"PRAISE HIM! PRAISE HIM!"

"I will sing praises unto my God..." (Ps. 146.2)

INTRO.: Because of who and what He is, we should praise the Lord God of heaven and earth. "Therefore by Him let us continually offer the sacrifice of paise to God, that is, the fruit of our lips, giving thanks to His name" (Heb. 13.15). This continual sacrifice of praise to God should include joyful songs to His Son, Jesus Christ for what He has done for us. One song which does exactly that is "Praise Him! Praise Him!" (#54 in Hymns for Worship Revised, and #11 in Sacred Selections for the Church).

The text was written by Mrs. Frances Jane Crosby VanAlstyne, better known by her maiden name Fanny J. Crosby (1820-1915). Perhaps one of the best known gospel song writers of late nineteenth century America, she may possibly be one of the greatest writers of gospel songs who has ever lived. Although blind from the age of six weeks, she began with poems for popular ballads. After marrying Alexander VanAlstyne in 1858, she turned from secular to sacred song and at one period in her life she was under contract to the Biglow and Main Co. to produce three hymns a week.

"Praise Him! Praise Him!" first appeared under the title "Praise, Give Thanks," in 1869, with the tune (Joyful Song) composed by Chester G. Allen, who was born in 1838. In spite of the popularity of this melody, there is very little information about this composer besides the fact that he worked with William B. Bradbury, William H. Doane, William F. Sherwin and others in the production of several Sunday school songbooks, such as Bright Jewels in which this song was originally published, for Biglow and Main. Allen died in 1878.

This song gives several reasons for praising Christ.

I. According to stanza 1 we should praise Him because He is our Shepherd.

"Praise Him! praise Him! Jesus, our blessed Redeemer! Sing, O earth, His wonderful love proclaim!

Hail Him! hail Him! Highest archangels in glory; Strength and honor give to His holy name!

Like a Shepherd, Jesus will guard His children; In His arms He carries them all day long."

A. Jesus is our blessed Redeemer in that because of His wonderful love for us, He redeemed us to God: Rev. 5.9

B. Therefore, even the highest archangels in glory hail Him and give strength and honor to His holy name: Heb. 1.5-6

C. Not only is He our Redeemer, but He is also our Shepherd who guards His flock: Jn. 10.14-16

II. According to stanza 2 we should praise Him because He is our hope of salvation

"Praise Him! praise Him! Jesus, our blessed Redeemer! For our sins He suffered and bled and died;

He, our Rock, our Hope of eternal salvation; Hail Him! hail Him! Jesus, the crucified!

Sound His praises, Jesus who bore our sorrows, Love unbounded, wonderful, deep, and strong."

A. Jesus suffered and bled so that through His blood He might wash us from our sins: Rev. 1.5-6

B. Therefore, by His crucifixion He offers us the hope of eternal salvation: Heb. 5.8-9

C. In doing this, He fulfilled the Old Testament prophecies of the Messiah who would come to bear our sorrows: Isa. 53.3-5

III. According to stanza 3 we should praise Him because He is our Prophet and Priest and King

"Praise Him! praise Him! Jesus, our blessed Redeemer; Heavenly portals loud with hosannas ring!

Jesus, Savior, reigneth forever and ever; Crown Him! crown Him! Prophet, and Priest, and King.
Christ is coming! over the world victorious; Power and glory unto the Lord belong."

A. Just as the people cried Hosanna in the highest to Christ on earth (Matt. 21.9), so heavenly portals ring loud with praises to Him: Rev. 5.8-12

B. Sacred Selections changes "reigneth forever and ever" to "liveth forever and ever," probably because the editor thought that the concept of Christ's reigning forever smacked of Premillennialism; however, the Bible specifically says of Christ that "He shall reign forever": Rev. 11.15; if the Bible says that He shall reign forever, then I do not see why we should have a problem singing that He shall reign forever. Sacred Selections also changes "Crown Him" to "Praise Him," again with the apparent objection that the idea of our crowning Christ must be premillennial since Jesus has already been crowned King. It is true that Christ has been crowned King and is now on His throne, but our crowning Him is simply a poetic way of saying that each one of us must acknowledge Him as the King of Kings and Lord of Lords in our own hearts: Rev. 19.11-16

C. So, we crown Him now as the King of our hearts and the Lord of our lives, but we also look forward to that time when He will be coming, over the world victorious, just as was promised in the scripture: Acts 1.9-11

CONCL.: The chorus completes the thought of each stanza:
"Praise Him! praise Him; tell of His excellent greatness;

Praise Him! praise Him, ever in joyful song."

Surely, Jesus, as the divine Son of God and Savior of the world, is characterized by excellent greatness: Ps. 150.1-2. Therefore, He is worthy of every good thing that we might say about Him as we "Praise Him! Praise Him!"

"PRAISE TO THE LORD, THE ALMIGHTY"

"Bless the Lord, O my soul, and forget not all his benefits" (Psalm 103.2).

INTRO.: A hymn which reminds us to bless the Lord because of all His benefits is "Praise To the Lord, the Almighty." The text, originally in six stanzas, was written by Joachim Neander (1650-1680). After a rebellious youth in Bremen, Germany, he professed Christianity at age 20 and eventually became a minister at St. Martin's Church. Known as the outstanding hymn writer of the German Reformed Church, he produced about sixty hymns. This one, based on Psalms 103 and 150, was first published in his "A und Blaub Glaub-und Liebesubung" of 1679/1680, the year that he died at age thirty of consumption. The translation of five stanzas (actually the original stanzas three and four were combined into a single third stanza) was made by Catherine Winkworth (1827-1878). It appeared in her 1863 "Chorale Book for England."

The tune (Lobe den Herren) was found in the second edition of the "Ander Theil des erneuerten Gesangbuch" of Stralsund, published in 1665, with another hymn "Hast du denn, Liebster," by Ahasuerus Fritsch. There is the possibility that it is based on an old secular air composed by Johann Flittner (1618-1678). Neander himself adapted it for this hymn in his book. It was arranged in its present form for his Cantata No. 57 by Johann Sebastian Bach (1685-1750). The modern harmonization was made by William Sterndale Bennett (1816-1875). It is taken from the second edition of Winkworth's "Chorale Book for England" published in 1864.

Among hymnbooks used by churches of Christ, the earliest one in which I have found this hymn is the 1963 "Christian Hymnal" (entitled "Praise YE the Lord, the Almighty") edited by J. Nelson Slater. It was also included in the 1975 supplement to the 1937 "Great Songs of the Church No. 2" originally edited by E. L. Jorgenson. It is found in some of the more recent hymnbooks published by members of the Lord's church, such as the 1986 "Great Songs Revised" edited by Forrest M. McCann, the 1992 "Praise for the Lord" edited by John P. Wiegand, and the 1994 "Songs of Faith and Praise" edited by Alton H. Howard.

The hymn suggests several reasons why we should praise the Lord.

I. According to stanza 1, we should praise the Lord because of who He is

"Praise to the Lord, the Almighty, the King of creation! O my soul, praise Him, for He is thy health and salvation!

All ye who hear, Now to His temple draw near, Join me in glad adoration."

A. He is the Almighty King of creation: Gen. 1.1, 17.1; Ps. 10.16

B. He is the source of our health and salvation: Ps. 27.1, 42.11 (KJV)

C. He is the one who dwells in the temple and alone is worthy of our praise: Eph. 2.21-22

II. According to stanza 2, we should praise the Lord because of what He is doing in the universe

"Praise to the Lord, who o'er all things so wondrously reigneth, Shieldeth (shelters) thee under His wings, yea so greatly sustaineth!

Hast thou not seen How thy desires e'er have been Granted in what He ordaineth?"

A. The Lord reigns over all the universe: Ps. 96.10

B. The Lord also sustains the universe through Christ: Col. 1.17, Heb. 1.3

C. And the Lord providentially uses the things of the universe to provide for our needs according to His will: Jas. 1.17

III. According to stanza 3, we should praise the Lord because of what He is doing in our lives

"Praise to the Lord, who doth prosper thy work and defend thee; Surely His goodness and mercy here daily attend thee;

Ponder anew What the Almighty will do, If with His love He befriend thee."

A. The Lord prospers and defends His people: Ps. 1.3, 62.2

B. The Lord also grants His goodness and mercy to attend His people: Ps. 23.6

C. And the Lord befriends those who become His people, so that He will do for us even beyond that which we think or expect: Jn. 15.14-15, Eph. 3.20-21

IV. According to stanza 4, we should praise the Lord because of what He has done for us

"Praise thou the Lord, who with marvelous wisdom hath made thee, Decked thee with health, and with loving hand guided and stayed thee.

How oft in grief Hath not He brought thee relief, Spreading His wings to o'ershade thee!"

A. The Lord has made us fearfully and wonderfully: Ps. 139.14

B. The Lord has also guided us with His loving hand: Ps. 31.3, 119.173

C. And the Lord has spread His wings to protect us in grief: Ps. 17.8

V. According to stanza 5, we should praise the Lord because He is the One who is worthy of all praise

"Praise to the Lord! O let all that is in me adore Him! All that hath life and breath, come now with praises before Him!

Let the Amen Sound from His people again; Gladly for aye we adore Him."

