have made whatever progress we have: Rom. 8.31-32 (one book, saying that the reference to Ebenezer is not meaningful to contemporary congregations, changed the stanze to read, "Hitherto Thy love has blest me; Thou hast brought me to this place. And I know Thy hand will bring me Safely home by Thy good grace." However, to me, this is just giving in to Biblical illiteracy. Even the editors of the "Methodist Hymnal," who have been known to alter hymns in an attempt to update the language, said that when they were presented with the same objection they were not able to supply any alternative that was consistent with the context of the hymn and the passage of scripture that it is based upon) B. One way that God has helped us is by sending Jesus to seek us: Lk. 19.10 C. And in so doing, He interposed His precious blood: Eph. 1.7 III. Stanza 3 points out that the Lord is our Savior because of His grace "O, to grace how great a debtor Daily I'm constrained to be! Let Thy goodness, like a fetter, Bind my wandering heart to Thee. Never let me wander from Thee, Never leave the God I love; Here's my heart, O, taken and seal it, Seal it for Thy courts above." A. We are debtors because we are saved by grace: Eph. 2.8-9 B. But it is still possible for us to wander, so we should also look to God's grace to bind our hearts to Him so that He will keep us for salvation: 1 Pet. 1.5 C. Therefore, we should ask Him to help us not to wander from Him: Mt. 6.13 IV. Stanza 4 was omitted in the 1760 "Psalms and Hymns" by editor Martin Madan (1726-1790). This practice has been almost universally adopted since, but the editors of the "Methodist Hymnal" noted that the omission of this stanza unfortunately eliminates the apolcalyptic climax of the author's invitatory prayer. "O that day when freed from sinning, I shall see Thy lovely Face; Richly clothed in blood-washed linen, How I'll sing Thy sovereign grace. Come, my Lord, no longer tarry, Take my ransomed soul away; Send thine angels now to carry Me to realms of endless day." A. While it may seem repulsive to some, the Bible says that there will come a day when the redeemed in heaven wil have their robes washed in the blood of the Lamb: Rev. 7.13-14 B. With this hope, we can look forward to the time of the Lord's coming: Tit. 2.13-14 C. And even before then, we can look forward to that time when in death the angels will carry us to realms of endless day: Lk. 16.22 CONCL.: Returning to the Biblical allusion, we see that when Samuel was judge in Israel, sometimes the people strayed from the Lord. So Samuel gathered them together at Mizpah where he called on them to return to the Lord and prayed for them. The Philistines attacked, but rather than trusting in themselves, the Israelites called on the Lord who defeated the enemy. It was then that Samuel erected the stone which he called Ebenezer, the "stone of help." Each one of us raises his own Ebenezer from time to time when we praise our God, saying, "O Thou Fount Of Every Blessing." "O 'TWAS WONDERFUL LOVE" "For I know that my Redeemer liveth..." (Job 19.25) INTRO.: A song which identifies Jesus as the Redeemer who came because He loved us is "O 'Twas Wonderful Love" (#247 in Sacred Selections for the Church). The original text was written by Jessie H. Brown Pounds (1861-1921). Possibly based on an earlier hymn by Charles Wesley, it was produced in 1893 for a cantata entitled Hope's Messenger, and was first published as a congregational hymn in The Praise Hymnal of 1896 edited by James Henry Fillmore and Gilbert Ellis, with a tune by Fillmore. Other well-known hymns by Pounds include "Anywhere With Jesus," "Are You Coming to Jesus Tonight?", "Beautiful Isle of Somewhere," "The Touch of His Hand on Mine," "The Way of the Cross Leads Home," and "We Are Going Down the Valley." The tune (Wonderful Love) had been composed and the chorus was written both by James Holmes Rosecrans, who was born at Berne, NY, on Aug. 3, 1844. The Rosecrans family were members of the church of Christ. James's father died when his son was eight, and the boy had to work to help support the family. At age twenty, he began his musical training at Baxter University of Music in Friendship, NY, where he studied for four years and worked to support himself. Afterwards, Rosecrans taught school for two years, then joined the Fillmore Brothers Music House of Cincinnati, OH, and contributed to their Sunday school song collections. As a publisher, he produced quite a few songs and a great deal of sheet music, beginning with Songs of Glory in 1874. In all, he compiled over twenty collections, including The Voice of Joy, The Beauty, The Children's Hallelujahs, Gems and Jewels, Crown of Beauty, The Pearly Gates for the Sunday School, and Wide Awake Glee Book. For a time in the 1870's and early 1880's, he was the music director for the evangelistic campaigns of Thomas J. Shelton, for whose song "One Step at a Time" he provided a melody. Perhaps Rosecrans's best known melody is that for "There Is A Habitation." The tune that we now use with "O 'Twas Wonderful Love" was originally published with another hymn, "Jesus--And Thou Didst Leave the Sky" by Anna Steele, and was copyrighted in Rosecrans's 1890 Christian Work Songs. Rosecrans conducted singing schools in many states. In addition to his music work, he was a minister of the gospel for many years. In 1884 Rosecrans was an evangelist in the state of California and later was associated with evangelistic efforts in Texas, also serving as professor of music and Bible at Carton College in Bonham. One of his outstanding qualities was said to have been his warm personality. It is reported that many of his friends were heard to remark, "To know him is to love him." During his declining years, he returned to New York and lived in retirement with relatives at Breakabeen, where he died on Feb. 18, 1926. The arrangement of the text was made and the adaptation of the tune for it was done both by Elmer Leon Jorgenson (1886-1968). The song in its present form was first published in his 1937 Great Songs of the Church No. 2. Also, 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; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Sacred Selections. The tune with Steele's hymn as originally published by Rosecrans was used in the 1944 New Wonderful Songs edited by Thomas S. Cobb and published by the Firm Foundation Publishing House. The song reminds us of what Jesus has done, is doing, and will do for us because of His love. I. Stanza 1 says that He cares for us "I know that my Redeemer lives, And living, cares for me; I know eternal life He gives, And gave on Calvary." A. We know that Jesus loves us because He cares for us: 1 Pet. 5.7 B. And because He cares for us, He offers us the hope of eternal life: Jn. 10.27-28 C. The reason that He can offer us eternal life is because of what He did at Calvary: Lk. 23.33 II. Stanza 2 says that He makes a promise to us "I know the promise cannot fail--The hour is drawing nigh; Though cruel death my flesh assail, My soul shall never die." A. The Lord has made many exceedingly great and precious promises to us: 2 Pet. 1.4 B. The particular promise referred to in this stanza relates to the fact the we must die: Heb. 9.27 C. The promise is that though we must die physically, we shall never die spiritually: Jn. 11.25-26 III. Stanza 3 says that He prepares a mansion for us "I know my mansion He prepares, Beside the crystal sea, That where He lives and loves and cares, There I may ever be." A. Jesus Himself said that He went to prepare His followers a mansion or dwelling place in the Father's house: Jn. 14.2-3 B. This mansion is said to be beside the crystal sea, which in the book of Revelation is pictures as being before the very throne of God: Rev. 4.6 C. His purpose in doing this is that when He comes again, we shall ever be with Him: 1 Thes. 4.16-17 CONCL.: The chorus emphasizes that all these things Jesus has done, is doing, and will do because He loves us: "O 'twas wonderful, wonderful love That brought Him from heaven above, As a ransom to die on the tree, To save a poor sinner like me." There are many things about God's plans and purposes