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.
"WE GATHER TOGETHER" "What shall we say to these things? If God is for us, who can be against us?" (Ro. 8.31) INTRO.: A hymn which asks God to be for us and praises Him for His help is "We Gather Together." The text, written to celebrate Dutch independence from Spain in the late 16th century, and the tune (Kremser) were both first printed anonymously in the "Nederlandtsch Gedenckclank" compiled by Adrianus Valerius (c. 1575-1625). The work was published at Harlem posthumously in 1626, and it is thought that the song dates from around 1625. Sometimes Valerius is identified as the author and/or composer, but most sources now consider the song a Dutch folk hymn and folk tune. The translation of the text was made by Theodore Baker (1851-1934). It was done in 1894 as an anthem setting for his "Prayer of Thanksgiving" and published in the 1917 "Dutch Folksongs" compiled by Coenraad V. Bos. Most books used among churches of Christ include alterations to the original translation made by Elmer Leon Jorgenson (1886-1968). They were made around 1944 when the song was included in his "Great Songs of the Church No. 2" originally published in 1937. The arrangement of the tune was made by Edward Kremser (1838-1914). It was published at Vienna, Austria, in his 1877 "Sechs Altniederlandische Volkslieder." As noted above, among hymnbooks used in churches of Christ, the song was added on the flyleaf in 1944 to Jorgenson's "Great Songs of the Church No. 2" and then appeared in the 1975 Supplement. It was also used in the 1959 "Majestic Hymnal No. 2" edited by Reuel Lemmons, 1963 "Christian Hymnal" edited by J. Nelson Slater, and the 1963 "Abiding Hymns" edited by Robert C. Welch. A two-stanza arrangement was found in the 1966 "Christian Hymns No 3" made by the editor, L. O. Sanderson. Books still available and in use today that have the song include the 1977 "Special Sacred Selections" (in an arrangement copyright 1963 by M. Lynwood Smith) edited by Ellis J. Crum; 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" (#705) edited by John P. Wiegand. In 1902, the popularity of this song apparently prompted J. Archer Gibson, music director of the Brick Presbyterian Church in New York City, NY, to desire another text for the tune. He asked Julia Bulkley Cady (1882-1963; she later married Robert Haskell Cory in 1911). After struggling for two weeks, Julia, who was not long out of school, produced three stanzas. 1. "We praise Thee, O God, Our Redeemer, Creator, In grateful devotion our tribute we bring. We lay it before Thee, we kneel and adore Thee, We bless Thy holy name, glad praises we sing." 2. "We worship Thee, God of our Fathers, we bless Thee; Through life's storm and tempest our guide hast Thou been. When perils o'er-take us, Thou wilt not forsake us, And with Thy help, O Lord, life's battle's we win." 3. "With voices united our praises we offer, And gladly our songs of true worship we raise. Thy strong arm will guide us, our God is beside us, To Thee, our great Redeemer, forever be praise." The song was first sung that year on Thanksgiving Day at the Brick Presbyterian Church. A month later, the author's father, J. Cleveland Cady, wished to use this hymn on Dec. 25 at the Church of the Covenant, also in New York City, so Miss Cady added a fourth stanza. "Thy love Thou didst show us, Thine only Son sending, Who came as a babe and whose bed was a stall, His blest life He gave us and then died to save us; We praise Thee, O Lord, for Thy gift to us all." William J. Reynolds notes that while this hymn was written as a substitute for "We Gather Together" it is not another translation or version of the original. The song, with the first three stanzas only, is found in the 1986 "Great Songs Revised" edited by Forrest M. McCann and the 1992 "Praise for the Lord" edited by John P. Wiegand. It was used in the original edition of Shepard and Stevens' "Hymns for Worship" but omitted from the revised edition. "We Gather Together" is a song of both praise and prayer for God's help. I. The first stanza refers to God as the Lord "We gather together to ask the Lord's blessing; He chastens and hastens His will to make known; The wicked oppressing now cease from distressing: Sing praises to His Name--He fails (orig. forgets) not His own." A. When we gather together, we can and should ask God's blessings because He is the Lord: Ps. 24.1 B. As Lord, He chastens us so that we might seek His will in our lives: Heb. 12.5-11 C. But as Lord, He also has the power to cease the wicked who oppress His people from their distressing: Dan. 2.20-21 II. The second stanza refers to God as our Guide "Beside us to guide us, our God with us joining, Ordaining, maintaining His kingdom divine; So from the beginning the fight we were winning: Lord, Thine be all the glory--The victory is Thine!" (orig. "Lord, Thou, Lord, wast at our side; all glory is Thine!") A. God has promised to guide His people: Ps. 32.8 B. Because of God's guidance, His people have the assurance that even from the beginning they can win the fight: Eph. 1.4-6 C. Yet the victory is not ours; it is the Lord's: 1 Cor. 15.57 III. The third stanza refers to God as our Defender "We all to extol Thee, Thou King of the nation, And pray that Thou still our Defender wilt be; (orig. "Thou Leader triumphant;" some books have "Leader in battle") May (orig. Let) Thy congregation escape tribulation: Be Thou for ever praised, Thou God of the free!" (orig. "Thy Name be ever praised! O Lord, make us free.") A. As our King, God is also our triumphant leader in battle as we strive to wage a good warfare and fight the good fight of the faith: 1 Tim. 1.18, 6.12 B. And as soldiers of Christ, our prayer is that He will continue to be our Defender: Ps. 59.9 C. Thus, while we know that all who are in His kingdom will suffer tribulation, our prayer is that our Defender will help us to escape the temptations that this tribulation will bring: Acts 14.22, 1 Cor. 10.13 CONCL.: Carlton Young wrote, "Baker's text, faithful to the spirit of the original nationalistic hymn, was introduced to the church and the general public in patriotic celebrations of thanksgiving extolling the USA, who with God's help and favor, vanquished its various enemies and became the haven for the oppressed while at the same time affirming the manifest destiny and duty of those elected and protected by God to govern." While Christians are certainly thankful for the blessings that we have as citizens of this great nation, we can use these same words to thank God for all His blessings, both physical and spiritual, and ask His continued guidance in our lives as His servants when "We Gather Together." "WE GIVE THEE BUT THINE OWN" "For all things come of Thee, and of Thine own have we given Thee" (1 Chr. 29.14) INTRO.: A song that reminds us of the importance and of the benefits of giving to the Lord is "We Give Thee But Thine Own" (#120 in "Hymns for Worship Revised"). The text was written by William Walsham How, who was born at Shrewsbury, England, on Dec. 13, 1823, the son of a wealthy English solicitor. Educated at Wadham College, Oxford, he became a minister in the Anglican Church in 1845. After serving at St. George's Kidderminster and at Holy Cross, both in Shrewsbury, he went to Whittington, a farming village in Shropshire near Wales, in 1851, and then to the rural town of Oswestry in 1853. It was while there that he penned this hymn around 1858. Containing six stanzas, it was first published in the revised and enlarged "Psalms and Hymns," second edition, in 1864, edited by How and Thomas Baker Morrell. By that time, How had moved to St. Asaph in 1860 and then in 1865 began work as chaplain of the English Church at Rome, Italy. During this period, How was joint editor of the 1871 "Church Hymns" along with John Ellerton and Arthur S. Sullivan. In 1879 he came to St. Andrew's Undershaft in London and became Suffragan Bishop of East London with the title Bishop of Bedford. In 1888 he was appointed the first Bishop of Wakefield. However, he was an unassuming man who cared little for high ecclesiastical position and was best known for his work among the poverty-stricken east London slums, where he was called the "Poor Man's Bishop" because he rode public transportation instead of private carriages. In addition to several theological and other religious works, he authored more than fifty hymns, including "O Word of God Incarnate" and "For All The Saints," both of which have received popular usage. Even though he was numbered among the "Broad" wing (more liberal element) of the Anglican Church, the words of his hymns continued to sound forth an evangelical message. His death occurred at Leenane, County Mayo, in Ireland on Aug. 10, 1897, while he was on vacation. The tune (Schumann; also known as White, Bucer, and Heath) is attributed to the German romantic composer, Robert Alexander Schumann (1810-1856). Apparently, it was arranged as a hymn tune by Lowell Mason (1792-1872). It first appeared in the 1850 "Cantica Laudis," published in New York City, NY, which Mason edited with George James Webb, composer of the music most commonly used with "Stand Up For Jesus." There it was used as the setting for "Thou shalt, O Lord, descend." The editors claimed that they had taken the melody from Schumann. However, the composer's widow, Clara Wieck Schumann, wrote in answer to a letter from the Scottish hymnologist James Love with a question about it and said that she could not find any such melody in her late husband's works. Among hymnbooks published in the twentieth century for use in churches of Christ, the song appeared in the 1921 "Great Songs of the Church" (No. 1), and has been found in many others since that time. The hymn emphasizes several aspects of the need for us to give to the Lord. I. Stanza 1 tells us that we should give to the Lord because everything that we have is a trust from him. "We give Thee but Thine own, Whate'er the gift may be; All that we have is Thine alone, A trust, O Lord, from Thee." A. The Lord has always wanted His people to give to Him: Mal. 3.8, 2 Cor. 9.6-7 B. We usually think in terms of giving money, but there are many other gifts that we can give to the Lord--time, effort, talent, etc.: Rom. 12.6 C. But whatever way we give, by devoting a portion of what we have