A. He is worthy of praise by all that is within each one of us: Ps. 103.1

B. He is also worthy of praise by all that has life and breath: Ps. 148.7-10

C. And He is worthy of praise by His people, who should sound the Amen: Ps. 106.48

CONCL.: John Julian in his monumental "Dictionary of Hymnology" called this hymn "a magnificent hymn of praise to God, perhaps the finest production its author, and of the first rank in its class." Over the years, as I have occasionally been watching the television and channel surfing, I have come across the choir and orchestra on Robert Schuller's "Hour of Power" rendering this hymn as an opening song. Since I do not watch the program regularly, I do not know if this is done on every show or not. I certainly wish to give absolutely no credence whatever to choirs and orchestras in worship, nor to any false doctrine of Robert Schuller. However, whenever I hear such singing, unscriptural as it may be, I am reminded that God's non-denominational people can and should use these same grand old hymns in a scriptural manner as we seek to give "Praise to the Lord, the Almighty."

"SING TO ME OF HEAVEN"

"Every several gate was of one pearl; and the street of the city was pure gold" (Rev. 21.21)

INTRO.: A song which expresses a desire for the place where the gates are pictured as pearls and the street as gold is "Sing To Me Of Heaven" (#208 in "Hymns for Worship Revised" and #444 in "Sacred Selections for the Church"). The text was written by Ada Powell. No information is available on this hymnwriter besides the fact that she's written a couple of other songs which have appeared in various hymnbooks used by churches of Christ, such as "There's A Crown for Your Cross" and "The Heart Shall Reap in Joy," both with music by Austin Hazelwood.

The tune (Beall) was composed by Benjamin Burke Beall (1874-1945). Very little information is known about him either, other than that he founded B.B. Beall & Co. and published hymnbooks in the early decades of the 20th century. Probably his best-known tune is that used with the song "Lift Him Up," which he published in 1903 with words by Johnson Oatman Jr. Beall was living at Douglasville, GA, when this song was copyrighted in 1914. Its first known appearance in a songbook was apparently in "Waves of Salvation," published at Dalton, GA, in 1922, by Anthony J. Showalter.

The earliest hymnbook used among churches of Christ in my collection where I have been able to find the song is the 1938 "Spiritual Melodies" of Tillit S. Teddlie. It appeared in books compiled by Teddlie and Will Slater after that time, but its popularity is likely due to its inclusion in the 1956 "Sacred Selections for the Church" edited by Ellis J. Crum. Since then, it has been found in almost every hymnbook published among members of the Lord's church.

This song discusses a number of situations in which we should think of heaven.

I. From stanza 1, we can think of heaven when we have toils and burdens

"Sing to me of heaven, sing that song of peace; From the toils that bind me it will bring release.

Burdens will be lifted that are pressing so; Showers of great blessing o'er my heart will flow."

A. Certainly this life is filled with toils and labors, but heaven is that place that God has prepared for us to rest eternally from them: Rev. 14.13

B. And we also have burdens that press upon us in our lives: Gal. 6.5

C. But thinking of heaven will release us from the toils and cause the burdens to be lifted, at least in our minds, so that showers of great blessings can flow over us: Ezek. 24.36

II. From stanza 2, we can think of heaven when we're alone

"Sing to me of heaven, as I walk alone, Dreaming of the comrades that so long have gone;

In a fairier region, 'mong the angel throng, They are happy as they sing that old, sweet song."

A. Sometimes, especially as we grow older, we find ourselves alone because so many of our former comrades are gone due to death: Heb. 9.27

B. Yet, we can take comfort in the fact that their souls are now in glory and they'll be raised when the Lord returns: 1 Thes. 4.13-18

C. And we can have the hope that after the end of time we can join them with the angel throng as they sing the old sweet song in heaven: Rev. 5.11-12

III. From stanza 3, we can think of heaven when our hearts are weary

"Sing to me of heaven, tenderly and low, Till the shadows o'er me rise and swiftly go;

When my heart is weary, when the day is long, Sing to me of heaven, sing that old, sweet song."

A. Someday there'll come a time for each of us when the shadows will rise and then be quickly gone: Ps. 23.4, 90.10

B. Quite often at this time the geart grows weary and the day seems so long: Eccl. 12.3-5

C. But heaven is the place where we shall reap our reward and for which we can yearn when the day of life gorws long and we become weary of the journey: Gal. 6.6-7

CONCL.: The chorus continues to focus our thoughts on the blessings of heaven and it beauty, symbolized by the gates of pearl and the street of gold.

"Sing to me of heaven, let me fondly dream Of its golden glory, of its pearly gleam;

Sing to me when shadows of the evening fall, Sing to me of heaven, Sweetest song of all."

As I travel through this life with its problems and difficulties, striving to make my way toward my eternal home, I can find strength and comfort to help me on my journey as I ask my brethren to "Sing To Me Of Heaven."

"STAND UP, STAND UP FOR JESUS"

"...Endure hardness, as a good soldier of Jesus Christ" (2 Tim. 2.3)

INTRO.: A song which encourages us to fight as good soldiers for the kingdom of peace by standing fast in the faith is "Stand Up, Stand Up For Jesus (#397 in Hymns for Worship Revised, and #227 in Sacred Selections for the Church). The text was written by George Duffield Jr., who was born at Carlisle, PA, on Sept. 12, 1818, the son and grandson of Presbyterian ministers. His grandfather had served as joint chaplain to the Continental Congress during the Revolutionary War. Following his education at Yale University, where he graduated in 1837, and Union Theological Seminary in New York City, NY, where he graduated in 1840, he became a Presbyterian minister himself. After having served in Brooklyn, NY, from 1840 to 1847, and Bloomfield, NJ, from 1847 to 1852, he came to the Temple Presbyterian Church in Philadelphia, PA, where he became a close friend of Dudley Tyng, an Episcopalian minister who founded the Church of the Covenant, also in Philadelphia. In 1858, there was a great religious revival in Philadelphia, led by the 29-year old Tyng, who gave daily lectures. On Tues., Mar. 30, over 5,000 men gathered for a noon meeting under the direction of the YMCA at Jayne's Hall, where Tyng preached on the topic, "Ye that are men, go and serve the Lord."

Holding up his right hand, the young preacher said, "I must tell my Master's errand, and I would rather that this right arm were amputated at the trunk than that I should come short." On Wednesday of the next week, Tyng took some time off to visit his family farm outside of Philadelphia. Leaving his study there for some relaxation, he went to the barn to watch the corn sheller. While he was petting the horse, his sleeve accidentally caught in the cogs and his arm was severely lacerated. Shortly afterwards, infection developed, and the arm had to be amputated. By then, however, Tyng was too weak to survive the operation and died five days later. Several fellow ministers were at his deathbed and one asked if he had a message. Looking up at his father, Stephen H. Tyng, also an Episcopalian minister, he said, "Tell them to stand up for Jesus." Duffield was present on that occasion. The following Sunday, he preached a sermon in tribute to his deceased friend which concluded with a poem that he had written based on Tyng's dying words. The Sunday School superintendent had a fly-leaf printed and a stray copy found its way into a Baptist newspaper. As a hymn it first appeared in the Presbyterian Church Psalmist, 1858 edition.

From there, it found its way into other hymnbooks to an already existing tune (Goodwin or Webb) which had been composed for a secular song, "'Tis dawn, the lark is singing," some thirty years earlier by an English-born American musician, George James Webb (1803-1887). It was originally published in The Odeon at Boston, MA, in 1837. The first association of the hymn with this melody seems to have been in The Golden Chain, published at New York City, NY, in 1861, by William Batchelder Bradbury (1816-1868). Leaving Philadelphia in 1861, Duffield worked at Adrian, MI, until 1865, when he heard his hymn for the first time being sung by soldiers in a Union Army Camp. After that, he lived in Galesburg, IL, from 1865 to 1869; Saginaw, MI, in 1869; and Ann Arbor and Lansing, MI, from 1868 to 1884. In addition, he received a D.D. degree from Knox College in recognition of his many accomplishments and served for seven years as a member of the Board of Regents at the University of Michigan. Following this, he retired to live with his son, Samuel W. Duffield, also a minister, poet, author, and songwriter, in Bloomfield, NJ, where he died on July 6, 1888.

His best-known song is about the Christian's fight to obtain peace.

I. Stanza 1 reminds us that we are soldiers of the cross

"Stand up, stand up for Jesus! Ye soldiers of the cross; Lift high His royal banner, It must not suffer loss:
From victory unto victory His army shall He lead, Till every foe is vanquished And Christ is Lord indeed."

A. Just as soldiers must stand their ground in battle, so soldiers of the cross must stand fast in the faith: 1 Cor. 16.13

B. As Christ's soldiers, we must continue to lift His royal banner and follow where He leads till every foe is vanquished, which is exactly what Christ has promised: 1 Cor. 15.25-26

C. Some editors have changed the last line to read "For Christ is Lord indeed," apparently thinking the original somewhat millennarian and saying that Christ is already Lord indeed. It is true that Christ is Lord now: Acts 2.36. However, I understand the song simply to be saying that we must press on in the fight until Christ is Lord indeed, that is, sanctified in every heart possible: 1 Pet. 3.15--a task that will never be done until the Lord returns

II. A stanza universally omitted teaches that as soldiers we must watch

"Stand up, stand up for Jesus! The solemn watchword hear: If while ye sleep He suffers, Away with shame and fear;

Where'er ye meet with evil, Within you or without Charge for the God of Battles, And put the foe to rout!"

A. We are commanded to watch and pray lest we enter into temptation: Matt. 26.41

B. In this great spiritual warfare, we shall certainly meet with evil, both within and without: Gal. 1.4

C. However, if we charge for the God of Battles, we can put the foe to rout because we are able to resist the leader of the forces of evil, the devil: Jas. 4.7

III. Stanza 2 reminds us that soldiers of the Lord must be those who are men or mature

"Stand up, stand up for Jesus! The trumpet call obey; Forth to the mighty conflict, In this His glorious day:

Ye that are men now serve Him, Against unnumbered foes; Your (Let) courage rise with danger, And strength to strength oppose."