that we do not know because they have not been revealed. However, there are some things that we can know because they are found in the scriptures. We can know that our Redeemer lives, that He cares for us, that His promises are assured, and that He is preparing a place for us in heaven. Therefore, for all of these blessings, and much more, we can thank and praise Him, saying, "O 'Twas Wonderful Love." "O WORSHIP THE KING" "Our Lord Jesus Christ...the King of kings, and Lord of lords...to whom be honor and power..." (1 Tim. 6.14-16). INTRO.: A hymn by which we can ascribe honor and power to our King of kings and Lord of lords is "O Worship The King" (#35 in "Hymns for Worship Revised"). The text was written by Robert Grant, who was born in Bengal, India, in 1779 (some sources say 1785) in Bengal, India, the son of Charles Grant who was a director of the East India Company. When Robert was six, the family returned to Great Britain, where he was educated at Magdalen College, Cambridge, receiving his bachelor's degree in 1801 and his master's in 1804, after which he was called to the English Bar in 1807. Also he became a King's Sergeant in the Court of the Duchy of Lancaster and one of the commissioners of bankruptcy. Later, he entered Parliament in 1818 from his family's home of Aberdeen in the county of Inverness, Scotland, as had his father before him, and was made Judge Advocate General in 1832. Yet in all his secular and political pursuits, he remained a devout and zealous member of the Anglican Church. "O Worship The King" was first published in Henry Bickersteth's "Christian Psalmody" of 1833. However, its antecedents date long before that time. It is taken from Psalm 104, although it is too free to be called a mere paraphrase. Furthermore, it is actually based on an earlier metrical version of the psalm which appeared in the 1561 "Anglo-Genevan Psalter" made by William Kethe (flourished c. 1555-1593). Later in 1833 Grant introduced a bill in the British House of Commons to remove all civil restrictions imposed against Jews. The following year, 1834, he was appointed Governor of Bombay, India, at which time he was also knighted. Returning to the land of his birth, he died on July 9, 1839, at Dalpoorie, western India, where a medical college which bears his name was erected as a memorial to him. Grant had written a total of twelve hymns which were published posthumously by his brother Charles, Lord Glenelg, under the title "Sacred Poems" in 1839. The tune (Lyons) is usually attributed to Johann Michael Haydn (1737-1806). It first appeared, marked simply "Haydn," in the 1815 second volume of the "Sacred Melodies" compiled by William Gardiner (1770-1853). In the works of J. M. Haydn there are a number of themes which begin like this melody, as well as in the works of his more famous older brother, Franz Josef Haydn (1732-1809). However, none of them can be positively identified as the source of Gardiner's adaptation. Gardiner's work contained many hymn tunes ascribed to various famous composers, some of which have never been found among their known works. There are some scholars who believe that Gardiner himself may have composed a few of these. Among hymnbooks published by members of the Lord's church and used by churches of Christ in the mid and late 1900's, this song 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; the 1948 "Christian Hymns No. 2" and the 1966 "Christian Hymns No. 3" edited by L. O. Sanderson; the 1963 "Abiding Hymns" edited by Robert C. Welch; and the 1963 "Christian Hymnal" edited by J. Nelson Slater. Today 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 1978/83 "(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." It was notably absent in "Sacred Selections." This grand hymn expresses several good reasons why we should worship God. I. According to stanza 1, we should worship God because of His glory. "O worship the King, all-glorious above, And gratefully sing His wonderful love; Our Shield and Defender, the Ancient of Days, Pavilioned in splendor and girded with praise." A. God alone is worthy of our worship: Matt. 4.10, Jn. 4.24 B. This is because He is the Ancient of Days: Dan. 7.14 C. His glory and splendor are seen in the fact that He is clothed with honor and majesty: Ps. 104.1 II. According to stanza 2, we should worship God because of His might "O tell of His might, O sing of His grace, Whose robe is the light, Whose canopy, space. His chariots of wrath the deep thunderclouds form, And dark is His path on the wings of the storm." A. We should tell of His might because He is the Almighty One: Gen. 17.1 B. We should also sing of His grace, because by His Might, He manifested His grace to save us: Eph. 2.8--9 C. Both His might and His grace are seen in the various forces of the heavens which He created: Ps. 104.2-4 III. According to stanza 3, we should worship God because of His wonders "The earth with its store of wonders untold, Almighty, Thy power hath founded of old; Established it fast by a changeless decree, And round it hath cast, like a mantle, the sea." A. God created not only the heavens but also the earth: Gen. 1.1 B. The earth was founded by the word of the Lord who gathered the waters as a heap: Ps. 33.6-9 C. Therefore, the wonders of the Lord are seen by the forces of nature at work on the earth: Ps. 104.5-9 IV. According to stanza 4, we should worship God because of His care "Thy bountiful care, what tongue can recite? It breathes in the air, it shines in the light; It streams from the hills, it descends to the plain, And sweetly distills in the dew and the rain." A. God cares for us: 1 Pet. 5.7 B. One reason we know that He cares for us is that He gives us the air to breathe and the rain to water the earth to provide for our needs: Acts 14.15-17 C. Thus, God's care is seen in all the provisions that He has made for our life here on this earth: Ps. 104.10-28 V. According to stanza 5, we should worship God because of His mercies "Frail children of dust, and feeble as frail, In Thee do we trust, not find Thee to fail; Thy mercies, how tender! how firm to the end! Our Maker, Defender, Redeemer, and Friend!" A. We human beings are but frail children of dust, and feeble too: Ps. 103.8-14 B. But He extends His mercies to us: Tit. 3.1-7 C. And His mercies are seen by His sending His Spirit, renewing the face of the earth, and especially in being our Redeemer: Ps. 104.29-32 VI. According to stanza 6, we should worship God because of His love "O measureless might! ineffable love! While angels delight to hymn Thee above, The humbler creation, though feeble their lays, With true adoration shall lisp to Thy praise." A. Surely the great love of God is something that we should extol: Jn. 3.16 B. Because of His love, the angels around His throne sing give honor, power, and glory to His name: Rev. 4.8-11 C. Some newer denominational books apparently change the last line of stanza 6 to read, "With true adoration shall all sing Thy praise." However, this misses the whole contrast of the stanza. The hymns sung by the angels around His throne are perfect. We, the humbler creation because of our sin, give praise that would sound in comparison to the angels as lisping, yet our feeble lays still express the true adoration of our hearts. God's love is seen in all the good things for which we sing praise unto Him: Ps. 104.33-35 CONCL.: It is unfortunate that most of our books which contain this hymn include only three stanzas, because by omitting the other three we miss so much of the strong imagery that is used to emphasize to our minds the majesty of God. However, it seems that today we are content quickly to sing through a couple of stanzas of a couple of songs so that we can hurry on to other things. It is also unfortunate that grand hymns of praise like this which have been sung to glorify God through the years are not as popular and well-used as they once were. Rather, we prefer to sing a simple phrase, something like, "I want to praise God, I want to praise His name," twelve times to a pop-sounding tune and convince ourselves that we have actually "praised" God. This is Grant's only hymn in common usage