for the Lord's work, we are lending it back to Him just as He has lent it to us: Prov. 19.17 II. Stanza 2 tells us that we should give to the Lord because we are stewards of what He has given us. "May we Thy bounties thus As stewards true receive, And gladly as Thou blessest us, To Thee our first-fruits give." A. All of us have received the bounties of God because every good and perfect gift comes from Him: Jas. 1.17 B. Regarding all the blessings that God has so bountifully bestowed upon us, we must recognize that we are but stewards to use wisely: 1 Pet. 4.10 C. Using these things wisely means that as He has blessed us, we will give Him our first-fruits by first giving ourselves to the Lord as did the Macedonian Christians: 2 Cor. 8.1-5 III. Stanza 3 tells us that we should give to the Lord because we ourselves need the blessings that come from giving. "Our hearts are bruised and dead, And homes are bare and cold, And lambs for whom the Savior bled Are straying from the fold." A. This is the most often omitted stanza, perhaps because folks may misunderstand what the poet is saying. Apart from Christ, our hearts are bruised and dead in sin: Eph. 2.1 B. Homes are bare and cold--both our own when Christ is not the Lord in them and other's as well, because if the Lord does not build the house, they labor in vain who build it: Ps. 127.1 C. The fact is that all of us, like sheep, have gone astray; it is by God's gift of Christ that we can be saved, and it is by our own giving back to Him that we are reminded of the Shepherd and Overseer of our souls: 1 Pet. 2.25 IV. Stanza 4 tells us that we should give to the Lord in order that those who are suffering may be comforted and blessed. "To comfort and to bless, To find a balm for woe, To tend the lone and fatherless Is angels' work below." A. God wants us to comfort others in need as we have ability and opportunity: 1 Thess. 5.14 B. He also wants us to find a balm for woe by providing consolation to those who are troubled: 2 Cor. 1.5-7 C. Thus, our giving to the Lord involves not only the funds that we contribute to the work of the church, but also the good deeds that we do to help others, including the fatherless: Jas. 1.27 V. Stanza 5 tells us that we should give to the Lord in order that those captive to sin may be taught the truth and brought to Christ. "The captive to release, To God the lost to bring, To teach the way of life and peace, It is a Christ-like thing." A. Surely, there are those captives to sin who need to be released: Lk. 4.18-19 B. Therefore, we need to give of our time, effort, and talent to do what we can to spread the word and bring the lost to God: Acts 8.4, 1 Tim. 2.2 C. Also, we need to devote a portion of our funds to support others in sounding out the word of the Lord for the lost to hear and obey: 2 Cor. 11.8 VI. Stanza 6 tells us that we should give to the Lord because whatever we do to help others is, in essence, a gift to the Lord. "And we believe Thy word, Though dim our faith may be, Whate'er for Thine we do, O Lord, We do it unto Thee." A. Because God has always kept His promises and blessed us so bountifully, we should believe His word: 1 Thess. 2.13 B. Of course, sometimes like even the apostles, due to various circumstances, our faith is somewhat dim: Matt. 16.8 C. Yet, we should remember that by helping the sick, hungry, thirsty, needy, and imprisoned we are actually helping Jesus because we are letting His influence be seen in our good deeds: Matt. 25.34-40 CONCL.: This song well illustrates what How himself once stated as the ideals for a worthy hymn: "A good hymn should be like a good prayer--simple, real, earnest, and reverent." It was written to be sung before the offering, in a manner similar to the way we often sing a song to prepare our minds for the Lord's supper. Perhaps, that is not such a bad idea. However, whether we sing it before the offering or not, we certainly need to manifest an attitude to God in whatever and whenever we give, that "We Give Thee But Thine Own." "WE HAVE AN ANCHOR" "Which hope we have as an anchor of the soul both sure and steadfast..." (Heb. 6.19) INTRO.: A song which pictures our hope as an anchor of the soul both sure and steadfast is "Will Your Anchor Hold?" (#496 in Hymns for Worship Revised and #495 in Sacred Selections for the Church). The text was written by Pricilla Jane Owens (1829-1907). It is dated 1874. She also produced lyrics for "Give Me The Bible" and "Jesus Saves." The tune (Anchor) was composed by William James Kirkpatrick (1838-1921). He provided melodies for many other well-known songs such as "He Hideth My Soul" and "'Tis So Sweet to Trust in Jesus." The song "We Have an Anchor" was copyrighted in 1882 by Kirkpatrick and renewed in 1910 by the Hope Publishing Co. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the 1948 Christian Hymns No. 2 edited by L. O. Sanderson; the 1963 Christian Hymnal edited by J. Nelson Slater; and the 1963 Abiding Hymns edited by Robert C. Welch. 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 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 and Hymns for Worship. The song reminds us of the anchor to our souls that is provided by our hope in Christ. I. Stanza 1 tells us that this anchor keeps from drifting "Will your anchor hold in the storms of life, When the clouds unfold their wings of strife?
When the strong tides lift, and the cables strain, Will your anchor drift or firm remain?" A. When buffetted by a storm, a ship need an anchor to provide security and safety: Acts 27. 29 B. Just as ships often encounter storms, so in this life the clouds unfold their wings of strife in the various trials and tribulations that we must face: Jas. 1.2-3 C. Therefore, if we do not have an anchor that is fastened in something steadfast, we may drift: Heb. 2.1 II. Stanza 2 tells us that this anchor secures us to the Savior "It is safely moored, 'twill the storm withstand, For 'tis well-secured by the Savior's hand; And the cables passed from His heart to mine Can defy the blast through strength divine." A. If our hope is in Christ, we shall be safely moored because our anchor will be well-secured by the hand of Him who is our Savior: Lk. 2.11 B. It is as if cables were passed from His heart to ours, but this can be true only when we love Him with all our hearts: Mk. 12.30 C. Through these spiritual cables, we shall be enabled to defy the blast because we will be divinely strengthened: Eph.3.16-17
III. Stanza 3 tells us that this anchor will guide us in the straits of fear "It will firmly hold in the straits of fear, When the breakers have told the reef is near; Though the tempests rave and the wild winds blow, Not an angry wave shall our bark o'erflow." A. As we sail the seas of life, situations will occur that would produce fear, but God has not given us a spirit of fear: 2 Tim. 1.7 B. However, though the tempests rave and the wild winds blow, we have nothing to fear because God has promised to be with us: Heb. 13.5-6 C. Because we can be assured that not an angry wave shall our bark overflow, we know that perfect love casts out all such fear: 1 Jn. 4.18
IV. Stanza 4 tells us that this anchor will sustain us in the floods of death "It will surely hold in the floods of death, When the waters cold chill our latest breath; On the rising tide it can never fail, While our hopes abide within the veil." A. One day, all of us must pass through the floods of death: Heb. 9.27 B. However, the anchor that is steadfast in Christ can never fail and such hope will result in our salvation: Rom. 8.24-25 C. The reason that such an anchor cannot fail is because that it reaches and fastens to that which is within the veil: Heb. 10.19-20
V. Stanza 5 tells us that this anchor will bring us to the golden harbor of heaven "When our eyes behold through the gathering night The city of gold, our harbor bright, We shall anchor fast by the heavenly shore, With the storms all past forevermore." A. After the Christian passes through the floods of death, his eyes can behold that city of gold: Rev. 21.1-2 B. While brethren may debate whether the soul of the one who dies actually goes directly to heaven or not, all must agree that the righteous dead are in a state of bliss that can only come from the knowledge that they are near that shore where the pure river of the water of life flows: Rev. 22.1-2 C. Here, they rest from their labors with the storms all past because God has promised that there will be no more death, sorrow, crying, or pain that bring about those storms: Rev. 21.3-4 CONCL.: The chorus continues to emphasize the importance of this anchor to our lives now. "We have an anchor that keeps the soul Steadfast and sure while the billows roll, Fastened to the Rock which cannot move, Grounded firm and deep in the Savior's love." Our desire is to be with the Lord in His heavenly Jerusalem. However, to get there, we must pass through the storms of this life. Yet, the expectation of achieving this desire which the Lord enables us to have is what keeps us pressing onward, knowing that in this hope "We Have An Anchor." "WE MAY NOT CLIMB THE HEAVENLY STEEPS" "...Who shall ascend into heaven? (that is, to bring Christ down from above)..." (Rom. 10.6-7) INTRO.: A song which reminds us that we do not need to ascend into heaven to bring Christ down because He is always near is "We May Not Climb The Heavenly Steeps." The text was written by John Greenleaf Whittier (1807-1892). Known as "the Quaker Poet," he penned these words as part of a larger poem of 38 stanzas entitled "Our Master" in 1866. It was first published in his "Tent on the Beach and Other Poems" in 1867. Several arrangements of stanzas from this poem have been used as hymns by various hymnbook editors at different times. Among churches of Christ, this song was included in several older hymnbooks and is still found in some of the newer ones. The 1925 edition of the 1921 "Great Songs of the Church" No. 1 (#140) has five stanzas of Whittier's poem (#'s 1, 5, 13, 14, and 15) with a tune by the editor, Elmer L. Jorgenson (1886-1968). This same version was located in the 1937 "Great Songs of the Church No. 2" (#409), also edited by Jorgenson. And it is included in 1971 "Songs of the Church" (#221), the 1990 "Songs of the Church, 21st C. Ed." (#397), and the 1994 "Songs of Faith and Praise" (#741), all edited by