A. God calls us through His word to battle just as He called the Israelites to battle by the trumpet: Num. 10.8-9

B. The statement, "Ye that are men now serve Him" recalls the sermon that Tyng had preached, taken from Pharaoh's charge to Moses: Exo. 10.11

C. To accomplish our aim, we must look to the Lord for strength: Deut. 33.25

IV. Stanza 3 teaches us that soldiers of Christ must put on the gospel armor and stand

"Stand up, stand up for Jesus! Stand in His strength alone; The arm of flesh will fail you; Ye dare not trust your own;

Put on the gospel armor, Each piece put on with prayer; Where duty calls, or danger, Be never wanting there."

A. We cannot trust the arm of flesh because neither the warfare nor the weapons of our warfare are carnal: 2 Cor. 10.3-5

B. Therefore, we must put on the armor of God that will enable us to stand: Eph. 6.10-18

C. This armor must be put on with prayer because this is God's provision to help us not be anxious in the fight: Phil. 4.6-7. Amos Wells in his book A Treasury of Hymn Stories wrote, "Note especially also the sixth line of stanza four, which is often changed (foolishly) to, 'And, watching unto prayer.'" Also, in the last line, the word "wanting" does not mean wishing but lacking. The song is NOT saying that where duty calls or danger we should not wish to be there, but that we should not be found lacking in our ability to meet the need.

V. Stanza 4 reminds us that the soldier who overcomes will gain a crown of life

"Stand up, stand up for Jesus! The strife will not be long; This day the noise of battle, The next the victor's song:
To him that overcometh, A crown of life shall be; He with the King of Glory Shall reign eternally."

A. God has promised victory to those who overcome by faith: 1 Jn. 5.4

B. The symbol of this victory is the crown of life: Rev. 2.10

C. The editor of Sacred Selections changed the last line to read "Shall live eternally," as he did all other songs that talk about our reigning with Christ in heaven, apparently thinking that such language is premillennial. However, the Bible does teach that, while Christians do reign with Christ now, those who win the crown of life will reign with Him forever in heaven: Rev. 22.3-5

CONCL.: Even though the Biblical imagery of fighting the good fight is based upon the ancient Roman soldier's equipment whereas modern wars are fought with guns and bombs rather than swords and armor, the song still makes it plain that the Christian's life is a spiritual fight with evil within and without, and that Jesus Christ is our leader. It may sound contradictory, but to have peace we must wage a good warfare and, as the song suggests, "Stand Up, Stand Up for Jesus!"

"SUNSHINE IN MY SOUL"

"For God, who commanded the light to shine...hath shined in our hearts..." (2 Cor. 4.6)

INTRO.: A gospel song which speaks of the light that God makes possible to shine in our hearts is "Sunshine in My Soul" (#425 in Hymns for Worship Revised and #575 in Sacred Selections for the Church). The text was written by Eliza Edmunds Hewitt (1851-1920). A teacher in Philadelphia, PA, she was attempting to correct an unruly student who struck her across the back with a heavy slate. After she had spent six months in a cast recovering from this injury, her physician at last permitted her to go for a short walk in a nearby park on a warm spring day. Her heart overflowed with joy and after her walk, she produced this song, among her first. The tune (Sunshine) was composed by John Robson Sweney (1837-1899). The song was published in the 1887 songbook Glad Hallelujahs edited by Sweney and William James Kirkpatrick. The original began each stanza with "There's sunshine" but many books have changed it to "There is sunshine." Later, Mrs. Hewitt authored many more songs, including "A Blessing in Prayer," "For Christ and the Church," "Give Me Thy Heart," "More About Jesus," "Stepping In The Light," "When We All Get to Heaven," "Who Will Follow Jesus?", and "Will There Be Any Stars in My Crown?"

This song overflows with joy that results from God's light in our lives.

I. Stanza 1 says that God causes sunshine in our souls

"There's sunshine in my soul today, More glorious and bright

Than glows in any earthly sky, For Jesus is my light."

A. God created the physical sun that gives light to the earth: Gen. 1.14-19

B. However, the idea of sunshine here is used to represent the warmth of God's love that can fill the heart: Rom. 5.5

C. The One who brings this light into our lives is Jesus because He is the light of the world: Jn. 8.12

II. Stanza 2 says that God causes music in our souls

"There's music in my soul today, A carol to my King,

And Jesus, listening, can hear The songs I cannot sing."

A. This music is an expression of the joy and gladness that is in our hearts: Jas. 5.13

B. Jesus listens to and hears such songs because they are being sung unto the Lord: Col. 3.17

C. However, even when our voices may not be able to express what is in our hearts, Jesus can still hear because He knows what is in us: Jn. 2.24-25

III. Stanza 3 says that God causes springtime in our souls

"There's springtime in my soul today, For when the Lord is near,

The dove of peace sings in my heart, The flowers of grace appear."

A. Springtime, referred to in the Bible as seedtime, is a time of renewal and growth: Gen. 8.22

B. Thus, it is used in the song as a symbol of spiritual renewal and growth with peace and joy; the dove has been associated with peace ever since the time of Noah: Gen. 8.8-12

C. Just as flowers are sources of beauty and enjoyment, so God's grace is a source of spiritual beauty and enjoyment to our souls: Acts 20.32

IV. Stanza 4 says that God causes gladness in our souls
"There's gladness in my soul today, And hope and praise and love,

For blessing which He gives me now, For joys laid up above."

A. Whatever true gladness can accompany our lives, God is the ultimate source of it because He gives us hope and praise and love: Ps. 4.7

B. We can be glad for the blessings which He gives us here, not only the material blessings of life but the spiritual blessings in Christ: Eph. 1.3

C. And beyond this, we can be glad for the joys that He has laid up for us above in heaven: Col. 1.5

CONCL.: The chorus continues to express the peace and joy that the light of Christ brings:
"O there's sunshine, blessed sunshine, While the peaceful, happy moments roll;

When Jesus shows His smiling face, There is sunshine in my soul."

There is much in this life to bring sadness and sorrow, but as long as I allow Jesus Christ to be in control of my heart, I can truly say that there is "Sunshine in My Soul."

"SWEETLY RESTING"

"These things have I spoken unto you, that in Me ye might have peace" (Jn. 16.33)

INTRO.: A hymn that expresses where we can find the peace that Jesus talked about in the things that He has spoken unto us is "Sweetly Resting." The text was written by Mary Dagworthy Yard James (1810-1883). Born in Trenton, NJ, she joined the Methodist Church at age 10, married in 1834, and had a son who became a minister. Another of her hymns which has appeared in some of our books begins "All for Jesus, all for Jesus, All my being's ransomed powers," written in 1871. The tune (Rifted Rock) was composed by William Warren Bentley (19th century). I have been unable to locate any information on the composer. The copyright to the song was once owned by the Evangelical Publishing Co. of Chicago, IL, but I have never been able to find a date for it, other than that it was obviously produced in the 19th century. The only book published for use among churches of Christ where I have seen the song is the 1935 "Christian Hymns" No. 1.

An interesting usage has been made of this melody. Several years ago Canadian composer Victor Davies was asked to provide a background score for a documentary film about the Mennonites in western Canada. He used several hymns from the Mennonite hymnal in producing that score, and from it he then fashioned his Piano Concerto #1, which he subtitled "Mennonite." The second movement is a theme and variations which uses the tune "Rifted Rock" for the theme. I have several Mennonite hymnbooks and this song is in almost every one of them.

The song describes the blessings that we have by abiding in the "Rifted Rock."

I. Stanza one says that we can have safety

"In the rifted Rock I'm resting, Safely sheltered, I abide;

There no foes nor storms molest me While within the cleft I hide."

A. Jesus Christ is the Rock in which we can abide: 1 Cor. 10.4

B. When we are safely sheltered in Him, no foes nor storms can molest: Ps. 27.2, 55.8

C. The cleft refers to the place in the Rock that is hollowed out in which we can find protection: Exo. 33.22

II. Stanza two says that we can have rest

"Long pursued by sin and Satan, Weary, sad, I longed for rest;

Then I found this heavenly shelter, Opened in my Savior's breast."

A. In this life we are pursued by sin and Satan: 1 Pet. 5.8

B. This causes us to become weary and long for rest: Ps. 6.6, 63.1

C. And we can find this rest when we come to Jesus who is the Rock that provides heavenly shelter: Matt. 11.28-30

III. Stanza three says that we can have love

"Peace, which passeth understanding, Joy, the world can never give,

Now in Jesus I am finding; In His smiles of love I live."

A. In the rock we can have God's peace which passes all understanding: Phil. 4.6-7

B. In the rock we can also have joy that the world can never give: Phil. 4.4

C. And in the rock we have the love of God to smile upon us: Rom. 8.39

IV. Stanza four says that we can have security

"In the rifted Rock I'll hide me, Till the storms of life are past,

All secure in this blest refuge, Heeding not the fiercest blast."

A. Because of the blessings that we can have in Christ, we should allow God to hide us in His pavilion of safety: Ps. 27.5

B. And we should remain there until the storms of life are past: Rev. 2.10

C. As long as we remain in this refuge, we can have security: Jn. 10.27-29

CONCL.: The chorus identifies Christ as the "Rifted Rock" in which we can rest:

"Now I'm resting, sweetly resting, In the cleft once made for me;

Jesus, blessed Rock of Ages, I will hide myself in Thee."