today. However, it has been considered a model hymn by which we can "Sing praises to God, sing praises; sing praises to our King, sing praises. For God is the king of all the earth; sing to Him a psalm of praise" (Ps. 47.6-7). It has few equals in expressive lyrics as it exhorts us, "O Worship The King." "O ZION, HASTE" "O Zion, that brighest good tidings, get thee up into the high mountain..." (Isa. 40.9) INTRO.: A hymn which uses the figure of Zion to represent the church and encourages it to spread the good tidings of salvation in Christ is "O Zion, Haste." The text was written by Mary Ann Faulkner Thomson, who was born on Dec. 5, 1834, in London, England, where she wrote that she was also baptized and confirmed. After spending her early life with her family in England, she became the wife of John Thomson in 1861, and they had twelve children, five of whom died in infancy. In 1868, Mrs. Thomson, who had already produced many hymns before, was sitting up one night with one of her children who was sick with typhoid fever and decided to write a missionary hymn to Henry Smart's tune for Frederick Faber's "Hark, Hark My Soul! Angelic Songs Are Swelling," of which she was fond. The greater part of the hymn was completed that year, but she could not get a refrain that she liked, so she left it undone until three years later when she finished the refrain in 1871. Its first appearance in a hymnbook was in the 1892 Protestant Episcopal Church "Hymnal." The tune (Tidings or Tunbridge) usually used with this hymn was composed in 1875 by James A. Walch (1837-1900). Interestingly enough, this tune was originally intended as a setting for "Hark, Hark My Soul" because the composer felt that Smart's tune was unsuitable for that hymn. First published in "The Hymnal Companion to the Book of Common Prayer" at London, England, in 1877, it first appeared with Mrs. Thomson's text in Charles L. Hutchins's 1894 "The Church Hymnal" published at New York City, NY. By then, the Thomsons had emigrated from England in 1881 and came on the ship "Warsland" to America where her husband served as the first librarian of the Free Library of Philadelphia, PA. For a number of years, the Thomsons were members of the Episcopal Church of the Annunciation in Philadelphia, where Mr. Thomson served as "accounting warden." Many of his wife's poems appeared in "The Churchman" of New York and "The Living Church" of Chicago. Mrs. Thomson died on Mar. 11, 1923, at Philadelphia. Among hymnbooks published in the twentieth century by members of the Lord's church for use in churches of Christ, the hymn 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. Today, it is found in the 1977 edition of 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 1990 "Praise for the Lord" edited by John P. Wiegand. The hymn urges the church to fulfil its mission of telling the message of salvation to the world. I. Stanza 1 centers upon the mission. "O Zion, haste, thy mission high fulfilling, To tell to all the world that God is light, That He who made all nations is not willing One soul should perish, lost in shades of night." A. This mission involves telling the whole world something: Mk. 16.15 B. What we are to tell the whole world is that God is light: 1 Jn. 1.5 C. And we are to tell them that this God of light does not want anyone to perish: 2 Pet. 3.9 II. Stanza 2 centers upon the message "Behold how many thousands still are lying Bound in the darksome prison house of sin, With none to tell them of the Savior's dying, Or of the life He died for them to win." A. This message is directed to those who are in sin: Rom. 3.23 B. The basis of this message is the Savior's dying: Rom. 5.8 C. The message also emphasizes the life that is available in Christ: Jn. 10.10 III. Stanza 3 centers upon the reason. "Proclaim to every people, tongue, and nation That God, in Whom they live and move, is love; Tell how He stooped to save His lost creation, And died on earth that we might live above." A. The God of light who wants no one to perish is the same God in whom we live and move: Acts 17.24-28 B. But He is also a God of great love: Jn. 3.16 C. In fact, He loved us so much that He, in the person of Jesus Christ, stooped to leave heaven and become obedient unto the death of the cross to save us: Phil. 2.5-8 IV. Stanza 4 centers upon the agency. "'Tis thine to save from peril of perdition The souls for whom the Lord His life laid down:
Beware lest, slothful to fulfill thy mission, Thou lose one jewel that should deck His crown." A. God appointed the church to be the pillar and ground of the truth that will save souls from perdition: 1 Tim. 3.15 B. Therefore, it is the church's responsibility to see that the word which tells that the Lord laid down His life for us be preached: Acts 8.4 C. However, if the church is slothful, jewels may be lost that should bedeck the Lord's joy and crown: Phil. 4.1 V. Stanza 5 centers upon the means. "Give of thy sons to bear the message glorious; Give of thy wealth to speed them on their way; Pour out thy soul for them in prayer victorious; O Zion, haste to bring the brighter day." A. In order for the church to accomplish its mission, those who are in it must give of their sons to be laborers in the vineyard: Matt. 9.35-38 B. They must also give of their wealth that those who are willing and able to go will be able to do so: 1 Cor. 16.1-2, 2 Cor. 11.8 C. And they must pour out their souls in prayer for those who labor in the word: Eph. 6.18-20 VI. Stanza 6 centers upon the results. "He comes again! O Zion, ere thou meet Him, Make known to every heart His saving grace:
Let none whom He hath ransomed fail to greet Him, Through thy neglect, unfit to see His face." A. Someday, Jesus who died for us is coming again: Acts 1.11 B. In preparation for this event, the church must make known to every heart the fact that we can be saved by grace through faith: Eph. 2.8-9 C. This is because Jesus ransomed us and, therefore, only in Him is redemption to be found: Eph. 1.3-7 CONCL.: The chorus continues to emphasize the importance of spreading the gospel. "Publish glad tiding, tidings of peace; Tidings of Jesus, redemption and release." Some denominational hymnbooks have tried to "modernize" the language and changed the first line to "O Christian, haste, your mission high fulfilling" in an attempt to give the song a more "personal" touch. It would be better to leave it alone because I think that any true Bible believer can easily understand the point that Mrs. Thomson was trying to make in her own words, which tell the church regarding its mission of preaching the gospel to every creature, "O Zion, Haste." "ONE BLESSED HOUR WITH JESUS" "Nevertheless I am continually with thee..." (Ps. 73.23) INTRO.: A song which reminds us that our Lord Jesus Christ is continually with us is "One Blessed Hour With Jesus." The text was written by Frances Jane Crosby VanAlstyne, better known by her maiden name, Fanny J. Crosby (1820-1915). The tune was composed by William Howard Doane (1832-1915). Miss Crosby penned literally thousands of poetical verses and more than any other author captured the spirit of the late nineteenth-century gospel song. Her named seemed to have a kind of magic formula for success and composers sought her out to provide lyrics for them. Doane was her most frequent collaborator as they produced hymns for the Biglow and Main Co. of New York City, NY. Hundreds of Miss Crosby's hymns were wildly popular in their day, and dozens of them are still widely used. However, a large number of them are no longer well-known. "One Blessed Hour With Jesus," published in 1877, is one that can seldom be found today. In fact, I have never see it except in books published by members of the Lord's church, including the 1935 "Christian Hymns" No. 1, the 1948 "Christian Hymns No. 2," the 1959 "Majestic Hymnal No. 2," the 1963 "Abiding Hymns," the 1963 "Christian Hymnal," the 1965 "Great Christian Hymnal No. 2," the 1966 "Christian Hymns No. 3," and the 1978 "Hymns of Praise." Songbooks currently published for use among churches of Christ which still contain the song are the 1971 "Songs of the Church," the 1978/1983 "(Church) Gospel Songs and Hymns, the 1990 "Songs of the Church 21st C. Ed.," and the 1992 "Praise for the Lord. However, because the song was not used in either "Sacred Selections for the Church" or "Hymns for Worship" it is not very well-known nor often sung among us nowadays. However, it has always been one of my favorites since I grew up using "Christian Hymns No. 2." The song was frequently sung at the beginning of worship to emphasize the purpose for which we had come together or sometimes before prayer because it specifically mentions that act of worship. It talks about what we can do when we have a "Blessed Hour" with the Lord. I. Stanza 1 mentions feasting on His word "One blessed hour with Jesus our Lord, One blessed hour to feast on His word; One blessed hour with Jesus apart, One blessed hour to calm the troubled heart." A. The idea of "hour" in the song is not necessarily a literal 60-minute period, but a certain time that we have set aside for the specific purpose of doing something particular; and we should certainly set aside time to feast on God's word, both in our private study and in our assemblies: Jn. 6.53-63 B. The time that we spend feasting on the word is time with Jesus apart because the will of Christ is revealed in that which is written: Eph. 3.3-5 C. And time thus spent with Jesus apart will help to calm the troubled heart because the words of Jesus can bring peace: Jn. 14.27 II. Stanza 2 mentions fellowship with Christ "One blessed hour with Jesus to plead, One blessed hour to tell Him our need; One blessed hour refreshing and sweet, One blessed hour to sit at Jesus' feet." A. Because Jesus is our Mediator, Intercessor, and Advocate, we plead with God and tell the Father our need through Him: 1 Tim. 2.5, Heb. 7.25, 1 Jn. 2.1 B. The time that we spend with Jesus as our Mediator is refreshing and sweet, because we can cast all our cares upon Him: 1 Pet. 5.7 C. And this time is referred to as sitting at Jesus' feet since that symbolizes being in fellowship with Christ and learning from Him: Lk. 10.39 III. Stanza 3 mentions prayer "One blessed hour from labor to rest, One blessed hour to lean on His breast; Loving and loved, His favor to share, One blessed hour of soul reviving prayer." A. It is good to take a rest from our labors to talk with God in prayer, even as Jesus Himself did while on earth: Mk. 1.35 B. The time that we spend talking with God through Christ in prayer is referred to as leaning on Jesus' breast because this symbolizes a close, intimate communion with another: Jn. 13.23-25 C. Therefore, we need to spend time in soul-reviving prayer: Phil. 4.6-7 IV. Stanza 4 mentions singing "One blessed hour with Jesus our King, One blessed hour to speak and to sing; One blessed hour with Jesus, how dear! Surely 'tis Heaven, and Heaven itself is near." A. In nations where there was or is a king, it is very rare for common citizens to have much time to spend with the king; but when we spend time with Jesus as suggested throughout the song, we are given the blessed privilege of spending time with the King of kings: Jn. 19.11-16 B. Part of this time is spent in speaking in psalms and hymns and spiritual songs, singing with grace in our hearts to the Lord: Eph. 5.19, Col. 3.16 C. And such time is like heaven on earth because the Bible indicates that those who surround the throne spend their time in singing praises to the Lord: Rev. 5.8-14 CONCL.: The chorus continues to emphasize the blessedness of spending even "one hour" with Christ: "One sweet hour of holy, calm delight, One sweet hour of tender, melting love; One sweet hour, O precious Savior, One sweet hour with Thee." Of course, the Lord is near to those who are Christians at all times. But it is a wonderful privilege that both in our private devotions and in our gathering together for worship we can draw nearer to the Lord in a special way when we spend "One Blessed Hour With Jesus." "ONE DAY" "He shall come to be glorified in His saints, and to be admired in all them that believe...in that day" (2 Thess. 1.10). INTRO.: A song which emphasizes some of the things that Jesus has done and will do, leading up to the time that He will come to be glorified in His saints is "One Day" (#160 in "Hymns for Worship Revised" and #306 in "Sacred Selections for the Church"). The text was written by J. Wilbur Chapman (1858-1918). A native of Richmond, IN, he became a Presbyterian preacher, an outstanding revival evangelist, and a noted conservative theologian. The tune (Chapman) was composed by Charles H. Marsh (1886-1956). Marsh wrote that about 1908 or 1909 he was invited by Chapman to be music director at the Winona Lake, IN, Bible Conference for the three summer months. Just having graduated from high school, he thought that it seemed like a fabulous job with $100 a month and all expenses paid. Either that same summer or the following one, Chapman was invited to conduct a Bible conference at Stony Brook on Long Island, NY, and took Marsh with him. It was there that Chapman gave Marsh the words to "One Day." Marsh set them to music that summer, and they were copyrighted in his name. Exactly when Chapman had produced the poem is unknown, but it was likely about the time that he gave it to Marsh. The date usually given is around 1909. Marsh then sold the song to Chapman's assistant, Parley E. Zartmann, left his association with Chapman, and went to college. Zartmann then sold the song to Hope Publishing Co. However, soon afterwards, Chapman joined forces with Charles M. Alexander, a well-known evangelistic songleader, and "One Day" first appeared in print as copyright 1910 by Charles M. Alexander, owner, in Alexander's 1911 book "The Message in Song." It is thought that Alexander simply appropriated the song because of his association with Chapman. The Rodeheaver Co. later claimed that it bought the song from Alexander, but when it came up for renewal, Rodeheaver had to buy it again from Marsh. The song recounts various aspects of Jesus' life on earth and His second coming. I. From stanza 1 we learn about His virgin birth "One day when heaven was filled with His praises, One day when sin was as black as could be, Jesus came forth to be born of a virgin: Dwelt among men, my example is He!" A. The Bible says that Jesus came forth to be born of a virgin: Matt. 1.22-23, Gal. 4.4 B. As a human being, He dwelt among men: Phil. 2.5-8 C. The fact that Jesus was born of a woman and lived on earth made it possible for Him to be our perfect example: 1 Pet. 2.21 II. From stanza 2 we learn about His death on the cross "One day they led Him up Calvarys' mountain; One day they nailed Him to die on the tree, Suffering anguish, despised and rejected, Bearing my sins, my Redeemer is He! A. His death occurred at a place called Golgotha or Calvary: Matt. 27.33-35, Lk. 23.33 B. There they nailed Him to die on the cross or tree--none of the accounts of Jesus' crucifixion specifically say that He was nailed to the cross, but we know that He was: Jn. 20.25 C. Because He died on the cross for our sins, He is our Redeemer: Rom. 3.24, Eph. 1.7 III. From stanza 3 we learn about His burial in the tomb "One day they left Him alone in the garden; One day He rested from suffering free. Angels came down o'er His tomb to keep vigil; Hope of the hopeless, My Savior is He." A. After His death, Christ was left alone in the garden tomb to rest from His sufferings: Mk. 15.42-47 B. The burial of Jesus isn't given the same kind of spiritual significance as His death and resurrection, but it is still one of the basic facts of the gospel that must be believed: 1 Cor. 15.1-4 C. And it is part of His overall sacrifice by which He became our Savior: 1 Tim. 1.15 IV. From the stanza 4, we learn about His resurrection from the dead "One day the grave could conceal Him no longer; One day the stone rolled away from the door. Then He arose; over death He had conquered, Now is ascended, my Lord evermore!" A. That the grave could conceal Him no longer and the stone rolled away from the door to allow Jesus to arise is presented in scripture as a historical fact: Mk. 16.1-9 B. Following His resurrection, He ascended into heaven: Acts 1.9-11 C. And His resurrection from the dead is the crowning proof that He is both Lord and Christ, the divine Son of God: Acts 2.36, Rom. 1.3-4 V. From stanza 5, we learn about His second coming "One day the trumpet will sound for His coming; One day the skies with His glory will shine. Wonderful day, my beloved ones bringing; Glorious Savior, this Jesus is mine!" A. One day the trumpet will sound for His coming: 1 Thess. 