Alton H. Howard. The same basic text is used with a tune (Serenity) composed in 1856 by William V. Wallace (1814-1865) and arranged in 1878 by Uzziah C. Burnap (1834-1900), in the 1986 "Great Songs Revised" (#444) edited by Forest M. McCann, and the 1992 "Praise for the Lord" (#326) edited by John P. Wiegand. It is interesting that the 1948 "Christian Hymns No. 2" and the 1966 "Christian Hymns No. 3," both edited by L. O. Sanderson, used both the Jorgenson tune (#53), and beginning with the stanza, "We May Not Climb the Heavenly Steeps," the Wallace tune (#114). This song helps us to understand how we can come to God through Christ in prayer. I. First, Christ is identified as someone very near "We may not climb the heavenly steeps To bring the Lord Christ down; In vain we search the lowest deeps, For Him no depths can drown." A. This stanza is based on a statement made by Paul which is drawn from an Old Testament passage: Deut. 30.12-14 B. To find Christ, we do not have to climb up into the heavens, as the builders of the tower of Babel sought to do: Gen. 11.1-4 C. Nor can we escape His love even if we go to the lowest depths from the earth: Psa. 139.7-8. Wherever we are, He is not far from every one of us II. Second, Christ's nearness is referred to in terms of Olivet and Galilee "But warm, sweet, tender, even yet A present help is He; And faith still has its Olivet, And love its Galilee." A. In the Old Testament, God is pictured as a very "present help" in time of trouble: Psa. 46.1 B. "Olivet" refers to the Mount of Olives, where Jesus went with His disciples just before His betrayal: Matt. 26.30 C. And Galilee was the place where Jesus began His public ministry of preaching and teaching: Matt. 4.12-17. The point is that Christ's love was manifest in the things that He did in places like Olivet and Galilee, and that this love is still available for us today III. Third, Christ's nearness is discussed as being available for both the young and the old "Through Him the first fond prayers are said Our lips of childhood frame; The last low whispers of our dead Are burdened with His name." A. Both young and old have qualities that the Lord wants to use: Prov. 20.29; so it makes no difference to the Lord whether one is young or old B. We know that "Jesus loves the little children" who through Him say their first fond prayers of childhood: Matt. 19.13-15 C. Yet, He also makes promises to the aged who will use the last low whispers of their breath to praise His name: Rev. 2.10. So we can know that Christ wants to be near to young and old alike. IV. Fourth, Christ's nearness is made known to us by the Spirit "The letter fails, the systems fall, And every symbol wanes; The Spirit brooding over all, Eternal Love remains." A. The letter, the systems, and every symbol of the Old Law, with its emphasis on the physical, are no longer applicable to us: 2 Cor. 3.6
B. It is the Spirit who gives life, and the sword of the Spirit is the word of God: Eph. 6.17 C. Through the message of the Spirit, we know that love is the greatest: 1 Cor. 13.13 CONCL.: Christ has promised to be with His people even to the end of the world. Therefore, while He Himself is no longer physically alive on earth but dwells in heaven, His spiritual presence is still here and lives in the hearts of those who submit themselves to His revealed will in the scriptures. As a result, we need to remember that in order to be near to our Lord and Savior, "We May Not Climb The Heavenly Steeps." "WE SHALL MEET SOME DAY" "There is a river, the streams whereof shall make glad the city of God..." (Ps. 46.4) INTRO.: A song which points us to that river which shall make glad the city of God is "We Shall Meet Someday." The text was written and the tune was composed both by Tillit Sidney Teddlie (1885-1987). Teddlie was undoubtedly one of the most prolific and beloved songwriters associated with churches of Christ in the twentieth century. Among his best-known hymns are "Worthy Art Thou," a hymn of praise, "The Lord's Supper," a much-used communion song, and the comforting "Heaven Holds All To Me." I have not been able to find a date for "We Shall Meet Some Day." All that the older books which I have say is, "Written in memory of my beloved friend, F. L. Eiland. By per. of T. S. Teddlie, owner." It was found, as one might imagine, in many of Teddlie's books, such as the 1938 "Spiritual Melodies," the 1943 "Standard Gospel Songs," and the 1965 "Great Christian Hymnal No. 2." It also made its way into several of Will Slater's books, such as the 1940 "Praise and Revival Songs," the 1944 "Gospel Songs and Hymns," and the 1952 "Hymns of Praise and Devotion." It appeared in a couple of books published by the Firm Foundation Co., the 1959 "Majestic Hymnal No. 2" and the 1978 "Hymns of Praise." In addition, M. Lynwood Smith used it in his 1964 "Songs for the Shadows," and Albert Brumley used it in his 1965 "Christian Hymnsongs." Today, it may be found in the 1971 "Songs of the Church" edited by Alton H. Howard and the 1978/1983 "Church Gospel Songs and Hymns" edited by V. E. Howard. At one time, the copyright to the song was owned by R. E. Winsett. Ellis Crum included it in his 1997 new, enlarged size format of "Best Loved Songs and Hymns" which had been originally compiled by Winsett's widow, Ruth Winsett Shelton in 1961. And Leland Fleming has it in his 1999 book of hymns by members of the Lord's church "Into Our Hands: Songs for the Church." This song encourages us to think of the hope that we have in Christ. I. Stanza 1 contrast the grief experienced in this life with the hope of heaven "How our hearts ache with grief as we say good-by; We shall meet some day; Where no sorrow or tears ever dim the eye, We shall meet some day." A. There are many times on this earth that our hearts ache with grief: 1 Pet. 2.19 B. One reason for this is that we must say good-by to those who die, which is why death is called an enemy: 1 Cor. 15.26 C. However, Christians can look forward to a place where no sorrow or tears ever dim the eye: Rev. 21.1-4 II. Stanza 2 reminds us that we all shall experience death "When we've all crossed the stream with its rolling tide, We shall meet some day; In that city of rest on the other side, We shall meet some day." A. Unless the Lord comes first, we shall all cross the stream of death with its rolling tide: Heb. 9.27 B. However, we need not fear it because we know that rest awaits us: Rev. 14.13 C. And we have the hope of being reunited with those gone before on the other side because we shall all be raised again: 1 Cor. 15.51-55 III. Stanza 3 points us to the place of eternal life "What a glorious thought, as we say good-by, We shall meet some day; In that beautiful home that's prepared on high, We shall meet some day." A. When we say good-by here, it is not as others who sorrow without hope: 1 Thess. 4.13-18 B. Rather, we know that there is a beautiful home that awaits us: Rev. 22.1-5 C. And it has been prepared by the Lord for His people: Matt. 25.34, Jn. 14.1-3 CONCL.: The chorus repeats the joyful expression of hope that we have in Christ: "We shall meet where no storm clouds gather, We shall meet some day; By the river of life, sparkling cool and clear, We shall meet some day." This has always been one of my favorites among Teddlie's songs. All of us experience the death of loved ones and good friends. When things like this happen, it is true that our hearts ache with grief. But as Christians we have the glorious hope that in heaven "We Shall Meet Some Day." "WE SHALL SLEEP, BUT NOT FOREVER" "Why all this commotion and wailing? The child is not dead, but asleep" (Mk. 5.39) INTRO.: A song which likens death to a sleep from which we shall awaken is "We Shall Sleep, But Not Forever." The text was written by Mary Ann Pepper Kidder (1820-1905). It was first published in the 1878 Sacred Songs and Solos by Ira David Sankey. Some of Kidder's other hymns that have appeared in our books include "Did You Think To Pray?", "Fear Not, Little Flock," "Is My Name Written There?", and "The Christian's Welcome Home." The tune most often used is attributed to S. George Shipley. This same text can be seen in the 1902 Church and Sunday School Hymnal edited by J. D. Brunk and published by the Mennonite Publishing House of Scottsdale, PA, and the 1972 The Christian Hymnary edited by John J. Overholt and published by the Christian Hymnary Publishers of Sarasota, FL (also Mennonite) with a tune by Silas Jones Vail (1818-1884). It can also be seen in the 1983 Old School Hymnal, 11th Edition, edited by Roland U. Green and published by the Old School Hymnal Publishing Co. (Baptist), of Ellenwood, GA, with a tune identified as arranged by Green. Among hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century, this song was found in the 1935 Christian Hymns No. 1 with the tune arranged by the editor, Lloyd Otis Sanderson (1901-1992). It was also used in the 1964 Songs for the Shadows edited by M. Lynwood Smith. The song pictures heaven as a place where the righteous dead, having been raised to live again, will never die. I. Stanza 1 focuses upon the hope of the resurrection "We shall sleep, but not forever, There will be a glorious dawn! We shall meet to part, no, never, On the resurrection morn! From the deepest caves of ocean, From the desert and the plain, From the valley and the mountains, Countless throngs shall rise again." A. Death, represented by sleep--of the body, not the soul--is an appointment that all must keep unless the Lord comes first: 1 Cor. 15.51, Heb. 9.27 B. However, there will be a glorious dawn when we shall meet on the resurrection morn: 1 Thess. 4.13-17 C. From every possible place, countless throngs of those in the tombs shall come forth: Jn. 5.28-29 II. Stanza 2 focuses upon the sorrow of death "When we see a precious blossom, That we tended with such care, Rudely taken from our bosom, How our aching hearts despair! Round its little grave we linger, Till the setting sun is low, Feeling all our hopes have perished With the flower we cherished so." A. The language of this stanza was commonly used by poets of the past to describe the death of a child, which must be one of the saddest situations where death invades the family circle: Lk. 7.11-13 B. This kind of event emphasizes to our minds the impact of death on our hearts and explains why death is such an enemy: 1 Cor. 15.25-26 C. Thus, from the standpoint of this life only, often the hopes of people perish with the grave: Eccl. 9.10 III. Stanza 3 focuses upon the joy of heaven "We shall sleep, but not forever, In the lone and silent grave: Blessed be the Lord that taketh, Blessed be the Lord that gave. In the bright eternal city, Death can never, never come! In His own good time He'll call us, From our rest, to home, sweet home." A. Because we shall not sleep forever in the grave, we can face even death with the attitude of Job: Job 1.21 B. Rather, we can look forward to a bright eternal city where death can never come: Rev. 21.1-4 C. Therefore, death is merely that time when He will call us to rest from our labors and wait the day when we shall have our eternal home: Rev. 14.13 CONCL.: The chorus repeats the first four lines of the opening stanza:
"We shall sleep, but not forever, There will be a glorious dawn! We shall meet to part, no, never, On the resurrection morn!" Songs of this nature were extremely popular in the latter part of the nineteenth century, but toward the end of the twentieth century were deemed by many as "too sentimental" and dropped from most hymnbooks. Opinions will obviously vary, but since we are to teach and admonish one another in singing psalms, hymns, and spiritual songs, certainly there should be some use for a spiritual song that reminds us that "We Shall Sleep, But Not Forever." "WE THANK THEE, LORD" "Blessed be the Lord, who daily loadeth us with benefits, even the God of our salvation" (Ps. 68.19). INTRO.: A hymn which expresses thanks to God for all His benefits is "We Thank Thee, Lord" (#10 in "Hymns for Worship Revised"). The text was written by Albert H. Hutchinson. No conclusive information is available concerning this author or the origin of this hymn. It was published successively in "Songs of Worship" (Canada), "Hymns for the Widening Kingdom," and the "Methodist Hymnal" of 1935. "The Beacon Hymnal" of 1924 gives the date of writing as 1909. The tune (Oldbridge or Thanksgiving) was composed by Robert Newton Quaile, who was born in County Limerick, Ireland, in 1867, the son of an Irish Methodist minister. An amateur musician, he was engaged in business at Mallow in County Cork. This particular melody was produced in 1903 and first appeared in "The English Hymnal" published at London in 1906. Along with two other of his pieces, it was also included in the "English Methodist Sunday School Hymnal" of 1910. As a result of the political and economic difficulties that existed in Ireland during the early 1900's, all of his possessions were burned in 1920. He died in 1927. Among hymnbooks in my possession, in addition to the "Methodist Hymnal" of 1935, the text, with a different tune, was used in the "Methodist Hymnal" of 1964. The song is also found in "The Broadman Hymnal" (Baptist) of 1940 and "Hymns for the Living Church" (interdenominational) published by Hope Publishing Company in 1974. The only songbook published by members of the Lord's church for use among churches of Christ to include the song that I know of is "Hymns for Worship." This song identifies some of the blessings of God for which we can be thankful. I. Stanza 1 reminds us of the general blessings that God has bestowed on mankind "For all the blessings of the year, For all the friends we hold so dear, For peace on earth, both far and near, We thank Thee, Lord." A. Every year, we all receive numerous benefits from God's goodness: Ps. 65.11 B. Among these benefits is the companionship of friends: Prov. 17.17 C. Another such benefit is whatever degree of peace in which we might live: 1 Tim. 2.1-2 II. Stanza 2 reminds us of all the personal blessings that God has given every one of us "For life and health, those common things, Which every day and hour [some books have moment] brings, For home, where our affection clings, We thank Thee, Lord." A. God is the source of our very lives: Acts 17.28 B. And God is the source of all the benefits that come to our lives every day and hour because every good and perfect gift comes from Him: Jas. 1.17 C. One of the greatest of these benefits is our homes: Gen. 2.24, Ps. 127.3-5 III. Stanza 3 reminds us of all te spiritual blessings that God has made available in Christ "For love of Thine which never tires, Which all our better thought inspires, And warms our lives with heavenly fires, We thank Thee, Lord." A. We certainly can be thankful for the great love of God: Jn. 3.16 B. Also, we can be thankful for the better thoughts that His love inspires in us: Phil. 4.8 C. And we can be thankful for the the joy and peace in our hearts that His love brings: Rom. 5.1-5 CONCL.: From our own nation's history, we are familiar with the story of the Pilgrims of the Plymouth colony in Massachusetts who, after an extremely hard winter, set apart a day of thanksgiving to celebrate the harvest. So far as historical records are concerned, the United States was the first nation to proclaim a national day of thanksgiving, which began with Abraham Lincoln in 1863. In 1941, the United States Congress passed a joint resolution naming the fourth Thursday in November of each year as Thanksgiving Day. This occasion is a wonderful time to visit family and friends, eat together, and enjoy one another's company. But whatever we do as part of our celebration of this national holiday, let us not forget about God, but rather, "Come before His presence with thanksgiving" (Ps. 95.2). And let us also be careful not to relegate the idea of being thankful for God's blessings just one day a year. Instead, we need to pause every day, take stock of God's benefits, and say, "We Thank Thee, Lord." "WE THANK THEE, O FATHER"
"Now therefore, our God, we thank Thee, and praise Thy glorious name" (1 Chron. 29.13) INTRO.: A song which expresses thanksgiving to God for all His blessings is "We Thank Thee, O Father" (#372 in Hymns for Worship Revised). The text was written by Matthias Claudius, who was born at Reinfeld, about ten miles from Lubeck in Holstein, Germany, on Aug. 15, 1740. The son of a Lutheran minister, he studied theology at the University of Jena from 1759 to 1763. However, because of poor health and the rationalistic influences at school which cooled his religious zeal, he turned his interest to law and languages. In 1771, he became literary editor of Der Wandsbecker Bote and the following year married Anna Rebecca Behn. In 1776, he was appointed one of the Commissioners of Agriculture and Manufacture in the principality of Hesse-Darmstadt north of Frankfort, and the following year became editor of the official Hesse-Darmstadt newspaper. While living at Darmstadt, he became acquainted with Goethe and his group of free-thinking philosophers. However, a serious illness in 1777 helped restore his faith and brought Claudius back to his interest in religion. After this, he returned to Wandsbeck as editor of Der Wandsbecker Bote. Well-versed in the writings of William Shakespeare and Isaac Newton, he did a service to the common people of Germany by bringing them the finer things of cultural life in his writings. This hymn is the "Peasants' Song" from his Paul Erdmanns Fest, a descriptive account of the festival harvest at a farmhouse in northern Germany which Claudius published in 1782. Apparently, he heard the words sung by local farmers, copied them down, and included them in his piece. It was originally in seventeen four-line stanzas. Some seventeen years later, a selection of stanzas appeared in a school song-book at Hanover. From there, it found its way into most hymnbooks of Germany. After eleven years in Wandsbeck, Claudius was appointed by the Crown Prince of Denmark as the auditor of the Schleswig-Holstein Bank at Altona, now a part of Hamburg, Germany, in 1788. Twenty-five years later, Claudius was forced to leave home because of the Napoleonic wars and returned only in time to die. His last days were spent in his daughter's house at Hamburg, where he died on Jan. 21, 1815. The English translation was made by Jane Montgomery Campbell (1817-1878). She was an English musician and teacher who was quite proficient in German and translated a number of German hymns which were first published in Charles S. Bere's Garland of Songs, or an English Liederkranz, produced at London, England, in 1861. The traditional tune (Wir Pflugen or Dresden) used for this hymn was composed in 1800 by Johann Abraham Peter Schultz (1747-1800). A new tune (Stevens) was provided in 1986 for Hymns for Worship by editor R. J. Stevens (b. 1927). This is also found in the only other book published during the twentieth century by members of the Lord's church for use in churches of Christ that I know of to include the song, the 1992 Praise for the Lord edited by John P. Wiegand. This has been a universally favorite hymn of thanksgiving. I. According to stanza 1, God is the one who feeds and waters the seed which man sows. "We plow (plough) the fields, and scatter The good seed on the land, But it is fed and watered by God's almighty hand; He sends the snow in winter, the warmth to swell the grain, The breezes, and the sunshine, And soft refreshing rain." A. For reasons which I do not know, Shepard and Stevens changed the first line in Hymns for Worship to read, "We plow the fields for sowing;" while Jesus is making a spiritual point in the parable of the tares, the story does illustrate that in order to obtain the benefits of the earth, we must do the work of sowing seed: Matt. 13.24-30, 36-43 B. However, it is God who waters it and causes it to grow: Isa. 55.10 C. Therefore, we understand, as Paul taught, that God is the one who gives us rain and fruitful seasons: Acts 14.17 II. According to stanza 2, God is the one who is the Maker of all things "He only is the Maker Of all things near and far; He paints the wayside flower, He lights the evening star. The winds and waves obey Him, By Him the birds are fed; Much more to us, the children, He gives our daily bread." A. God certainly is the Maker of all things near and far because He created the heavens and the earth: Gen. 1.1ff B. Hence, as James reminds us, every good and perfect gift--flowers, stars, winds, waves, birds--comes from God above: Jas. 1.17 C. As His children, He teaches us to depend upon Him for our daily bread: Matt. 6.11 III. According to stanza 3, God is the one who is due our thanksgiving for all these blessings "We thank Thee, then, O Father, For all things bright and good; The seedtime and the harvest, Our life, our health, our food. Accept the gift we offer For all thy love imparts, And, what Thou most desirest, Our humble, thankful hearts." A. The Psalmist reminds us that all of God's good gifts demand thanks ojn our part:Ps. 95.1-3 B. It is He who gives us seedtime and harvest, life, health, and food or meat in due season: Ps. 145.15 C. But even beyond mere thanks or other kinds of offerings, God wants us in grateful devotion to give Him our hearts: Prov. 23.26 CONCL.: The refrain, omitted in Stevens's version, sums up the thought of the song:
"All good gifts around us Are sent from heaven above; Then thank the Lord, O thank the Lord, For all His love." These words are quite appropriate, coming from a one-time Commissioner of Agriculture. God provides not only the land, but also the other essentials--sunshine, air, rain, and snow to make the land fruitful. Then He goes even farther, adding the wayside flowers, the birds, and the stars to watch over the earth at night. Our response to all this should be, "We Thank Thee, O Father." "WE WILL STAND THE STORM"
"No man that warreth entangleth himself with the affairs of this life..." (2 Tim. 2.4) INTRO.: A song which exhorts us to keep ourselves from being entangled with the affairs of this life as we engage in God's war is "We Shall Stand the Storm." The text is taken from a poem beginning "Am I A Soldier of the Cross?" written by Isaac Watts (1674-1748). For more information about the text, see the song, "When the Battle's Over." The tune (O'Kane) is often attributed to Tullius Clinton O'Kane (1830-1912). It first appeared in his book Additional Fresh Leaves, published around 1870. An abridged version of the tune with Watts's "When I Can Read My Title Clear" was used in the 1937 Great Songs of the Church No. 2 and is found in te 1992 Praise for the Lord. The song, with both words and music arranged by Thomas Seth Cobb, was used in the 1944 New Wonderful Songs published by the Firm Foundation Publishing House. This song points out the need to be faithful in waging a good warfare. I. Stanza 1 says that as soldiers, we need courage to bear the toil and endure the pain "Sure I must fight if I would reign; Increase my courage, Lord; I'll bear the toil, endure the pain, Supported by Thy word." A. Our goal in our fighting is to reign with Christ: 2 Tim. 2.11-12 B. Therefore, we must always seek to be of good courage and not be afraid: Josh. 1.9 C. And we will strive to endure whatever trials may come our way: Jas. 1.12 II. Stanza 2 says that as soldiers, we must be willing to continue to death "Thy saints, in all this glorious war, Shall conquer, though they die; They view the triumph from afar, And seize it with their eye." A. Those who are soldiers of Christ are identified as saints: 1 Cor. 1.1-2 B. They must recognize the imporance of being faithful unto death: Rev. 2.10 C. Only then will they gain the final victory that overcomes the world: 1 Jn. 5.4 III. Stanza 3 says that as soldiers, we can gain the victory "When that illustrious day shall rise, And all Thy armies shine In robes of victory through the skies, The glory shall be Thine." A. That illustrious day would refer to the second coming of Christ: Acts 1.11 B. Then the good soldier will gain the final triumph inthe resurrection: 1 Cor. 15.57 C. Even though the faithful will win, the glory will belong to the Lord: Eph. 3:20-21 CONCL.: As we seek to fight the good fight of the faith, we shall have weather many storms, and the chorus encourages us, saying, "We will stand the storm, We will anchor by and by, by and by; We will stand the storm, We will anchor by and by." As we face the storms of life that will come upon us as we strive to battle for the Lord, we need to keep pressing on with the attitude that "We Will Stand The Storm." "WELCOME FOR ME" "Our soul has escaped as a bird from the snare of the fowlers..." (Ps. 124.7) INTRO.: A song which likens our lives to that of a bird who has wandered away but escapes the snare by returning to its nest is "Welcome For Me." The text was written by Frances Jane Van Alstyne, better known by her maiden and professional name of Fanny J. Crosby (1820-1915). The tune was composed by William James Kirkpatrick (1838-1921). The song was copyrighted in 1885 and appeared in the 1890 "Finest of the Wheat" (#139) edited by George D. Elderkin and published by R. R. McCabe and Co. for Kirkpatrick and others. Among the hymnbooks published by members of the Lord's church and used historically by churches of Christ in the middle and late twentieth century, only three that I have found contained this song. The first was "Christian Hymns No. 2," edited by L. O. Sanderson for the Gospel Advocate Co. in 1948. The next was "The Hymnal," edited by Marion Davis in 1960. The last was "Abiding Hymns," edited by the late Robert C. Welch in 1963. This song expresses the relief of finding refuge and rest in returning to Christ. I. Stanza 1 emphasizes the Lord's call "Like a bird on the deep, far away from the next, I had wandered, my Savior, from Thee; But Thy dear loving voice called me home to Thy breast, And I knew there was welcome for me." A. The stanza begins with the picture of a bird far away on the deep, as the dove that Noah sent out from the ark and returned to him: Gen. 8.8-9 B. Like that dove, all of us have wandered away from the Savior at one time or another in our lives: Isa. 53.6 C. However, the voice of Jesus, revealed to us through His word, calls us to come to Him for rest: Matt. 11.28-30 II. Stanza 2 emphasizes the Lord's mercy "I am safe in the ark; I have folded my wings On the bosom of mercy divine; I am filled with the light of Thy presence so bright, And the joy that will ever be mine." A. When we respond to the call of the Lord and return to Him from our wanderings, we can find refuge in Him as the dove returned to the ark for refuge: Gen. 8.10-11 B. In the safety of this spiritual "ark" we can rest on the bosom of mercy divine because it is by God's mercy that we are saved: Eph. 2.4-5, Tit. 3.5 C. Through this great mercy, we can be filled with the light of His presence: 1 Jn. 1.5-7 III. Stanza 3 emphasizes the Lord's joy "I am safe in the ark, and I dread not the storm, Though around me the surges may roll; I will look to the skies, where the day never dies, I will sing of the joy in my soul." A. Also, in the safety of our spiritual "ark" we no longer have to fear the storms of life: 2 Tim. 1.7, 1 Jn. 4.18 B. Rather, we can look to the skies from whence comes our help: Ps. 121.1-2 C. With this help, we can sing of the joy in our souls: Phil. 4.4 CONCL.: The chorus reminds us of the fact that the returning soul can find welcome in Christ: "Welcome for me, Savior, from Thee; A smile and a welcome for me; Now, like a dove, I rest in Thy love, And find a sweet refuge in Thee." All of us have sinned and departed from the Lord. Whether I am an alien out of Christ or a child of God who has fallen away or even a Christian who has transgressed God's will momentarily, I need to heed the Lord's call to receive His mercy and be filled with His joy. When I do turn to Him in humble repentance and meet His conditions, I will find that there is a "Welcome For Me." "WE'RE MARCHING TO ZION" "...Come to Zion with songs and everlasting joy..." (Isa. 35.10) INTRO.: One of our more beloved songs which expresses the concept of being with the Lord in Zion is "We're Marching To Zion" (#190 in Hymns for Worship Revised and #2 in Sacred Selections for the Church). The text was written by Isaac Watts, who was born in Southampton, England, on July 17, 1674, to a cloth merchant named Enoch (sometimes also given as Isaac) Watts. His father was a deacon at the Above Bar Congregational Church and as a dissenter from the established Church of England was imprisoned several times for his beliefs. The elder Watts also ran a boarding school where his son first studied. Isaac had a severe case of smallpox as a child and as a result grew to be only five feet tall with a large head, hooked nose, small piercing eyes, and a frail, sickly body. However, he was precocious. By the time he was thirteen, he had learned Latin, Greek, French, and Hebrew. A local physician offered to send him to Oxford or Cambridge if he would become an Anglican minister, but he refused and was educated at the Nonconformist Academy of Stoke Newington under Thomas Rowe. At age fifteen he began writing poetry. One Sunday after the morning service he complained about the lamentable singing. He later wrote, "The singing of God's praise is the part of worship nighest heaven and its performance among us is the worst on earth." I may have been in some of those services too. Isaac's father challenged him, "Give us something better, young man." Before evening, he had penned his first hymn, "Behold the glories of the Lamb," and either that night or the following Sunday when it was sung in the service the people went wild. Watts went on to produce over 650 notable hymns. In 1701, after completing his education, he became minister at age 26 of the Mark Lane Independent Chapel in London where he continued writing hymns to go with his sermons. Because of ill health he rarely preached two Sundays in a row, but he remained at Mark Lane for the rest of his life. One Sunday in 1712 a member of the congregation, Thomas Abney who was Lord Mayor of London, invited him to spend a few weeks' vacation at the Abney mansion in the suburb of Stoke Newington to help regain his health. The result was that he lived with the Abneys for the remainder of his days. Falling in love with the three Abney daughters, he took a special interest in their education, writing verses and lullabies for them which were later published as his Divine and Moral Songs for Children. Also he wrote books on logic, science, grammar, pedagogy, ethics, psychology, three volumes of sermons, and 29 treatises on theology--a total of 52 works in all on a dozen different subjects. On one occasion a beautiful lady, Elizabeth Singer, fell in love with Watts through his poetry but had never met him. When she sought him out, he immediately fell in love with her. However, she turned down his proposal of marriage, saying