I would assume that very few brethren are familiar with this hymn. I myself do not think that I have ever sung it in a worship service or even heard it sung. But I have seen it from time to time in my research, read over it, sung it to myself, and remember the sweetness of the melody from listening to Davies's Piano Concerto. This is a very beautiful song with a wonderful message of comfort and encouragement. Many religious songs from the past have not remained in popular usage because they did not have the qualities that stand the test of time. However, others have continued to be used and some that have meant much to people in years gone by deserve to rediscovered because of their universal appeal. I believe that this is one of them. Certainly, there is a place for the writing and singing of new songs. But there are still many "old songs" that are worthy of our usage. In times of stress and difficulty, we need to be reminded of the blessings that we can have if in the Rifted Rock we are "Sweetly Resting."

"TELL IT TO JESUS ALONE"

"...And [they] went and told Jesus" (Matt. 14.12)

INTRO.: A song which mentions telling things to Jesus as our Mediator is "Tell It To Jesus Alone" (#240 in "Sacred Selections for the Church"). The original text was written in German and the the tune (Dayton) was composed both by Edmund Simon Lorenz (1854-1942). Lorenz was born in North Lawrence, a small village near Canton in Stark County, OH, and studied music at Otterbein University in Westerville, OH, at Yale, and in Europe. Eventually, he settled in Dayton, OH, where he remained for the rest of his life, and founded the Lorenz Publishing Company, for which he wrote several books and composed a number of sacred works, including some well known gospel songs such as "Thou Thinkest, Lord, of Me" and "Wonderful Love of Jesus." "Tell It To Jesus Alone" was first published in a German hymnbook edited by Lorenz for the United Brethren.

The English translation was made by Jeremiah Eames Rankin, who is sometimes listed as the author and was born at Thornton, NH, on Jan. 2., 1828. Following his education at Middlebury College in 1848, he taught in New London, CT, and Warren County, KY, from 1848 to 1850 then returned to Middlebury as a tutor for a couple of years. After he graduated from Andover Theological Seminary, he married Mary H. Birge in 1854 and became a Congregational minister in 1855, serving churches in Potsdam, NY; St. Albans, VT; Lowell and Charleston, MA; Washington, DC; and Orange, NJ, before becoming President of Howard University in Washington, where he remained for the rest of his life.

A poet who was in the habit of closing his sermons with an original poem, Rankin compiled and edited a number of songbooks, including "The Gospel Temperance Hymnal" in 1878, "Gospel Bells" in 1883, and "German-English Lyrics, Sacred and Secular" in 1897, as well as two volumes of poetry. His most famous hymn undoubtedly is the well known closing song, "God Be With You Till We Meet Again." This translation of Lorenz's "Tell It To Jesus Alone" first appeared in the 1879 Sunday school songbook "Songs of Grace" edited by Lorenz. After retiring from the Presidency of Howard in 1903, Rankin was visiting in Cleveland, OH, at the time of his death on Nov. 28, 1904.

The song suggests four things that we can and should tell Jesus.

I. The first stanza mentions griefs

"Are you weary, are you heavy hearted? Tell it to Jesus, tell it to Jesus;

Are you grieving over joys departed? Tell it to Jesus alone."

A. Certainly this life is full of griefs that make us weary and heavy hearted: Matt. 11.28-30

B. When we experience grief of any kind, we can turn to the God of comfort: 2 Cor. 1.3-5

C. One means that He has given to help us is the example of Christ: 1 Pet. 2.19-23

II. The second stanza mentions sins

"Do the tears flow down your cheeks unbidden? Tell it to Jesus, tell it to Jesus;

Have you sins that to men's eyes are hidden? Tell it to Jesus alone."

A. There are many reasons for tears, but one reason is mourning and sorrow for sin: Matt. 5.4, 2 Cor. 7.10

B. When we have any sin in our lives, we can look to Christ for forgiveness because His blood is shed for remission of sins: Mattt. 26.28

C. Of course, we must be willing to meet His conditions to receive this forgiveness, and for the Christian who sins that includes confession: 1 Jn. 1.7

III. The third stanza mentions anxieties

"Do you fear the gathering clouds of sorrow? Tell it to Jesus, tell it to Jesus;

Are you anxious what shall be tomorrow? Tell it to Jesus alone."

A. There are many things in life, especially as we look towards the future, which might cause fear, but in Christ we have nothing to fear: Matt. 10.28, Heb. 13.5-6

B. The reason is that whenever we experience situations that might cause anxiety, including what may be tomorrow, we can go to Christ who teaches not to be anxious: Matt. 6.25-33

C. As long as we strive to maintain a right relationship with the Lord so that we can let all our requests be made known to Him in prayer, we can have peace: Phil. 4.6-7

IV. The fourth stanza mentions death

"Are you troubled at the thought of dying? Tell it to Jesus, tell it to Jesus;

For Christ's coming daily are you sighing? Tell it to Jesus alone."

A. When we face the prospect of death, we can call on God for guidance: Ps. 23.4

B. With His promise, we can have the attitude of Paul toward death: 2 Tim. 4.6-8

C. The original read, "For Christ's coming kingdom are you sighing?" This could be understood to refer to the eternal kingdom of Christ into which we shall be granted an entrance in the after a while: 2 Pet. 1.11. However, we usually use the word "kingdom" to refer to the church, which has already been established. Thus, some of our books have changed this to "For Christ's spreading kingdom are you sighing?" but since the stanza has already mentioned death, it is best to make it relate to` Christ's coming at the end of time, which will follow death for most of us: 2 Pet. 3.10-13

CONCL.: The chorus reminds us that whatever problems or difficulties we face in life, we can

"Tell it to Jesus, tell it to Jesus, He is a Friend that's well known.
You have no other such a friend or brother; Tell it to Jesus alone."

If one understands the Bible, he will realize that prayer is one of the spiritual blessings which are available for those who are in Christ. And it is one for which we as Christians should be thankful, that because He is our Advocate who will bear all our problems and needs to the Heavenly Father, we can "Tell It To Jesus Alone."

"THE CALL FOR REAPERS"

"I sent you to reap..." (Jn. 4.38)

INTRO.: A song which encourages us to be reapers in the Lord's harvest is "The Call For Reapers" (or "Far and Near," #387 in "Hymns for Worship Revised" and #108 in "Sacred Selections for the Church"). The text is usually identified as having been written by J. O. Thompson. Early research suggested that a John O. Thompson, who lived from 1782 to 1818, may have been the author, although this would mean that he must have produced the words long before the hymn was first published in 1885. However, later research has determined that the the author was James Oren Thompson, who was born on June 9, 1834, in Waldo, ME. During the American Civil War, he served in Maine's 17th Infantry Regiment, rising from second lieutenant to captain.

Thompson's service record indicates that he was a minister upon entering the army, and after the war he joined the Methodist Episcopal Maine Conference in 1866. From there, he transferred to the Providence, RI, Conference, later renamed the the New England Southern Conference, and retired in 1886, when he moved to Keyser, WV, and edited "The Mountain Echo." Afterwards, he went to Charleston, WV, and worked as secretary to the Board of Agriculture. In 1905, he moved to St. Petersburg, FL, where he served as minister of the First Ave. Methodist Church and died on Sept. 28, 1917.

The tune (Clemm or Harvesttime) was composed by James Bowman Overton Clem (1855-1927). The son of William D. T. Clem of Keyser, WV, nephew of Methodist Episcopal bishop Thomas Bowman, and cousin to Virginia Clem, wife of writer Edgar Allan Poe, he spent most of his life in Keyser. The first known appearance of the song was in John H. Vincent's "The Epworth Hymnal Containing Standard Hymns," published in 1885 at New York City, NY, by Phillps and Hunt. Among songbooks published by members of the Lord's church, it seems to have first appeared in 1888 in "Standard Church Hymns" compiled by Christopher Columbus Cline (1848-1920). The copyright was renewed in 1913 by the Methodist Book Concern, but later, at least by 1923, it was owned by Eaton and Main.

The song suggests that we ask the Lord to send forth reapers into His harvest.

I. Stanza 1 says that we need reapers because the fields are teeming

"Far and near the fields are teeming With the waves of ripened grain;

Far and near their gold is gleaming O'er the sunny slope and plain."

A. In the parable of the tares, Jesus used the field to represent the world: Matt. 13.36-38

B. The waves of ripened grain would then represent souls that need to be saved: Acts 18.9-10

C. Thus, the reapers should go far and near, over slope and plain, into all the world: Mk. 16.15-16

II. Stanza 2 says that we need reapers because there is work for morning, noon, and night

"Send them forth with morn's first beaming, Send them in the noontide's glare;

When the sun's last rays are gleaming, Bid them gather everywhere."

A. Jesus' parable of the workers in the vineyard indicates that He wants His laborers to work for Him at all times in their lives: Matt. 20.1-7

B. The work of these laborers is to gather in the harvest: Lk. 10.2

C. This gathering should be made everywhere there are lost souls: Lk. 14.21

III. Stanza 3 says that we need reapers because there are sheaves to be gathered

"O thou, whom thy Lord is sending, Gather now the sheaves of gold;

Heavenward then at evening wending, Thou shalt come with joy untold."

A. The Lord wants to send people to do His work: Isa. 6.8

B. Some workers plant, some water, and others gather the increase that God gives: 1 Cor. 3.6-8

C. The Lord has promised that those who continually sow the seed in tears shall reap in joy and bring in the sheaves with them: Ps. 126.5-6

CONCL.: The choorus emphasizes the need continually to pray for reapers:
"Lord of harvest, send forth reapers! Hear us, Lord, to Thee we cry;

Send them now the sheaves to gather, Ere the harvest-time pass by."