4.16-17 B. On that day, when His glory will shine, He will bring our beloved ones in Christ because the dead will be raised: 1 Cor. 15.51-52 C. And at that time, the Lord will be revealed in His fullness as our Savior because He will be coming apart from sin for salvation: Heb. 9.27-28 CONCL.: The chorus recapitulates these facts about Jesus and makes application of them to our lives: "Living, He loved me; dying, He saved me; Buried, He carried my sins far away; Rising, He justified, freely forever: One day He's coming--O glorious day!" He came to earth because He loved us, He died to save us, He was buried to take our sins away, He arose that we might be justified, and He will come again to take us home. Most certainly we can, and should, be thankful for what Jesus has done and will do for us "One Day." "ONLY A SHADOW BETWEEN" "Seek Him that...turneth the shadow of death into the morning..." (Amos 5.8) INTRO.: A hymn which reminds us that the shadow of death can, and for Christians will, be turned into the morning is "Only A Shadow Between" (#242 in "Hymns for Worship Revised" and #430 in "Sacred Selections for the Church"). The text was written by Earnest Clay Baird (1872-1961). The tune was composed by J. C. Blaker, sometimes misspelled as Blacker. The song was copyrighted in 1927 by the Standard Publishing Co. of Cincinnati, OH, a firm associated with the independent Christian Churches and instrumental Churches of Christ. It was published in their 1933 "Favorite Hymns" edited by J. E. Sturgis. I have been unable to locate any other information about the origin and history of the song or any biographical material on either the author or the composer. However, it would appear that both Baird and Blaker were associated with Standard Publishing Co. and the independent Christian Churches/instrumental Churches of Christ, because Standard's "Favorite Hymns Revised" of 1953 has a song "Love's Wonderful Door" with words by Baird copyrighted 1925 by Standard, a version of "Whispering Hope" with music arranged by Blaker copyrighted 1924 by Standard, and another song "His Message of Love" with words by Baird and music by Blaker copyrighted 1923 or 1925 (the printing is unclear) by Standard. The first book printed primarily for use by non-instrumental churches of Christ in which I have located the song is "Christian Hymns" No. 1, published by the Gospel Advocate in 1935 and edited by L. O. Sanderson. After that, it was included in the Advocate's "Christian Hymns No. 2" of 1948 and "Christian Hymns No. 3" of 1966, Robert Welch's "Abiding Hymns" of 1963, and J. Nelson Slater's "Christian Hymnal" of 1963. Today, it can be found in Alton H. Howard's "Songs of the Church" of 1971 and John P. Wiegand's "Praise for the Lord" of 1992, in addition to "Hymns for Worship" and "Sacred Selections." The song points our minds to what is on the other side of that "shadow between." I. In stanza one, it is presented as a home "I have a home in a fair summer-land; It's beauties I never have seen. I have a place on an evergreen strand; There's only a shadow between." A. In many of our songs, heaven is pictured as a "fair summer land;" all of the unpleasant things that we associate with the darkness of winter will not be there because there will be no night: Rev. 21.23-25 B. Of course, none of us has seen its beauties yet because no man has yet ascended into heaven: Jn. 3.13 C. But we have the assurance that there is a place on an evergreen strand, where the leaves of the tree of life grow at all times: Rev. 22.1-2 II. In stanza two, it is presented as a mansion "Jesus has promised a hoe to prepare; Through faith on this promise I lean. I have a mansion that's wondrously fair; There's only a shadow between." A. The Bible promises that God has prepared a place for the righteous to live forever: Matt. 25.34 B. And when God makes such a promise, we can lean on it by faith: 2 Cor. 5.17, Heb. 6.13-18, 1 Jn. 2.25 C. This promise involves a "mansion" that is wondrously fair; the word "mansion" basically means a dwelling place, and that is what Jesus promised to prepare in the Father's house: Jn. 14.1-3 III. In stanza three, it is presented as a place with the ransomed "When I have finished my task here below, I pass through this shadowy screen, Be with the ransomed forever I know; There's only a shadow between." A. Someday we shall finish our task here below when life comes to its end in death: Heb. 9.27 B. Then, we shall pass through this shadowy screen as the angels carry our spirits to Abraham's bosom: Lk. 16.22 C. And there will come a time when we shall be forever with those ransomed who have gone on before: 1 Thess. 4.16-17 CONCL.: The chorus repeats the idea that there's "Only a shadow, a shadow between, Only a shadow between; One step to go, O the way's all aglow; There's only a shadow between." This is the poet's way of expressing the concept that there is in a sense only a step between us and death because our salvation is nearer than when we first believed (1 Sam. 20.3, Rom. 13.11). When we are younger with jobs, families, and other responsibilities to occupy our time, we may not think about heaven as much. But as we grow older and realize that the number of steps to go are becoming fewer and fewer, we are reminded that there is truly "Only A Shadow Between." "ONLY A STEP" "He became the author of eternal salvation unto all that obey Him" (Heb. 5.9) INTRO.: A song which calls sinners to come in obedience to Him who is the author of eternal salvation is "Only A Step" (#319 in "Hymns for Worship Revised" and #636 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Charles Hutchinson Gabriel (1856-1932). A Methodist, he was associated for many years as a hymnwriter with the firm of Homer A. Rodeheaver. Some of Gabriel's songs, such as "O That Will Be Glory," have remained in general popularity. However, many of his lesser known songs such as "Only A Step" are still found in books published by members of the Lord's church for use among churches of Christ. Very likely one reason for this is that he was chosen to help T. B. Larimore edit "The New Christian Hymnbook" in 1907 for the Gospel Advocate Co. "Only A Step" was produced in 1890 and first published in J. H. Kurzenknabe and W. W. Bentley's "Fair as the Morning: Hymns and Tunes for Praise in the Sunday School," printed in 1891 at Harrisburg, PA, by J. H. Kurzenknabe and Sons. It has been found in nearly every major hymnbook among us, beginning with the 1921 "Great Songs of the Church" No. 1, edited by E. L. Jorgenson. In my experience, it has been a much used hymn of invitation. This song suggests several things that we must do in obedience to Christ that we might have salvation. I. Stanza 1 says that we must listen to Christ "Hear the sweet voice of Jesus say, 'Come unto Me, I am the way;" Hearken, the loving call obey; Come, for He loves you so." A. We should listen to Jesus: Matt. 17.5 B. What He tells us is that He is the way: Jn. 14.6 C. The reason that we should listen to Him is that He loves us: Eph. 5.2 II. Stanza 2 says that we must cast our heavy burden down "Casting your heavy burden down, Come to the cross, the world may frown; Yet you shall wear a glorious crown When He makes up His own." A. The Lord wants us to cast our burdens on Him: Psa. 55.22 B. The way in which the sinner does this is to "come to the cross," which symbolizes our response of faith and obedience to the preaching of the cross: 1 Cor. 1.18 C. The reward for coming to the cross is the promise of a glorious crown: 2 Tim. 4.6-8 III. Stanza 3 says that we must come to Jesus "Open, for you, the pearly gate; Loved ones for you now watch and wait; Terrible thought to cry, 'Too late'--'Jesus, I come to Thee.'" A. By His death on the