sadly, "Mr. Watts, I only wish I could say that I admire the casket as much as I admire the jewel." Perhaps this event, along with others, caused him to realize that there are things more important in life than earthly beauty and physical happiness, as he expressed in his song beginning, "Come, we that love the Lord," from his 1707 Hymns and Spiritual Songs, originally in ten stanzas, though only seven have been commonly used in standard hymnbooks. Watts never did marry and died at the Abney home in Stoke Newington, England, on Nov. 25, 1748. "Come, we that love the Lord" has been set to a number of tunes, but four stanzas were selected, a gospel song tune (Marching to Zion) was composed, and the chorus added in 1867 by Robert Lowry (1826-1899). It was first published in his 1868 hymnbook Silver Spray. Watts has been called the father of English hymnody, and in addition to his 1719 Psalms of David Imitated in the Language of the New Testament, is the author of such classics as "When I Survey the Wondrous Cross" and "Alas, And Did My Savior Bleed." "Marching to Zion" is filled with joy at the privileges found in God's spiritual Kingdom. I. Stanza 1 says that we can surround the throne of God in praise "Come, we that love the Lord, And let our joys be known; Join in a song with sweet accord, And thus surround the throne." A. The song is addressed to those who love the Lord: Mk. 12.30 B. Those who truly love the Lord can join in songs of sweet accord: Heb. 2.12 C. They also have the blessing to be able to come before the throne of God though our High Priest, Jesus Christ: Heb. 4.14-16 II. Stanza 2 (3 in the original), says that we can become spiritual children of God "Let those refuse to sing, Who never knew our God; But children of the heavenly King May speak their joys abroad." A. Of course, many in this world may refuse to sing because they do not know God: Eph. 2.12 B. However, those who come to Christ in obedience to His word are identified as God's children: 1 Jn. 3.1 C. As His children, we should never be ashamed to speak of our faith in Him but offer to Him the fruit of our lips and proclaim the praises of Him who called us: 2 Tim. 1.8, Heb. 13.15, 1 Pet. 2.9 III. A stanza (8 in the original) not used in any of our books but which I think is interesting says that we can be characterized by the fruit of faith and hope "The Men of grace have found Glory begun below, Celestial fruits on earthly ground From faith and hope may grow." A. The children of the heavenly King can be identified as "men of grace" because they have been saved by grace: Eph. 2.8-9 B. We can find glory begun even here below as the celestial fruit of the Spirit begins to develop in our lives: Gal. 5.22-23 C. This celestial fruit grows from the seeds of faith and hope which are among the things which abide: 1 Cor. 13.13 IV. Stanza 3 (9 in the original) says that even now the hill of Zion yields God's blessings to His people "The hill of Zion yields A thousand sacred sweets, Before we reach the heavenly fields, Or walk the golden streets." A. Zion does not always necessarily refer to heaven, but sometimes to the church: Heb. 12.22 B. Even now God's children benefit from Zion because we have all spiritual blessings in Christ Jesus: Eph. 1.4 C. These blessings are for us both in this life, and in the time to come when we reach the heavenly fields and walk the golden streets: 1 Tim. 4.8 V. Stanza 4 (10 in the original) says that the benefits that we have now will continue in those fairer worlds on high "Then let our songs abound, And every tear be dry; We're marching through Immanuel's ground To fairer worlds on high." A. Because we are God's people, we should rejoice, letting our songs abound and drying every tear: Phil. 4.4 B. The reasons for this are two-fold; first, we are marching through Immanuel's ground: Matt. 1.18 C. And, second, we look forward to fairer worlds on high in the new heavens and new earth: 2 Pet. 3.13 CONCL.: Lowry's chorus epitomizes the joy that should characterize God's people: We're marching to Zion, Beautiful, beautiful Zion, We're marching upward to Zion, The beautiful city of God." Some have objected to the thought of "marching TO Zion," saying that we are already in God's spiritual Zion, the church. However, Zion is used throughout the scriptures as a synonym for Jerusalem. Figuratively speaking, we are in the church or spiritual Jerusalem now (Gal. 4.26). However, we are also journeying toward the heavenly new Jerusalem (Rev. 21.1-2). The fact that Zion may sometimes be used to refer to the church and other times to heaven should not be thought odd because the church on earth is the gateway to heaven. So most assuredly as God's people we should sing with joy as "We're Marching To Zion." "WE'VE A STORY TO TELL TO THE NATIONS" "Go ye therefore and teach all nations..." (Matt. 28:19) INTRO.: A song which encourages us to go therefore and teach all nations is "We've A Story To Tell To The Nations." The text was written, under the penname Colin Sterne, and the tune (Message) was composed both by Henry Ernest Nichol, who was born at Hull in Yorkshire, England, on Dec. 10, 1862. Originally intending to become a civil engineer, he abandoned this desire to study music. After receiving his Bachelor of Music Degree from Oxford University in 1888, he produced a large number of melodies, around 130, the majority of which were mainly for Sunday school anniversary services. For those in which he also provided the words, he used the pseudonym "Colin Sterne," which is a rearrangement of the letters in his name. "We've A Story To Tell To The Nations" was first published at London, England, in "The Sunday School Hymnary" of 1896. Nichol died near Hull at Skirlaugh on Aug. 30, 1926 (some authorities give the year as 1928). This was apparently a very popular "missionary hymn" among denominational churches in past years, typical of the hundreds that were penned to express the determined, dynamic, energetic, and expansive attributes of late nineteenth-century "Christian missions." However, songs like this have become "anathema" to many in the modern religious world because they imply that salvation can be obtained only through hearing the preaching of the gospel of Christ. Consider what the editor of the "Companion to the United Methodist Hymnal" (1993) said of this hymn as he referred to its "underlying theme of condescension whereby in preaching our superior story about our superior religion and civilization we will render their inferior story, hearts, and civilization as ours--superior." The greatest sin in some denominations today must be "exclusiveness." Yet, Jesus still said, "I am the way, the truth, and the life; and no one comes to the Father except through Me" (John 14:6). Among churches of Christ, this song has not been well-known. The only book published by members of the Lord's church in the twentieth century of which I am aware to have included it was "Christian Hymns" No. 1, edited by L. O. Sanderson with others for the Gospel Advocate Co. in 1935. One reason for this lack of inclusion is perhaps the premillennial implications of the chorus, which originally read, "For the darkness shall turn to dawning, And the dawning to noonday bright, And Christ's great kingdom shall come to earth, The kingdom of Love and Light." Sanderson changed it to the form that I shall use below. Sanderson also made other changes in both the stanzas and the music, apparently so that it would be different enough for him to copyright the arrangement. However, none of those alterations materially affect the thought, so I shall give the original form of the stanzas. This song is designed to motivate God's people to sound forth the word of God. I. Stanza 1 calls it a story "We've a story to tell to the nations That shall turn their hearts to the right, A story of truth and gladness, A story of peace and light, A story of peace and light." A. This story is designed to turn men's hearts to the right (cf. Acts 8.21) because all have sinned and fallen short of the glory of God: Rom. 3.23 B. It is a story of truth, because only the truth of Jesus Christ can make us free: Jn. 8.32 C. It is also a story of peace, because true peace can be found only through the cross of Christ: Col. 1.20 II. Stanza 2 calls it a song "We've a song to be sung to the nations That shall lift their hearts to the Lord; A song that shall conquer evil, And shatter the spear and sword, And shatter the spear and swod." A. This song is designed to lift men's hearts to the Lord that they might come to Him for rest: Matt. 11.28-30 B. It is a song that shall conquer evil because it prompts people to turn away from evil: 1 Pet. 3.11 C. It shall also shatter the spear and sword because it does not use carnal weapons: 2 Cor. 10.3-5 III. Stanza 3 calls it a message "We've a message to give to the nations, That the Lord who reigneth above Hath sent us His Son to save us, And shows us that God is love, And shows us that God is love." A. This message comes from the Lord who reigns above, our Father in heaven: Matt. 6.9-10 B. The message tells us that He has sent His Son to save us: Matt. 1.21, Lk. 2.11 C. The message also shows us that God is love: Jn. 3.16 IV. Stanza 4 identifies it as being about the Savior "We've a Savior to show to the nations, Who the path of sorrow has trod, That all of the world's great peoples Might come to the truth of God, Might come to the truth of God." A. This Savior became flesh and trod the path of sorrow for us: Jn. 1.14, 1 Pet. 2.21 B. His purpose in this was to seek and save the lost of all the world's great peoples: Lk. 19.10 C. The ultimate aim of seeking souls was to bring them back to God through reconciliation: 2 Cor. 5.17-21 CONCL.: The chorus (as altered by L. O. Sanderson) reminds us of the great blessings that are available to those who receive the word of God:
"The darkness has turned to dawning, And the dawning to noonday bright; For Christ's great kingdom has come to earth--The kingdom of love and light." No, salvation will not be found in "Western Civilization," but then it will not be found in "Eastern Culture" either, or in any aspect of purely human wisdom. It will be found only in Jesus Christ. Therefore, as those who have accepted the truth of God's message through Jesus Christ, "We've A Story To Tell To The Nations." "WHAT SHALL IT BE?" "What shall I do then with Jesus which is called Christ?" (Matt. 27.22) INTRO.: A song which takes this question asked by Pilate and applies it to each of us is "What Shall It Be?" (#327 in "Hymns for Worship Revised"). The text was written by James Robinson, about whom no further information seems available. The tune was composed by Bentley DeForest Ackley, who was born on Sept. 27, 1872, at Spring Hill, PA. As a boy, he learned to play the melodeon, piano, cornet, clarinet, and piccolo while accompanying his father on music teaching trips and playing in his fourteen-piece band. After going to New York in 1888 to study stenography and serving as an organist in New York City and Brooklyn, he joined the evangelist team of Billy Sunday, for which Homer Rodeheaver was song director, in 1907. For some eight years, Ackley travelled with them as a musician and secretary. His younger brother, Alfred H. Ackley, was also a gospel songwriter. Later, both of them served as hymn composers and songbook editors for the Rodeheaver Publishing Company, supplying the firm with new songs for congregational singing, soloists, and choirs. The invitation song, "What Shall It Be," was produced in 1926 and copyrighted by the Gospel Advocate Company. Its first publication was in "Sweeter Than All Songs" edited for the Gospel Advocate in 1927 by C. M. Pullias. In all, Ackley composed more than 3,000 hymn tunes, over 100 of which were in a collaboration that began in 1930 with Oswald J. Smith, including "There Is Joy In Serving Jesus" and "God Understands." Among his other well-known songs are "I Walk With The King" and "I Would Be Like Jesus," and with his brother "In The Service Of The King" and "Till The Whole World Knows." In recognition of his contribution to sacred music, Ackley was awarded an honorary Doctor of Sacred Music degree from Bob Jones University in Greenville, SC. Shortly afterwards, he died on Sept. 3, 1958, at Winona Lake, IN. "What Shall It Be" was used 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 for the Gospel Advocate; the 1963 "Abiding Hymns" edited by Robert C. Welch; and the 1975 Supplement to the 1937 "Great Songs of the Church" originally edited by E. L. Jorgenson. 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; and the 1992 "Praise for the Lord" edited by John P. Wiegand; in addition to "Hymns for Worship." This song explains why the question of what we do with Jesus is so important. I. According to stanza 1, the question is important because our salvation depends on what answer we give. "'What will you do with Jesus?' The question comes to you! And you must give an answer, For something you must do." A. This question comes to each of us because we must choose whom we shall serve: Josh. 24.14-15 B. We must give an answer because no one can serve two masters: Matt. 6.24 C. Therefore, we must do something, for only those who do what the Lord commands will be saved: Acts 2.37-38, 9.6-18, 16.30-34 II. According to stanza 2, the question is important because Jesus is waiting for us to give our answer. "'What will you do with Jesus?' It comes by night and day; With pierced hands uplifted, He waits--what will you say?" A. This question comes by night and day because the Lord's invitation to come to Him is always extended and open to anyone: Matt. 11.28-30 B. Christ is pictured with pierced hands uplifted in extending His plea for us to come and be cleansed in His blood: Jn. 20.24-28 C. Thus, He waits for us to answer that we will come and follow Him: Matt. 16.24 III. According to stanza 3, the question is important because someday we may not be able to respond with a positive answer. "'What will you do with Jesus?' He's knocking at the door! Refuse Him, soul, no longer, Lest He should plead no more." A. John pictures Jesus knocking at the door of the hearts of all those who are not right with Him: Rev. 3.20 B. Those who need to accept Him are urged to refuse Him no longer: Heb. 12.25 C. The reason why it is needful to receive Him now is that there may come a time when He will plead no more. Of course, that time happens for everyone at death. Yet, even before death, it is possible for a person to become so hardened in heart that any pleas of the Lord become useless: Heb. 6.4-6 IV. According to stanza 4, the question is important because only Jesus can save us by His death. "Remember what He suffered, And how He died for thee; While yet He calls in patience, What shall your answer be?" A. We certainly do need to remember what He suffered and how He died for us: Rom. 5.8 B. Hence, we need to listen while He still calls and says that now is the day of salvation: 2 Cor. 6.2 C. And we need to give our answer while it is still today: Heb. 3.15 CONCL.: The chorus repeats the plea to the sinful soul about the importance of answering this question: "What shall it be? what shall it be? What shall your answer be? What will you do with Jesus? Oh, what shall your answer be?" All responsible human beings have sinned and come short of God's glory. Yet, He loved us enough to send Jesus to die as an atonement for our sins, reveal His plan for our redemption in the gospel, and offer salvation to all who obey Him. The question that each one of us must ask and answer for ourselves is, "What Shall It Be?" "WHAT SHALL IT PROFIT?" "...What shall it profit a man...? What shall a man give in exchange for his soul?" (Mk. 8.36-37) INTRO.: A song which asks what a man can give in exchange for his soul is "What Shall It Profit?" (#486 in Hymns for Worship Revised and #41 in Sacred Selections for the Church). The text was written by Johnson Oatman Jr. (1856-1922). He produced several hymn texts that are found in our books including "Count Your Blessings," "Higher Ground," "The Last Mile of the Way," "Lift Him Up," "No, Not One," "Sweeter than All," "Hand In Hand With Jesus," and "I'll Be A Friend To Jesus." The tune was composed by John B. Herbert (1852-1927). The song was copyrighted in 1916 by the Hildebrand-Burnett Co. In 1935 it was said to be controlled by L. O. Sanderson. However, other books say that it was copyrighted in 1934 by Mrs. Walter G. Taylor and assigned to the Rodeheaver Company, which is said to have renewed it in 1944 and then again in 1962. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the 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 Abiding Hymns edited by Robert C. Welch; the 1963 Christian Hymnal edited by J. Nelson Slater; the 1971 Songs of the Church (original edition only) edited by Alton H. Howard; and the 1978 Hymns of Praise edited by Reuel Lemmons. Today it may be found in 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, as well as Sacred Selections and Hymns for Worship. The song contrasts the material wealth of the world to the value of the soul. I. Stanza 1 tells us that riches cannot make us whole "Not all earth's gold and silver Can make a sinner whole; What shall it profit thee, O man, If thou should'st lose thy soul?" A. We are not redeemed with silver and gold: 1 Pet. 1.18 B. However, we do need to be made whole by being saved from our sin: 1 Tim. 1.15 C. Therefore, it is possible for one to have physical wealth but still be lost spiritually: Lk. 15.11-24
II. Stanza 2 tells us that riches cannot save our soul "The heaping up of riches To many seems life's goal; But in the eager rush for wealth, Forgotten is the soul." A. It is true that the heaping up of riches is life's goal for many: 1 Tim. 6.9-10 B. Therefore, they join the eager rush for wealth as covetous idolaters: Eph. 5.5 C. In the process, they forget that they have a soul that shall one day be required of them: Lk. 12.15-21
III. Stanza 3 tells us that riches cannot be compared to the soul "This solemn question answer: Is worldly gain thy goal? Can fleeting riches be compared To an immortal soul?" A. Each one of us should ask himself if worldly gain is his goal: Mk. 10.17-25 B. Riches are fleeting: Eccl. 5.10-16 C. Therefore, they cannot be compared to an immortal soul that God can destroy in hell: Matt. 10.28 CONCL.: The chorus uses the words of Jesus to focus our thoughts on this important topic. "What shall it profit a man, What shall it profit a man, If he gain the whole world, And lose his own soul?" There are not many songs which deal specifically with the subject of materialism. Yet, there are probably more warnings in the scriptures against covetousness and the love of money than any other particular kind of sin. So, each time we consider the things of this world and how they might affect our souls, we should ask ourselves, "What Shall It Profit?" "WHAT WILL YOUR ANSWER BE?" "So then every one of us shall give account of himself to God" (Rom. 14.12) INTRO.: A song which reminds us of the need to be prepared for that time when we shall give account of ourselves to God is "What Will Your Answer Be?" (#284 in "Hymns for Worship Revised" and #557 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Tillit Sidney Teddlie (1885-1997). A native of Texas who spent most of his long life in that state, Teddlie was baptized in 1903 and began work as a gospel preacher in 1923, also serving as a superintendent of a children's home for a couple of years. However, he is best remembered as a hymn writer and song-book publisher. His first song was published in 1904. Teddlie published some 12 hymnbooks, culminating in "The Great Christian Hymnal No. 2" in 1965. "Praise for the Lord" contains 12 hymns by Teddlie, and that is only a drop in the bucket. Leland R. Fleming in "Into Our Hands" has 28. It is estimated that Teddlie wrote about 100 songs, for which he provided both words and music, but he also supplied tunes for lyrics by others as well. Perhaps his three best-known songs are "Heaven Holds All To Me," "Worthy Art Thou," and "The Lord's Supper." "What Will Your Answer Be?", produced in 1935, is frequently used as an invitation song. It was not found much outside of Teddlie's own hymnbooks until 1956 when Ellis J. Crum included it in "Sacred Selections." Since then, it has appeared in most books published by members of the Lord's church for use among churches of Christ, including the 1963 "Abiding Hymns," the 1971 "Songs of the Church," the 1978 "Hymns of Praise," the 1978/1983 "(Church) Gospel Songs and Hymns," and the 1992 "Praise for the Lord," as well as "Hymns for Worship." The song encourages