As we ask the Lord to send reapers, let us remember that it may well be that He wishes to use us in this great work. Therefore, we should do everything we can to see that the seed is sown and the harvest gathered as we hear and respond to "The Call For Reapers."

"THE GARDEN OF PRAYER"

"The Lord hath heard my supplication: the Lord will receive my prayer" (Psa. 6.9)

INTRO.: A song which encourages us to pray to the Lord so that He will hear our supplication and receive our prayer by likening prayer to being in a beautiful garden is "The Garden Of Prayer" (#79 in "Hymns for Worship Revised" and #25 in "Sacred Selections for the Church"). The text was written by Eleanor Allen Schroll (1878-1966). Despite much searching, I have not been able to find out any specific information about her. The tune was composed by James Henry Fillmore (1849-1936). Fillmore was a well-known music publisher among churches of Christ and Christian Churches in the late nineteenth and early twentieth century.

The song was originally copyrighted and first published in 1920 by the Fillmore Brothers Company of Cincinnati, OH, but when the copyright was renewed, it was owned by the Lillenas Publishing Company which is a division of the Nazarene Publishing House. Among churches of Christ in the twentieth century, the song was included in the 1937 "Great Songs of the Church No. 2" (#263) edited by E. L. Jorgenson, and has been found in most other hymnbooks published by brethren ever since. As a result, it has been quite popular.

The song mentions several benefits of prayer.

I. In stanza one, prayer is communion with God

"There's a garden where Jesus is waiting, There's a place that is wondrously fair;

For it glows with the light of His presence, 'Tis the beautiful garden of prayer."

A. Prayer is an opportunity for us to call upon God as "Our Father, who is in heaven": Matt. 6.9

B. This communion with God in prayer is identified poetically as a place that is wondrously fair, like a garden, such as the garden of Eden where Adam and Eve had communion with God: Gen. 2.15-17

C. And the reason that prayer is like such a garden is because it glows with the light of His presence; in prayer, we spiritually come into the very presence of God Himself: Heb. 4.14-16

II. In stanza two, prayer is communication with God

"There's a garden where Jesus is waiting, And I go wtih my burden and care,

Just to learn from His lips words of comfort, In the beautiful garden of prayer."

A. In prayer, we bow our knees to the Father and talk to Him, as Paul often did: Eph. 3.14-16

B. When we thus talk with Him, we can go with our burden and care: 1 Pet. 5:7

C. While God does not speak directly to us in prayer, as some seem to think, it is possible that, because our minds are focusing on Him when we are taking our burdens and cares to Him, some portion of His word that we have previously studied and learned may now come to the forefront of our mind to help us with those specific problems, and we know that God always speaks to us through His word: 2 Tim. 3.16-17

III. In stanza three, prayer is closeness with God

"There's a garden where Jesus is waiting--O can aught with His glory compare?

Just to walk and to talk with my Savior, In the beautiful garden of prayer."

A. Prayer is most certainly one of those things that will help us draw near to God that He might draw near to us: Jas. 4.8

B. While we do not physically see God's glory in prayer, as Moses did on the mount, yet prayer helps us to develop a sense of His glory, the same glory that Moses did see--cf.: Exo. 33.18-23, 34.29-35

C. And this glory comes from walking and talking with the Savior; again, this is not literal, but we walk and talk with Jesus when we follow in His steps and obey His will: 1 Pet. 2.21-22, 1 Jn. 1.7

IV. In stanza four, prayer is comfort from God

"There's a garden where Jesus is waiting, And He bids you to come meet Him there,

Just to bow, and receive a new blessing, In the beautiful garden of prayer."

A. In prayer, we can gain the peace that passes all understanding: Phil. 4.6-7

B. That is why Jesus bids us to come and meet with Him there: Matt. 7.7-8; we meet with Him in the sense that He is our Mediator, High Priest, and Advocate: 1 Tim. 2.5, Heb. 8.1, 1 Jn. 2.1

C. Therefore, when we truly bow before Him in humble submission to His will, we can receive His blessings, because all spiritual blessings in heavenly places are found in Christ: Eph. 1.3

CONCL.: The chorus says that Jesus opened the gates to the beautiful garden of prayer.

"O the beautiful garden, the garden of prayer, O the beautiful garden of prayer;

There my Savior awaits, and He opens the gates To the beautiful garden of prayer."

This He did by His death on the cross which makes possible our access to God (Rom. 5.1-2, Eph. 2.14-18). It should be obvious to almost anyone that figurative language is used throughout the song to help us appreciate better the benefits that are available to us in prayer. Thus, we should seek to go as often as we possibly can to "The Garden Of Prayer."

"THE SANDS OF TIME ARE SINKING"

"And that, knowing the time...the day is at hand" (Rom. 13:11-12)

INTRO.: A hymn which reminds us that time is quickly passing and the day of eternity is drawing nearer is "The Sands of Time" (#234 in Hymns for Worship Revised). The text was written by Mrs. Anne (Annie) Ross Cundell Cousin, who was born at Hull in Yorkshire, England, on Apr. 27, 1824. The only daughter of David Ross Cundell, a physician of Leith, England, she was reared in the Church of England but later became a Presbyterian. Her husband, William Cousin of Melrose, Scotland, was a minister of the Scottish Free Church. Becoming a gifted nineteenth-century writer of many hymns and poems of great beauty, she contributed poems to various periodicals and her hymns were included in several Presbyterian hymnbooks. "The Sands of Time" is based on phrases found inthe letters of the famous seventeenth-century Scottish Covenanter preacher Samuel Rutherford (1600-1661).

Rutherford received a master's degree from the College of Edinburgh in 1621 and was shortly thereafter appointed its professor of humanities. Also he became minister of the church at Anworth in Galloway, Scotland. However, after nine years of forceful preaching, his opposition to the state Church of Scotland cause his banishment to Aberdeen. Permitted to live in his own hired house, he was still forbidden to preach. During these years, he wrote 220 letters to the church at Anworth and other non-conformist leaders in Scotland. His exlie ended in 1638, but he was arrested again in 1660 and at his death shortly afterwards his last words were, "Glory, glory dwelleth in Immanuel's Land." Nearly 200 years later, Mrs. Cousin became interested in his letters and, having read them, is said to have authored the lines of this hymn as she sewed in her home at Irvine, Scotland, where her husband was minister.

Mrs. Cousin's poem was first published in The Christian Treasury in 1857. The tune (Rutherford) is based on a melody by the French violinist and composer Chretian (Christian) D'Urhan (1790-1845). It was composed in the early 1800's and is found in his Chants Chretian of 1834. The arrangement as a hymn tune was made by the well-known English organist and musicologist Edward Francis Rimbault (1816-1876). It was first published in the 1867 Psalms and Hymns for Divine Worship. Rimbault's most famous melody is that used for "O Happy Day." "The Sands of Time" was sung at the bedside of the dying English Baptist preacher Charles Haddon Spurgeon (1834-1892). It was also a favorite of the American revival preacher Dwight Lyman Moody (1837-1899). Mrs. Cousin died at Edinburgh, Scotland, on Dec. 6, 1906.

This hymn describes the glory of Immanuel's land, especially in contrast to the trials and tribulations of this life.

I. In stanza 1, we learn that htis glory involves the waking of a new morning.

"The sands of time are sinking, The dawn of heaven breaks; The summer morn I've sighed for, The fair, sweet morn awakes.

Dark, dark hath been the midnight, But dayspring is at hand, And glory, glory dwelleth In Immanuel's land."

A. The phrase, "The sands of time are sinking," is a poetic way of referring to the fact that our lives are rapidly passing on, even as a vapor: Jas. 4.13-14

B. When the dawn of heaven breaks, the righteous will awake in heaven and see the face of God: Ps. 17.15

C. However, before we can experience this glory, we must pass through the dark midnight symbolizing death: Heb. 9.27

II. In stanza 2, we learn that this glory involves drinking from Christ's well's above

"O Christ, He is the Fountain, The deep, sweet Well of love; The streams on earth I've tasted, More deep I'll drink above.

There to an ocean fullness His mercy doth expand, And glory, glory dwelleth In Immanuel's land."

A. Jesus Christ is the fountain that was opened to wash sin away: Zech. 13.1

B. This makes it possible for us to drink from the pure water of the river of life in heaven: Rev. 22.1-2

C. Thus, knowing the love of Christ and being filled with all the fullness of God here are a foretaste of the eternal fountain above: Eph. 3.19

III. In stanza 3, we learn that this glory involves being the bride of christ

"The bride eyes not her garment But her dear Bridegroom's face; I will not gaze at glory But on my King of grace,

Nor at the crown He giveth, But on His pierced hand: The Lamb is all the glory Of Immanuel's land."

A. The church is the bride and Christ is the Bridegroom: Jn. 3.29, Eph. 5.22-27

B. When Jesus returns as the Bridegroom, He will take His bride away to her eternal home: Matt. 25.6

C. The point is that what the bride truly loves is not her garment, her glory, or even her crown, but her Bridegroom to whom she is being married because it is His sacrifice that made it all possible: Rev. 19.7-8

IV. In stanza 4, we learn that this glory involves following the guidance of Christ

"I've wrestled on towards heaven, 'Gainst storm, and wind, and tide; Now, like a weary traveler, That leaneth on his guide,

Amid the shades of evening, While sinks life's lingering sand, I hail the glory dawning In Immanuel's land."

A. Storm, wind, and tide symbolize the trials and tribulations of life: Acts 14.22

B. Yet, through all of those things, our God has promised to guide us: Ps. 32.1

C. Therefore, we can hail the glory that will dawn in Immanuel's land as we approach the coming night when no man can work: Jn. 9.4

V. In stanza 5, we learn that this glory involves blessing Christ for His guidance

"With mercy and with judgment My web of time He wove, And aye the dews of sorrow Were brightened by His love;

I'll bless the hand that guided, I'll bless the heart that planned, When throned where glory dwelleth In Immanuel's land."