cross, Jesus has opened the pearly gate for all who come to Him: Rev. 21.21 B. The phrase, "Loved ones for you now watch and wait," has raised a couple of objections. Ellis Crum changed it to "Saved ones" as he did in all such songs, and "Hymns for Worship" follows that change here, though not in other songs. This first objection seems to be that since we all have physical "loved ones" who will not be in heaven, we should not sing as though our "loved ones" will be there. However, when I sing this, I can sing it with the understanding that, first, I do have some "loved ones" in my family who were faithful Christians and whom I hope to see in heaven; and second, even though I may have some "loved ones" in my family who will not be in heaven, the "loved ones" whom I have among the saints are even more dear to me than they are, and I certainly hope to see those "loved ones" in heaven. The second objection is that we should not sing songs which picture anyone ("loved ones" or "saved ones") already in heaven watching and waiting for us. I am aware that there are some good brethren who take the position that the souls of the righteous now go directly to heaven to await the resurrection and judgement. While I think I understand their arguments, they have not convinced me and I still understand the scriptures to teach that the souls of the righteous go to the hadean realm. At the same time, the area of Hades in which they rest is called a place of comfort, which would be similar to heaven (Lk. 12.25). It is undoubtedly part of "the heavenly places" or spiritual realm as opposed to this physical realm (Eph. 1.20, 3.10, 6.12). Thus, there is some sense which they have gone to be "with Christ" (Phil. 1.23). It is from this exalted position of being with Christ waiting the resurrection and judgment that those who have gone on before watch and wait for us, and that is what I understand as I sing. C. Given the hope that the faithful Christian has of being with the saints in eternity, it would be a terrible thing for one not to come to the Lord in this life and then to hear Him cry, "Too late" to enter in, as with the foolish virgins: Matt. 25.1-13 CONCL.: The chorus then emphasizes how relatively easy it is for one to come to Christ for salvation: "Only a step, only a step; Come, for He bled for you and died; He's the same loving Savior yet, Jesus the Crucified." This, of course, does not mean that it will not take effort any on our part to turn away from sin, to make the changes necessary in our lives to conform to His will, and to obey Him in all things. But if we are truly determined to make our lives right with Him, we can be assured that coming to Jesus is "Only A Step." "ONLY IN THEE" "Who hath blessed us with all spiritual blessings in heavenly places in Christ" (Eph. 1.3). INTRO.: A song which exalts Christ as the only one in whom all spiritual blessings are found is "Only In Thee" (#119 in "Hymns for Worship Revised" and #245 in "Sacred Selections for the Church"). The text was written by Thomas Obadiah Chisholm (1866-1960). A native of Franklin, KY, who became a Methodist minister and then, due to health, an insurance agent, he produced many hymn poems which were set to music by a number of composers, such as "O To Be Like Thee." The tune (Monos) was composed by Charles Hutchinson Gabriel (1856-1932). A native of Wilton, IA, who became a professional musician, he provided tunes for texts by many different writers and also authored both words and melodies for many gospel songs, such as "O That Will Be Glory" that begins, "When all my labors and trials are o'er". Many of Gabriel's songs came into use among churches of Christ because he helped T. B. Larimore in editing "The New Christian Hymn Book" for the Gospel Advocate in 1907. "Only In Thee" was first published in the 1905 collection "Revival Hymns," compiled in Chicago, IL, by Daniel B. Towner and Charles M. Alexander. In hymnbooks used among churches of Christ, it seems to have first been included in the 1921 "Great Songs of the Church" (No. 1). Since then, it has been used in nearly every hymnbook published by brethren and has become quite popular. The song mentions several of the blessings that are found only in Christ. I. Stanza one says that we have peace "Only in Thee, O Savior mine, Dwelleth my soul in peace divine, Peace that the world, though all combine, Never can take from me. Pleasures of earth, so seemingly sweet, Fail at the last my longings to meet, Only in Thee my bliss is complete, Only, dear Lord, in Thee!" A. Jesus Christ is our Savior because He came into this world to save mankind from sin: Matt. 1.21, Lk. 19.10, 1 Tim. 1.15 B. Because Jesus Christ offers salvation from sin, we can dwell in a peace divine that even though the whole world combine can never be taken from us: Phil. 4.6-7 C. The pleasures of this world, so seemingly sweet, can never offer such a peace because they are but for a season: Heb. 11.24-26 II. Stanza two says that we have guidance through this world "Only in Thee a radiance bright Shines like a beacon in the night, Guiding my pilgrim bark aright, Over life's trackless sea. Only in Thee, when troubles molest, When with temptation I am oppressed, There is a sweet pavilion of rest, Only, dear Lord, in Thee!" A. Jesus Christ is a radiance bright that shines like a beacon in the night because He is the light of the world: Jn. 8.12 B. This light, shed through His revealed word, will guide our pilgrim barks aright over life's trackless sea: Psa. 119.105 C. Therefore, when troubles molest and with temptations we are oppressed, that light will guide us toward the sweet pavilion of rest where we can anchor: Heb. 6.17-20 III. Stanza 3 says that we have help in time of trouble "Only in Thee, when days are drear, When neither sun nor stars appear, Still I can trust and feel no fear, Sing when I cannot see. Only in Thee, whatever betide, All of my need is freely supplied; There is no hope nor helper beside, Only, dear Lord, in Thee!" A. Jesus is a Helper because when days are drear, and neither sun or stars appear, we can go to the throne of grace through Him who is our High Priest that we may find grace to help in time of need: Heb. 4.14-16 B. As a result of this help, we can trust and feel no fear as we face the trials and tribulations of this life: Heb. 13.5-6 C. Therefore, whatever betide, we can be assured that all of our need is freely supplied and therefore cast all our cares upon Him: 1 Pet. 5.6-7 IV. Stanza 4 says that we have hope for a better future "Only in Thee, dear Savior slain, Losing Thy life my own to gain, Trusting, I'm cleansed from every stain, Thou art my only plea. Only in Thee, my heart will delight, Till in that land where cometh no night, Faith will be lost in heavenly sight, Only, dear Lord, in Thee!" A. Jesus Christ is our hope because He was slain that through losing His life we can gain life: Rom. 5.6-8 B. Because He died for us, we can be cleansed from every stain: Eph. 1.7 C. And we can look forward to that time when "in that land where cometh no night, Faith will be lost in glorious sight": Rev. 21.22-27 CONCL.: There are many voices which call for my attention in this life. There are many things which offer all kinds of advantages, pleasures, and benefits. Some of these are sinful, while others are not wrong in and of themselves, but I need to be careful to put my priorities in the right place. Therefore, dear Lord, when it comes to my soul, help me to remember that everything which I need I will find "Only In Thee." "ONWARD, CHRISTIAN SOLDIERS" "...Endure hardness, as a good soldier of Jesus Christ" (2 Tim. 2.3) INTRO.: One aspect of the Christian's life is being a soldier, and a song which emphasizes this fact is "Onward, Christian Soldiers" (# 376 in Hymns for Worship Revised, and #220 in Sacred Selections for the Church). The text was written by Sabine Baring-Gould, who was born at Exeter, England, on Jan. 28, 1834, the oldest son of Edward Baring-Gould, a wealthy English squire. He was educated first in Germany and France, and then at Clare College in Cambridge; the School of St. Barnabas at Pimlico in London; and Hurstpierpoint College