A. Because He is the Creator and Sustainer of the universe, Christ has woven our web of time with both mercy and judgment: Rom. 11.22, Jas. 2.12-13

B. Yet, no matter what happens to us in this life, including sorrow, we can be brightened by His love: Rom. 8.31-39

C. Even as we honor the Son now, so shall we honor Him forever in that heavenly land: Jn. 5.23

VI. In stanza 6, we learn that this glory involves standing with the Lamb on Mt. Zion

"The King there in His beauty Without a veil is seen; It were a well-spent journey, Though seven deaths lay between.

The Lamb with His fair army Doth on Mount Zion stand, And glory, glory dwelleth In Immanuel's land."

A. "Without a veil" suggests that we shall see Him as He is, face to face: 1 Jn. 3.1-2

B. Several have questioned the statement, "Though seven deaths lay between." Great Songs Revised has the footnote, "i.e., the greatest of perils." Others have explained it as being severely tested many times. I understand the word "death" here to refer to a dangerous situation which could produce death. This appears to be how the word is used in Ps. 23.4 and 2 Cor. 11.23. The number seven is often identified as a symbol of that which is perfect or full. Hence, it seems to me that the verse is simply saying that for the righteous, the journey that will ultimately take us from earth to heaven will be a well-spent one, even though it was full of dangerous situations that could have resulted in death.

C. The point is that the victorious saints, symbolized by the number 144,000, are pictured as standing with the Lamb on Mt. Zion, having the Father's name written on their foreheads: Rev. 14.1

VII. In stanza 7, we learn that this glory involves being Christ's beloved

"O, I am my Beloved's, and my Beloved's mine! He brings a poor, vile sinner Into His 'house of wine.'

I stand upon His merit--I know no other stand, Not e'en where glory dwelleth In Immanuel's land."

A. The poet uses the language of the Shunemite lass regarding her shepherd fiance to symbolize the relationship of the Christian to Christ: Song of S. 2.16

B. The "house of wine" simply symbolizes a place of great joy: Ps. 4.7

C. Because it is only our Beloved who can bring us into this wonderful state, we stand upon His merit, both now and in eternity: Rom. 5.1-2

CONCL.: Concerning the phrase, "seven deaths," Pat Farish offered a slightly different, but equally plausible, explanation. "The words of the song, 'The Sands of Time,' are wonderfully to the point. The author, describing the trek from earth to heaven, says, 'It were a well-spent journey, tho' sev'n death lay between....' As far as physical termination is concerned, '...it is appointed unto men once to die' (Hebrews 9:27), and we are pleased it is no more than 'once.' We do not usually view physical death with desire or delight, being occasioned as it often is by illness or injury, and always involving separation from loved ones; but the thrus tof the song is, if we had to die SEVEN times, enroute to heaven, 'It were a well-spent journey'!" (With All Boldness; January, 1993; Vol. 3, No. 1; p. 3). This certainly is a good thought to keep in mind as we walk "The Sands of Time."

"THERE'LL BE NO SORROW THERE"
"...Neither sorrow, nor crying..." (Rev. 21.4)

INTRO.: A song which focuses attention on the fact that there will be neither sorrow nor crying in heaven is "There'll Be No Sorrow There." The text was written by Mary Stanley Bunce Palmer Dana Shindler (1810-1883). She married Charles W. Dana in 1835, but he died in 1840 and she married Robert D. Shindler in 1851. During her life she published some six volumes of poetry. Cyberhymnal lists nine hymns attributed to her, including "Flee as a Bird" and "I'm a Pilgrim," both of which have appeared in some of our hymnbooks. She is also sometimes erroneously credited with "Prince of Peace, Control My Will." I have been unable to find a date or origin of publication for "There'll Be No Sorrow There."

The tune was composed by Charles R. Dunbar. No further information is available about him, except that he also produced the melody for Ralph E. Hudson's "I'll Live for Him" in 1882. The only hymnbook published by members of the Lord's church in the twentieth century for use among churches of Christ in which I have found any form of "There'll Be No Sorrow There" is the 1927 book The Cross and Resurrection In Song, Revised and Enlarged, edited by S. H. and Flavil Hall and published by F. L. Rowe of Cincinnati, OH, where the tune and chorus are used with the first three stanzas from an arrangement of a hymn by Anne B. Steele, with words as follows:

1. "Far from the scenes of night Unbounded glories rise,

And realms of infinite delight Unknown to mortal eyes."

2. Fair land! could mortal eyes But half its charms explore,

How would our spirits long to rise, And dwell on earth no more!"

3. "No cloud those regions know, Realms ever bright and fair,

For sin, the source of every woe, Can never enter there."

4. "O may the prospect fire Our hearts with ardent love,

Till wings of faith and strong desire Bear every thought above."

5. "Prepare us, Lord divine, For Thy bright courts on high;

Then bid our spirits rise, and join The chorus of the sky."

The song points our minds to the joys of heaven to comfort us in death.

I. Stanza 1 says that the song of heaven is one of ecstasy

"Oh, sing to me of heaven When I am called to die;

Sing songs of holy ecstasy To waft my soul on high."

A. Unless the Lord comes first, someday we shall all be called to die: Heb. 9.27

B. The word "ecstasy" means "a feeling of overpowering joy; rapture." The music often played at a lot of funerals is, to me, positively morbid and depressing. While we might want to avoid such rousing songs as "The Fight Is On," there is nothing wrong with singing songs of joy and rapture at the funerals of faithful Christians because we sorrow not as those without hope: 1 Thess. 5.13

C. Such songs are pictured as wafting the soul on high as it is born by angels to Abraham's bosom: Lk. 16.22

II. Stanza 2 says that the song of heaven is one of joyfulness

"When cold and sluggish drops Roll off my marble brow,

Break forth in songs of joyfulness; Let heaven begin below."

A. Death is described as a time when cold and sluggish drops roll off the brow; quite often as one grows older and death approaches, it is almost impossible to get warm: 1 Ki. 1.1

B. While death is a time of sorrow for those left behind, if the dying one has citizenship in heaven and is waiting for the Savior, it is also a time that we can "rejoice in the Lord": Phil. 3.20-21, 4.4

C. This is because the hope of heaven is something that begins below: 1 Pet. 1.3-5

III. Stanza 3 says that the song of heaven is one of brightness

"When the last moments come, Oh, watch my dying face,

To catch the bright seraphic gleam, Which on each feature plays."

A. Again, the last moments will come to each one of us in death: Eccl. 12.6-7

B. While having a "peaceful hour in which to die" does not prove that one is a Christian, the fact is that those who are faithful Christians should have a "bright seraphic gleam" because they are going to be with Christ: Phil. 1.21-23

C. This is why the death of the saints is precious unto the Lord: Ps. 116.15

IV. Stanza 4 says that the song of heaven is one of cheer

"Then to my raptured ear Let one sweet song be given;

Let music cheer me last on earth, And greet me first in heaven."

A. Because, as noted earlier, death can be a time of joy for the Christian, it is fitting that there be singing: Jas. 5.13

B. Not knowing whether it would be their last day on earth or not, Paul and Silas found comfort in singing when in the jail at Philippi: Acts 16.25

C. The book of Revelation definitely reveals that there is singing by the saints in the heavenly places: Rev. 5.8-10

V. Stanza 5 says that the song of heaven is one of home

"Then round my senseless clay Assemble those I love,

And sing of heaven, delightful heaven, My glorious home above."

A. Physically, we are made of clay and at death we shall return to the dust from whence we came: Gen. 2.7, 3.19

B. Yet, even in death we can "sing of heaven, delightful heaven": Matt. 8.11

C. Why? Because it is our glorious home above, that for which we hope: Col. 1.3-5

CONCL.: The chorus explains why the dying saint would want those around him to sing of heaven.

"There'll be no sorrow there, There'll be no sorrow there,

In heaven above where all is love, There'll be no sorrow there."

Cyberhymnal uses a hymn by Lewis Hartsough with this same melody and chorus.

1. "I love to sing of heaven, Where white robed angels are;

Where many a friend is gathered safe From fear, and toil, and care."

2. "I love to think of heaven, Where my Redeemer reigns;

Where rapturous songs of triumph rise, In endless, joyous strains."

3. "I love to think (speak?) of heaven, That promised land so fair;

Oh, how my raptured spirit longs To be forever there."

There are many reasons that God has revealed in His word as to why we should want to hope for heaven--He is there, His Son who died to save us is there, and the redeemed of all ages will be there. Still another reason is that "There'll Be No Sorrow There."

"THERE'S A FOUNTAIN FREE"

"For the Lamb which is in the midst of the throne...shall lead them unto living fountains of waters" (Rev. 7.17)

INTRO.: A song which talks about the living fountains of waters to which the Lamb shall lead us is "There's A Fountain Free" or "Free Waters" (#287 in "Hymns for Worship Revised" and #593 in "Sacred Selections for the Church"). The text was written by Mrs. Mary Bridges Canedy Slade (1826-1882). The tune was composed by Asa Brooks Everett (1828-1875). The song was first published in 1876, though it must have been produced before that time because Everett died the prior year, and was copyrighted by Rigdon McCoy McIntosh.