in Sussex. In 1864, at the age of thirty, he became an Anglican minister. His first work was with the small St. John's church at Horbury Bridge on the Calder River, three miles from Wakefield in Yorkshire. Here he rented a small apartment consisting of a single room on the ground floor, a tiny back kitchen, and a single bedroom above. The bedroom he used for an auditorium on Sunday, and he taught school in the lower room during the week. At night, before retiring, he began his writing career. Shortly after arriving at Horbury Bridge, he was to accompany several boys from his school to a children's festival in the nearby community of St. Peters. Baring-Gould knew how mischievous the lads could be on a long march, so he looked for a suitable hymn for them to sing while walking on the way. Finding none, he produced these words in about fifteen minutes to fit an already existing melody. They were first published later that year in the Church Times. Also in 1864, the young bachelor minister saved a mill hand's daughter, Grace Taylor, from drowning during a flood in the Calder River. He fell in love with her and sent her away to be educated. In 1867, he moved to Dalton, near Thirsk in Yorkshire. The following year, he married Miss Taylor and they moved on to East Mersea in Essex. In 1871, the author showed his marching poem to his good friend, Arthur Seymour Sullivan (1842-1900). Sullivan, who composed the tune (St. Gertrude) that we know while visiting in the home of Mrs. Gertrude Clay-Ker-Seymour, was then a 29-year old organist, but he went on to become a well-known British composer of light operas, the Sullivan of Gilbert and Sullivan. It first appeared in the Musical Times of Dec., 1871, and was then published in the 1872 London hymnbook The Hymnary. In 1881, at the death of his father, Baring-Gould inherited his fortune and settled in the family mansion at Lew-Trenchard in North Devonshire, England, where he served as minister at his family's home church. Throughout his life, he continued his writing. For 52 years, he penned a novel each year. In all, he published 85 books on religion, mythology, travel, poetry, folklore, history, biography, fiction, sermons, and theology, as well as books of hymns, including the well known evening song "Now the Day Is Over." His most famous work, the Lives of the Saints, covers fifteen volumes itself. In addition, he edited a quarterly review of art and literature, The Sacristy. The Britsh Museum's catalogue lists more titles by Sabine Baring-Gould than any other author of his time. And all of this he did in longhand, without a secretary. He died at Lew-Trenchard on Jan. 2, 1924, just a month shy of his ninetieth birthday. Today, he is best remembered for this stirring hymn about the spiritual battle with evil. I. Stanza 1 reminds us that as soldiers of Christ, we are engaged in a warfare for God.
"Onward, Christian soldiers! Marching as to war, With the cross of Jesus Going on before; Christ, the royal Master, Leads against the foe; Forward into battle, See His banners go!" A. We are told that we must wage a good warfare: 1 Tim. 1.18 B. Christ is our royal Master who leads us against the foe: Rev. 19.11-14 C. Just as soldiers fighting in a war need a banner around which to rally, so as we go forward into battle, we rally round the spiritual banner of Christ, which is His cross: Ps. 60.4 II. Stanza 2 indicates that this warfare necessarily implies fighting an enemy. "At the sound of triumph, Satan's host doth flee; On then, Christian soldiers, On to victory! Hell's foundations quiver At the shout of praise; Brothers, lift your voices, Loud your anthems raise!" A. Of course, our great enemy is Satan: 1 Pet. 5.8 B. However, he is not our only enemy, but we must also fight against the principalities and powers of evil in heavenly places that are built on hell's foundations: Eph. 6.10-12 C. Since the outcome of the war has already been decided, those who are with Christ are assured of victory and can shout their loud anthems of praise at the prospect of winning: Ps. 100.1-2 III. Stanza 3 tells us that waging a good warfare require unity "Like a mighty army Moves the church of God: Brothers, we are treading Where the saints have trod; We are not divided, All one body we: One in hope and doctrine, One in charity." A. God's army is made up of those who are part of the church that Jesus purchased with His blood: Acts 20.28 B. The Lord does not want any division in His ranks: 1 Cor. 1.10 C. Rather, there must be unity in the ranks so that we will all be one body: Eph. 4.4-6 IV. Stanza 4 points out that in warfare, an army must have a leader "Crowns and thrones may perish, Kingdoms rise and wane; But the Church of Jesus constant will remain; Gates of hell can never 'Gainst that church prevail; We have Christ's own promise, And that cannot fail." A. The church that Christ established is the kingdom of God that shall never perish: Dan. 2.44 B. Just as the gates of hell can never prevail against this kingdom just as they could not prevent Jesus from establishing His church: Matt. 16.18 C. And we can have assurance in this fact because Christ Himself has promised it, and we can trust His promises: 2 Pet. 1.3-4 V. Stanza 5 concludes that those who engage in this warfare for Christ have the hope of victory. "Onward, then, ye people, Join our happy throng; Blend with us your voices In the triumph song; Glory, laud, and honor Unto Christ the King; This through countless ages Men and angels sing." A. Those who join this happy throng are promised victory: 1 Cor. 15.57 B. Blending their voices with the saints of all ages, they can give glory, laud, and honor to Christ the King: Rev. 5.11-12 C. And having fought the good fight of the faith, they can lay hold of eternal life through the countless ages: 1 Tim. 6.12 CONCL.: The short chorus repeats the stirring words of the first four lines of the opening stanza:
"Onward, Christian soldiers, Marching as to war, With the cross of Jesus Going on before." In order that we might fight the good fight of the faith and lay hold on eternal life, the Lord commands us to go "Onward, Christian Soldiers." "OTHERS" "Look not every man on his own thing, but every man also on the things of others" (Phil. 2.4). INTRO.: A hymn which exhorts us not to think only about ourselves but about the needs of our fellow human beings is "Others" (#92 in "Hymns for Worship Revised"). The text was written by Charles D. Meigs. It was copyrighted in 1907. For years I have been trying to find information about Mr. Meigs and the song, but after exhausting the resources of the Dayton-Montgomery County Public Library and doing an extensive Internet search, all I know is what I read in one old hymnbook. "January 1, 1908, General Ballington Booth dispatched this one word 'Others' to all the Salvation Army Posts of the world. Mr. Meigs, catching the spirit of the message, couched it in this well-known poem." Unfortunately, this not does not even agree with the copyright date! I cannot give much information about Mr. Meigs, but I can give a little about Ballington Booth (1857-1940). He was the second son of William Booth, founder of the Salvation Army. Ballington and his wife were sent from England to oversee the operations of the Salvation Army in the United States, but he later broke with his father and established his own organization, the Volunteers of America. The tune was composed by Elizabeth McE. Shields. It was copyrighted in 1917. I have also tried to find information about the composer, with no success either. The copyright holder, Presbyterian Committee of Publication, was taken over by John Knox Press, to which I wrote and found out that it was merged with Westminster Press. No one currently at Westminster-John Knox Press could tell me anything about Elizabeth Shields or the hymn. It was apparently a very popular song back in the early days of the 20th century. I have seen it in the 1926 "Premier Hymns" edited by R. E. Magill and published by The Onward Press of Richmond, VA; the 1938 "Cokesbury Worship Hymnal"; and the 1940 "Broadman Hymnal" edited by B. B. McKinney and published by Broadman Press, a Baptist publishing