It has appeared in most hymnbooks published by members of the Lord's church for use among churches of Christ going back to those of Tillit S. Teddlie as well as those from the Gospel Advocate and from the Firm Foundation. Mrs. Slade and Mr. Brooks collaborated in many songs which appear in our books, the most famous of which is "Footprints of Jesus," including "Beyond This Land of Parting," "Hark! The Gentle Voice of Jesus," and "Who At My Door Is Standing?" It has been affirmed that Everett was a member of the Church of Christ, but I have not been able to confirm this.

The song invites the sinner to come that he might receive the blessings of the fountain.

I. Stanza one calls us to the fountain free

"There's a fountain free, 'tis for you and me, Let us haste, O haste tothe (its) brink;

'Tis a fount of love from the source above, And He bids us all freely drink."

A. It was prophesied that a fountain would be opened for sin: Zech. 13.1

B. It is for you and me because the gospel is to be preached to every creature: Mk. 16.15

C. Therefore, we should hast because He bids us all freely drink: Rev. 22.17

II. Stanza two calls us to the living stream

"There's a living stream with a crystal gleam, From the throne of life now it flows;

While the waters roll let the weary soul Hear the call that forth freely goes."

A. The fountain is pictured as flowing from a living stream that in turn comes from the throne of life in heaven: Rev. 22.1-2

B. These waters roll for the benefit of the weary soul: Jn. 7.37-38

C. However, to partake of them we must hear the call that forth freely goes to come to Christ: Mt. 11.28-30

III. Stanza three calls us to the living well

"There's a living well and its waters swell, And eternal life they can give;

And we joyful sing, ever spring, O spring, As we haste to drink and to live."

A. These waters, flowing into the fountain from the living stream which comes from the throne are then pictured as being contained in a well, a sight that was very common in Bible days: Gen. 26.15

B. In contrast to the physical water contained in such well, this well has waters which can give eternal life: Jn. 4.1-14

C. When we understand this, we will be joyful and will haste to drink that we might live: Isa. 12.3

IV. Stanza four calls us to the rock that's cleft

"There's a rock that's cleft and no soul is left That may not its pure waters share;

'Tis for you and me, and its stream I sea; Let us hasten joyfully there."

A. The means by which these waters in the well come to us are through a rock that is cleft, as God provided water in the wilderness for the people of Israel: Exo. 17.1-7

B. This same rock is available for you and me, because that rock was Christ: 1 Cor. 10.4

C. Thus, we should hasten joyfully to Him: 2 Cor. 6.2

CONCL.: The chorus continues to admonish the sinner to come and receive the blessings of this great fountain:

"Will you come to the fountain free? Will you come, 'tis for you and me?

Thirsty soul, hear the welcome call; 'Tis a fountain open for all."

Those who are lost in sin are like those who carry a great burden in the hot desert and need to be refreshed. And God has provided that refreshment in Christ because in Him "There's A Fountain Free."

"THERE'S A GREAT DAY COMING"

"For we must all appear before the judgment seat of Christ..." (2 Cor. 5.10)

INTRO.: A hymn which talks about that time when every one of us shall give account of himself to God is "There's A Great Day Coming" (#284 in "Hymns for Worship Revised" and #336 in "Sacred Selections for the Church"). The text was written and the tune (Great Day) was composed both by Will Lamartine Thompson (1847-1909). Born in East Liverpool, OH, and educated at Mt. Union College in nearby Alliance, OH, Thompson began his career writing secular and patriotic songs. His "Gathering Sea Shells by the Seashore," penned when he was 26, swept the nation from shore to shore and gathered a fortune for the youthful composer. However, at age 40, he turned his attention to writing sacred songs, and his firm, Will L. Thompson & Co., with offices in East Liverpool and in Chicago, IL, became quite successful.

"There's a Great Day Coming" was published in 1887, and the copyright later belonged to Hope Publishing Co. Three of Thompson's other hymns have also remained quite popular: "Lead Me Gently Home, Father," "Jesus Is All The World To Me," and "Softly And Tenderly." Among songbooks published for use by churches of Christ in the 20th century, "There's A Great Day Coming" was used in all three of the "Christian Hymns" series edited by L. O. Sanderson and published by the Gospel Advocate, as well as "Abiding Hymns" edited by Robert C. Welch and "Christian Hymnal" edited by J. Nelson Slater. Today, in addition to "Hymns for Worship" and "Sacred Selections," it can be found in Alton Howard's "Songs of the Church" and "Songs of the Church 21st C. Ed." and V. E. Howard's "Church Gospel Songs and Hymns," as well as "Praise for the Lord" edited by John P. Wiegand.

This song encourages us to be prepared for the coming of Christ and judgment.

I. Stanza one calls it a "great" day

"There's a great day coming, a great day coming, There's a great day coming by and by,

When the saint and the sinner shall be parted right and left; Are you ready for that day to come?"

A. It will be great because it will be a day of judgment: Jude v. 6

B. Saints and sinners will appear there because every one of us shall give account of Himself to God: Rom. 14.12

C. However, the saints and sinners shall be separated: Matt. 25.31-32

II. Stanza two calls it a "bright" day

"There's a bright day coming, a bright day coming, There's a bright day coming by and by.

But its brightness shall only come to them that love the Lord; Are you ready for that day to come?"

A. It will be bright because the saints will be granted eternal life with God: Mk. 10. 30

B. However, its brightness will not come to everyone because many choose to enter the broad gate and travel the wide way to everlasting destruction: Matt. 7.13-14

C. Rather, its brightness will come only to those who truly love the Lord: 2 Tim. 4.6-8

III. Stanza three calls it a "sad" day

"There's a sad day coming, a sad day coming, There's a sad day coming by and by,

When the sinner shall hear his doom, 'Depart, I know ye not;' Are you ready for that day to come?"

A. It will be sad because it will bring everlasting punishment to those who do not know God and who do not obey His gospel: 2 Thes. 1.7-9

B. On that day, the sinner will hear his doom: Matt. 7.21-23

C. All those who are not right with God will be told to depart into everlasting fire: Matt. 25.41, 46

CONCL.: The chorus asks us if we are ready for that great day (Heb. 9.27).

"Are you ready, are you ready, Are you ready for that day to come?

Are you ready, are you ready, For the judgment day?"

In "Hymns and History," Forrest M. McCann says, "According to Kenneth Hanson, Thompson's religious roots were in the Stone-Campbell Movement." That is certainly possible, but the evidence seems to indicate that whatever the religious background of his family, Will L. Thompson himself was in all probability a member of the Methodist Church. There was a gospel preacher of the early 20th century in Texas named Will M. Thompson, so there also might be some confusion on that account. However, we still sing some of Will L. Thompson's hymns, and this one is often used as an invitation song to encourage both saint and sinner to be ready because "There's A Great Day Coming."

"THOU ART MERCIFUL, O FATHER"

"The LORD is merciful and gracious, slow to anger, and plenteous in mercy" (Ps. 103.8)

INTRO.: A hymn which extols the great mercy of God is "Thou Art Merciful, O Father." The text, based upon Ps. 103.8-22, was written by Elmer Leon Jorgenson (1886-1968). The tune (Jorgenson) was an arrangement by Jorgenson of music by Wolfgang Amadeus Mozart, who was born at Salzburg, Austria, on Jan. 27, 1765. The son of musician and composer Leopold Mozart, who was kappellmeister to the prince-archbishop of Salzburg, he is considered by many to be the greatest musical genius in the history of the Western world. At age six, he began touring with his father and sister, amazing audiences everywhere with his virtuosity. His compositions numbered over 600 musical works, including some 41-plus symphonies, 27 piano concerti, various concerti for other instruments, dozens of operas, and piano sonatas.

This particular melody is taken from Mozart's 1778 Piano Sonata in A Major, K. 331, known as "The Turkish," where it appears in the first movement as a theme upon which several variations are then based. In 1782 Mozart married Constanze Weber. While he was famous throughout all Europe, he was never able to keep nor handle money, and poor management of his meager income resulted in poverty and hardship. Prolonged overwork undermined his health, and his premature death came at age 36 in Vienna, Austria, on Dec. 5, 1791. A number of rather well-known hymntunes (e.g., Ariel, Ellesdie, and Mozart) have been attributed to Mozart through the years, but many of them have never been traced to any of his known works.

"Thou Art Merciful" first appeared in the 1921 "Great Songs of the Church" edited by Jorgenson, but was omitted in the 1925 edition and his 1937 "Great Songs of the Church No. 2." It was restored in the 1975 supplement. Since then, it has been used in the 1978 "Hymns of Praise" edited by Reuel Lemmons, the 1986 "Great Songs Revised" edited by Forrest M. McCann, and the 1990 "Praise for the Lord" edited by John P. Wiegand. This is really a very lovely hymn, with a perfect blending of words and music, that deserves to be much better known and more widely sung than it is. It is interesting to read through the verses of the Psalm on which it is based and compare the language of the Psalm to Jorgenson's paraphrase.

The song reminds us what a merciful heavenly Father we have.

I. Stanza 1 mentions God's mercy

"Thou art merciful, O Father, Full of pity, love, and grace; Thou wilt not forever chasten, Nor in anger hide Thy face.

High as heaven--vast and boundless, Hath Thy lovingkindness been; Far as east from west is distant, Thou hast put away our sin."

A. The mercy of God is the reason why salvation is available to us: Eph. 2.4-9

B. Because of His mercy, He will not forever chasten: Heb. 12.5-11

C. The greatest result of His mercy is that He will forgive our sins: Heb. 10.12-18

II. Stanza 2 mentions God's pity

"Like a Father's tender pity Is God's mercy toward His own; For He knows our frame, remembering We are dust, our days soon gone.

Like a flower, blooming, fading, Like the grass, we pass away; But God's righteousness and mercy On His children rest alway."

A. God's pity is like that of a Father who gives good gifts to His children: Matt. 7.7-11

B. In His pity He remembers our frame, knowing that we are as the flower of the grass that fades away so quickly: 1 Pet. 1.24

C. We can be assured that His pity will rest on His children always because nothing can separate us from the love of God: Rom. 8.35-39

III. Stanza 3 mentions God's kingdom

"In the heavens, well established, Is His universal throne; For His kingdom ruleth ever, And His sway all kings shall own.

Bless Jehovah, ye, His angels, Bless Him, hosts of His control. Bless Jehovah all His creatures, Bless Jehovah, O my soul!"

A. Our eternal Father dwells in the Heavens upon His universal throne: Matt. 6.9

B. From His throne in heaven, He rules through Jesus Christ, His Son, who sits at His right hand: Heb. 8.1

C. Therefore, all people should bless Him who sits upon the throne, even as the heavenly creatures do: Rev. 4.9-11

CONCL.: There was a time when the only singing allowed in most English speaking churches was metrical Psalms. In reaction to that extreme, Psalm singing almost died out in many churches, with a few exceptions. In recent years, there has been a renewed interest in singing the psalms. I do not believe that when Paul mentions "psalms and hymns and spiritual songs" that his use of the word "psalms" is necessarily limited to the Psalms of the Old Testament but likely includes any songs that are of that nature and character. However, it is certainly true that a lot of the Psalms in the Old Testament contain many thoughts that are worth singing about. The passage upon which this song is based shows conclusively that the common idea that the God of the Old Testament was only a God of justice, whereas the God of the New Testament is only a God of grace, is not scriptural. Saints under both covenants could approach the God of heaven and say, "Thou Art Merciful, O Father."

"THOU ART THE WAY"

"I am the way, the truth, and the life; no man cometh unto the Father, but by Me" (Jn. 14.6)

INTRO.: A hymn that is based on this passage of scripture is "Thou Art The Way" (#148 in "Hymns for Worship Revised"). The text was written by George Washington Doane, who was born at Trenton, NJ, on May 27, 1799, and educated at Union College, Schenectady, NY, from which he graduated in 1818, and at General Theological Seminary in New York City, NY. Becoming a minister with the Episcopal Church in 1821, he served at Trinity Church in New York City until 1824 when he was appointed professor of Belles-Lettres at Trinity College in Hartford, CN. Many of his hymns, including this one, were published in his 1824 work, "Songs by the Way, Chiefly Devotional with Translations and Imitations."

Other hymns of Doane's that have appeared in our books are "Fling Out The Banner" and "Softly Now The Light Of Day." In 1828, Doane became minister at Trinity Church in Boston, MA, and then became Bishop of New Jersey in 1832 at the age of 33, where he remained for the rest of his life. Two years later, in 1834, he published an American edition of "The Christian Year" by English hymnwriter John Keble (1792-1866). One of the foremost promoters of the Episcopalian missionary movement and the establishment of church-related schools, he was instrumental in founding St. Mary's Hall, a girls' school, at Burlington, NJ, in 1837, and Burlington College in 1846.

Doane died at Burlington on Apr. 27, 1859. His son, William C. Doane, became Bishop of Albany, NY, and was also a hymnwriter. "Thou Art The Way" has the distinction of being the only hymn by an American author in the original edition of the monumental English hymnbook "Hymns Ancient and Modern" published for the Anglican Church in 1861. The tune (Sawley) was composed by an English musician who was well-known as an organist and conductor, James Walch (1837-1901). The usual date given for its first publication is 1860, but it may have actually been produced as early as 1857.

This hymn presents Jesus as the Word with three functions in His relation to man.

I. From stanza 1 we see that Jesus is the Way

"Thou art the Way: to Thee alone From sin and death we flee;

And he who would the Father seek, Must seek Him, Lord, by Thee."

A. The reason that we need a way is that we must flee from sin and death: Rom. 3.23, 6.23

B. In order to escape sin and death we must seek the Father: Acts 17.27

C. Believing in Jesus is the only way that we can seek the Father and pass from death unto life: Jn. 5.24

II. From stanza 2 we see that Jesus is the Truth

"Thou art the Truth: Thy word alone True wisdom can impart;

Thou only canst instruct the mind, And purify the heart."

A. True wisdom, of course, comes only from God: Prov. 9.10, Jas. 1.5

B. The scriptures, inspired by God, are given to instruct our minds in righteousness: 2 Tim. 3.16-17

C. It is only by the truth of Christ that we can be made free from sin and purified in heart: Jn. 16.7-13, 1 Pet. 1.22

III. From stanza 3 we see that Jesus is the Life

"Thou art the Life: the rending tomb Proclaims Thy conquering arm;

And those who put their trust in Thee Nor death nor hell shall harm."

A. The empty tomb proclaims Jesus as the conquering Son of God: Rom. 1.3-4

B. Therefore, we should put our trust in Him: Eph. 1.11-14

C. Because Jesus is the resurrection and the life, only those who believe in Him can have eternal life where neither death nor hell can harm them: Jn. 11.25-26

IV. From stanza 4 we see that Jesus is the true and living way.

"Thou art the Way, the Truth, the Life: Grant us that way to know,

That truth to keep, that life to win, Whose joys eternal flow."

A. Through Jesus Christ alone we can know the way: Matt. 7.13-14

B. Through Jesus Christ alone we can find the truth: Jn. 8.32

C. Through Jesus Christ alone can we win eternal life by believing on His name: Jn. 20.30-31

CONCL.: In an effort to shave hymns down to the bare minimum, some of our books have used only stanzas 1-3. Oddly enough a few have had only 1, 2, and 4--it seems as though something is missing there! One characteristic of a truly good hymn is that it is based directly on the scriptures. This hymn takes a statement of Jesus and makes an application of its meaning to each one of us, concluding with a summary of the teaching and a request that it might become a part of us. May all of us accept His truth so that we might receive His life by saying to Jesus, "Thou Art The Way."

"TO CHRIST BE TRUE"

"The Lord preserveth the faithful...Be of good courage, and He shall strengthen your heart..." (Ps. 31.23-24)

INTRO.: A song which exhorts us to be faithful to Him who will preserves us and strengthen our heart is "To Christ Be True" (#415 in "Hymns for Worship Revised" and #332 in "Sacred Selections for the Church"). The text was written by Elisha Albright Hoffman (1838-1929). A Pennsylvania-born minister with the Evangelical Church, he produced many well-known gospel songs that have appeared in our books, such as "Are You Washed in the Blood?", "Glory to His Name," "That's Enough For Me," "I Must Tell Jesus," "Is Thy Heart Right with God?", "Leaning on the Everlasting Arms," "What a Wonderful Savior!", and "Where Will You Spend Eternity?"

The tune (Be True) was composed by Daniel M. Wilson. He was likely a physician because many older books identify him as "Dr. D. M. Wilson." The song was apparently first published in the 1900 "Gospel Praise" edited by A. J. Showalter and E. G. Sewell for the Gospel Advocate, where it was claimed as a Gospel Advocate Co. copyright. The Advocate's 1935 "Christian Hymns" (No. 1), edited by L. O. Sanderson and others, said, "Copyright, 1928, Gospel Advocate Co., Renewal," but the copyright was not claimed in any of the company's later books. The song has been very popular among churches of Christ during the twentieth century.

It emphasizes the importance of standing up for Christ in the good fight of the faith.

I. Stanza 1 speaks of our banner

"To Christ be loyal and be true; His banner be unfurled,

And borne aloft till is secured The conquest of the world."

A. A banner is a battle flag, and here symbolizes the truth that God has revealed to us; just as soldiers in a physical army need a banner under which to march into battle, so God has given us a banner: Ps. 60.4

B. This banner must be borne aloft in that the church is to be the pillar and support of the truth: 1 Tim. 3.15

C. Our mission continues "till is secured The conquest of the world," which is a never-ending task that will culminate in the second coming of Christ: 1 Cor. 15.50-54

II. Stanza 2 speaks of the need for volunteers

"To Christ be loyal and be true; He needs brave volunteers

To stand against the powers of sin, Moved not by frowns or fears."

A. Some nations draft people into military service, but the soldiers in Christ's army are all volunteers: 2 Tim. 2.3-4

B. These volunteers must use the armor of God to stand against the powers of sin: Eph. 6.10-14

C. As they stand, they must not be moved from their hope by frowns nor fears: Col. 1.23

III. Stanza 3 speaks of our service

"To Christ be loyal and be true; In noble service prove

Your faith and your fidelity, The fervor of your love."

A. We speak of the service that soldiers render their country, and that which soldiers of Christ do is called service: Phil. 2.17

B. Our service to the Lord proves or demonstrates our faith in Him: 2 Cor. 5.7

C. But the real reason that we serve Him is because we love Him: 1 Pet. 1.7-8

IV. Stanza 4 speaks of our friendship with Christ

"To Christ be loyal and be true, And He will be your Friend,

Defending and protecting you To life's triumphant end."

A. Jesus has promised to be a friend to all who keep His commandments: Jn. 15.14

B. Also, He has promised to defend and protect His friends: 1 Pet. 5:10

C. This relationship will continue to life's triumphant end: Matt. 10.22

CONCL.: The chorus continues to encourage us to be loyal to our Lord:
"To Christ, the Lord, be true, For He will go with you,

And help you all your conflicts through; To Christ, the Lord, be true."

The old saying is, "Be true to your teeth, and they will never be false to you." Well, Jesus will never be false to us under any circumstances, but given all that Christ has done for us, dying for our sins, offering salvation through His blood, and giving us the hope of eternal life with Him, each one of should aim that we shall "To Christ Be True."