company in Nashville, TN. No one at Abingdon-Cokesbury or Broadman could give me any information as well. The same text appears in some other books with a tune by William E. M. Hackleman (1868-1927). Hackleman was a hymnwriter and music publisher associated with churches of Christ and Christian churches in the latter 19th and early 20th centuries. This version appeared in "Wonder Hymns of Faith" published by the Standard Publishing Company of Cincinnati, OH (I do not have a date for it); the 1940 edition of the "Hymnal--Church of the Brethren" (copyright 1925), published by the Brethren Publishing House of Elgin, IL; and the 1992 "Pilgrim's Praises" edited by Steven S. Rodabaugh and published by Ambassador Publishers of Altamont, TN, a Mennonite publishing company. The only other book published by anyone associated with churches of Christ, besides "Hymns for Worship," in which I have seen the song is the 1977 "Special Sacred Selections" edited by Ellis J. Crum, which uses the Shields tune. The song helps us to see the need of thinking about people besides only ourselves. I. Stanza 1 emphasizes thinking of others in our daily lives "Lord, help me live from day to day In such a self-forgetful way That even when I kneel to pray My prayer shall be for--Others." A. We need the Lord's help to live from day to day, and He has promised that we can come boldly to His throne to find grace to help in time of need: Heb. 4.16 B. We especially need His help to live in a self-forgetful way, because we must learn not to think of ourselves more highly than we ought to think: Rom. 12.3 C. Therefore, even in our prayers, we should remember others: Eph. 6.18-19 II. Stanza 2 emphasizes thinking of others in our work "Help me in all the work I do To ever be sincere and true And know that all I'd do for you Must needs be done for--Others." A. The Lord certainly has a work for His people to do: Eph. 2.10 B. And in doing this work, we must be sincere and true: Phil. 1.10-11 C. But we also need to know that much of our work for the Lord involves doing things for others: Matt. 25.31-46 III. Stanza 3 emphasizes thinking of others in our inner-most selves "Let 'Self' be crucified and slain And buried deep: and all in vain May efforts be to rise again, Unless to live for--Others." A. To serve Christ we must crucify ourselves: Gal. 2.20, 6.14 B. If we truly seek to take up our cross and follow Jesus, then all efforts to resurrect self will be in vain: Matt. 16.24 C. So, rather than devoting all of our thoughts and efforts toward self, we will strive to meet the needs of others: Matt. 20.25-28 IV. Stanza 4 emphasizes thinking of others in eternity "And when my work on earth is done And my new work in heaven's begun, May I forget the crown I've won, While thinking still of--Others." A. Someday our work on earth will be done because it is appointed for people to die: Heb. 9.27 B. Then, after the Lord returns, we shall have a new work in heaven; exactly what the work will be is not told, but the Bible says that in the eternal city, "His servants shall serve Him": Rev. 22.1-3 C. Yet, even as we wear that crown that we shall have won, we shall not be characterized by a sense of pride in ourselves but shall undoubtedly think of others: Rev. 2.10 CONCL.: The last stanza might be thought of in connection with the concern that the departed spirits have for the lost on earth as they await the judgment (cf. Lk. 16.27-28). However, even in eternity, we would not think of heaven as a place of selfishness but a place where we would be "in honor giving preference to one another" even more perfectly that we are able to do here. The chorus continues the admonition of the stanzas: "Others, Lord, yes, others, Let this my motto be, Help me to live for others, That I may live like Thee." Yes, we all have personal needs to attend to, both physically and spiritually. But we must be careful never to get so wrapped up in ourselves that we fail to give proper consideration to "Others." "OUT OF SELF AND INTO THEE" "Whosoever shall lose his life for My sake shall find it" (Matt. 16.25). INTRO.: A song which asks the Lord to help us to have an attitude that is willing to lose ourselves for His sake is "Out Of Self And Into Thee" (#103 in "Hymns for Worship Revised"). The text of the stanzas was written by Jessie H. Brown Pounds (1861-1921). A native of Hiram, OH, she married John E. Pounds, minister of the Central Christian Church of Indianapolis, IN, but the Poundses later returned to Hiram. For more than thirty years she wrote religious poetry for James H. Fillmore and his Fillmore Brothers Publishing House of Cincinnati, OH. Some of her more popular gospel songs, out of the over 400 that she produced, are "Am I Nearer to Heaven Today?" and "The Touch of His Hand on Mine,, "Anywhere With Jesus," "Are You Coming To Jesus Tonight?", "Beautiful Isle of Somewhere," "I Know That My Redeemer Liveth," "Soul, A Savior Thou Art Needing," "The Way of the Cross Leads Home," and "Will You Not Tell It Today." I do not have any information about the date or place of first publication for "Out of Self and Into Thee." It appeared in the 1948 "Christian Hymns No. 2" and the 1966 "Christian Hymns No. 3" with a tune by James Henry Fillmore (1849-1936). There it was arranged by the editor of those books, Lloyd Otis Sanderson (1901-1992). It appeared in the 1963 "Christian Hymnal," edited by J. Nelson Slater, with a tune (Galilee) by William H. Jude most often associated "Jesus Calls Us O'er The Tumult" by Mrs. Cecil Frances Alexander. The new setting in "Hymns for Worship Revised" was made by one of the editors, R. J. Stevens, who apparently added the words of the chorus and copyrighted it in 1992. The song discusses the attitude needed to lose self and come into Christ. I. The first stanza says that we must come out of sadness into gladness "Out of sadness into gladness, Savior, Thou hast bidden me; Into blessing, all possessing, Out of self and into Thee." A. Coming out of sadness does not necessarily mean that Christians never have events that produce sadness happen to them, because there are times when God's people sorrow, though not as those without hope: 1 Thess. 4.13 B. Rather, the idea is that by coming to Christ, we can come out of the sadness that the guilt of sin brings to our lives into the gladness or joy that Christ alone can give: Phil. 4.4 C. And the reason for this is that by coming to Christ, we come into the spiritual blessings that God has available for us through Him: Eph. 1.3 II. The second stanza says that we must come out of terror and error into union and communion "Our of terror, out of error, Out of all that darkness brings, Into union and communion With the holy King of kings." A. The terror refers to a sense of fearfulness: 2 Tim. 1.7, 1 Jn. 4.18, Rev. 21.8 B. This terror is caused by the error that all the darkness of evil brings: Eph. 5.3-11 C. But leaving this terror and error, we come into union and communion with the Holy King of Kings: Gal. 3.26-27, Rev. 19.16 III. The third stanza says that we must come out of seeming and dreaming into sureness and secureness "Out of seeming, out of dreaming, Out of earth's uncertainty, Into sureness and secureness, Out of self and into Thee." A. The seeming and dreaming would appear to refer, not to the dreams and hopes that we might have for a better future but, to the sense of unreality in which so many of the people of this world live, looking only to the things which are seen which are temporal: 2 Cor. 4.16-18 B. This sense of unreality is the result of "earth's uncertainty;" that's why Christians are warned so much about this world: Rom. 12.1-2, Jas. 1.27, 1 Jn. 2.15-17 C. We can escape this seeming and dreaming by coming into the sureness and secureness that are found in Christ: 1 Jn. 5.10-13 CONCL.: Nearly all the problems that we face in this life are caused by too much emphasis on self, which brings us into sadness, terror, and a sense of unreality. But when we come into Christ, we are translated into a state of gladness, communion, and security. Therefore, we should constantly be asking the Lord to help us come "Out Of Self And Into Thee." |