us to make ourselves ready for the judgment. I. Stanza 1 points to the judgment "Someday you'll stand at the bar on high, Someday your record you'll see, Someday you'll answer the question of life; What will your answer be?" A. The word "bar" is defined as "the part of a law court, enclosed by a railing, where the judges or lawyers sit, or where prisoners are brought to trial; hence, "a law court" or "any place of judgment." Though the term itself is not found in any of our standard English translations of the Bible, it is often used poetically in hymns to mean the same thing as and hence refer to "the judgment seat of Christ": 2 Cor. 5.10 B. When we stand at the bar on high, our record we'll see because God will bring every work that we have done into judgment, whether good or evil, and we shall be judged according to those works: Rev. 20.11-15 C. And at that time, we'll have to give answer to the "question of life," whether we have feared God and kept His commandments or not: Eccl. 12.13-14 II. Stanza 2 points to the consequences of judgment "Sadly you'll stand if you're unprepared, Trembling, you'll fall on your knee, Facing the sentence of life or of death; What will that sentence be?" A. Many will be sad because they are unprepared, not having done the will of the Father in heaven: Matt. 7.21-23 B. Trembling, they'll fall on their knee, because all will bow before the judgment seat of Christ: Rom. 10.10-11; cf. Phil. 2.10-11 C. The fact is that God wants all men to bow before Him; some will do so in this time and face the sentence of life, whereas others will wait till then and face the sentence of death: Matt. 25.31-34, 41, 46 III. Stanza 3 points to the importance of being ready for judgment "Now is the time to prepare, my friend; Make your soul spotless and free, Washed in the blood of the Crucified One. He will your answer be." A. Now is the time to prepare, because "now is the day of salvation": 2 Cor. 6.2 B. Even though we have sinned, it is possible to make our souls spotless and free so that we can be prepared for judgment: 2 Pet. 3.14 C. The means by which we do this is to be washed in the blood of the Crucified One: Acts 22.16, 1 Jn. 1.7-9 CONCL.: The chorus continues asking the question, "What will it be? What will it be? Where will you spend your eternity? What will it be, O, what will it be? What will your answer be?" A few years ago I held a gospel meeting in a congregation where someone had taken all the songbooks, marked through the word "spend," and written "live" in its place. I have heard certain preachers rail in sermons about how wrong it is to talk about "spending" eternity or "living through eternity." The argument is that if a person has even a million dollars and "spends" it, it is gone, or if something goes "through" something else it goes in and then goes out, whereas eternity will never be gone and no one will go out. I think that we all understand and accept the fact that eternity is endless. The problem is that we, who have never personally experienced endlessness, have to use finite language to describe and discuss it. We recognize that any finite language will have limits in referring to something that is infinite. Therefore, we do the best that we can with the language that we have. For example, we talk about our government "spending" money--it has been doing so for over 200 years and there seems to be no end in sight of it. We speak of our blood flowing "through" our bodies, even though it does not under normal circumstances go out (or even enter in for that matter), but merely courses a continual route through our veins. So we can still use these terms in certain situations where we know that they do not necessarily follow their exact literal meanings. In any event, the Bible certainly teaches that both the life of heaven and the punishment of hell are eternal or everlasting in nature. The important thing to remember is that someday we shall stand before the bar of God and face an eternal sentence of life or of death. Therefore, we need to be using the time that we have now to order our lives in such a way that we can give a positive response to that great question, "What Will Your Answer Be?" "WHEN GOD FORGIVES, HE FORGETS" "For I will be merciful to their unrighteousness, and their sins and their lawless deeds I will remember no more" (Heb. 8.12) INTRO.: A song which emphasizes the fact that the God to whom we sing praise is a forgiving God who will not remember our sins and iniquities once they are pardoned is, "When God Forgives, He Forgets." The text was written by Haldor Lillenas (1885-1959). A native of Norway, he came with his family to the United States and eventually became a minister with the Nazarene Church. He also was a prolific gospel song writer who founded the Lillenas Publishing Co., which later became part of the Nazarene Publishing House, and edited several hymnbooks which were popular among Nazarene and other holiness churches. Some of his hymns which are used among churches of Christ include "Wonderful Peace" and "Wonderful Grace of Jesus." The tune was composed by his wife, Bertha Mae Wilson Lillenas (1891-1945). A native of California whose father was a Nazarene minister, she met Haldor at Deets Pacific Bible College (now Pasadena College) in Pasadena, CA. The couple lived in California, Illinois, Texas, and Indiana, before settling in Kansas City, MO. Bertha Mae was also a talented musician. Another one of her tunes which has appeared in books published by members of the Lord's church is for Thomas O. Chisholm's "He Changes Not." "When God Forgives He Forgets" was copyrighted in 1934 by the Nazarene Publishing House. It was used in the 1948 "Christian Hymns No. 2" edited by L. O. Sanderson and published by the Gospel Advocate Co. (the old "brown book" with which I grew up). This song praises God for the forgiveness that He offers us through Christ. I. Stanza one emphasizes the redemption that makes forgiveness possible. "My heart is singing a glad new song Since Christ redeemed me from sin and wrong, To Him forever shall praise belong: When God forgives He forgets." A. The heart of the forgiven soul can sing a glad new song: Rev. 5.9 B. This is because Christ has redeemed him from sin and wrong: 1 Pet. 1.18-19 C. Thererfore, to Him forever shall praise belong: Heb. 13.15 II. Stanza two emphasizes the liberty that makes forgiveness desirable "The load of guilt that encumbered me, I lost while looking on Calvary, My captive soul there found liberty: When God forgives He forgets." A. The load that the guilt of sin brings is a heavy burden: Rom. 6.23 B. However, we can lose that load by looking at Calvary, which metaphorically symbolizes the idea of coming to the cross to receive its benefits in obedience to the gospel of Christ: Rom. 6.17-18 C. And the result of this is that the captive soul can find liberty: Gal. 5.1 III. Stanza three emphasizes the grace which makes forgiveness available "And when I've ended life's weary race, And look with rapture upon His face, I'll sing this song of redeeming grace: 'When God forgives He forgets.'" A. Someday we'll end life's race: Heb. 12.1 B. And someday we'll look with rapture upon His face: 1 Jn. 3.3 C. Then, even as now, we shall sing of His saving grace: Eph. 2.8-9 CONCL.: The chorus emphasizes the benefits of God's forgiveness: "When God forgives He forgets, When God forgives He forgets, My sins though as scarlet are made white as snow; When God forgives He forgets." Bertha Mae Lillenas' rousing melody well joins with her husband's words for a joyful expression of thanks and praise for the pardon that God offers us through the blood of Christ so that our sins, though as scarlet, can be made white as show (Isa. 1.18). All of us have sinned and deserve eternal death. Therefore, we should ever be grateful for the fact that "When God Forgives, He Forgets." "WHEN I SEE THE BLOOD" "And when I see the blood, I will pass over you, and the plague shall not be upon you..." (Exo. 12.13). INTRO.: A song which takes the concept of God passing over the Israelites during the last plague of Egypt and applies it to salvation in Christ is "When I See The Blood" (#289 in "Hymns for Worship Revised," and #200 in "Sacred Selections for the Church"). The text was written and the tune was composed both by John G. Foote (19th c.). Very little is known about the author/composer or the background of the song. It was published around 1892 by the Foote Bros. but never copyrighted. This song has been very popular among churches of Christ. It was found in many of the smaller, older hymnbooks published by brethren, such as the 1927 "Sweeter Than All Songs" edited by C. M. Pullias and published by the Gospel Advocate Co.; the 1943 "Standard Gospel Songs" edited and published by Tillit S. Teddlie; the 1940 "Complete Christian Hymnal" edited and published by Marion Davis; and the 1952 "Hymns of Praise and Devotion" edited and published by Will W. Slater. In addition, it was used in the Gospel Advocate's 1935 "Christian Hymns" No. 1 edited by L. O. Sanderson and the 1963 "Abiding Hymns" edited by Robert C. Welch. The chorus only was included in the 1937 "Great Songs of the Church No. 2" edited by E. L. Jorgenson. In addition to "Hymns for Worship" and "Sacred Selections," the song can be 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. Many other hymnbooks in my collection that have the hymn use a different arrangement of the words which is attributed to E. A. H., whom some believe to be Elisha A. Hoffman. Those whose version is substantially the same as that in our books do not list any arranger, so it would seem that our books have followed the original wording, except that "Sacred Selections" and "Hymns for Worship" have one alteration apparently made by Ellis J. Crum. The song emphasizes the importance of the blood of Christ in our salvation. I. Stanza 1 talks about the death of Christ. "Christ, our Redeemer, died on the cross, Died for the sinner, paid all his due; All who receive Him need never fear, Yes, He will pass, will pass over you." A. One of the cardinal facts of scripture is that Christ died on the cross: Rom. 5.8 B. This death was sacrifical because He died for our sins: 1 Cor. 15.3 C. Therefore, those who receive Him can become children of God: Jn. 4.12-13 II. Stanza 2 talks about the salvation of Christ. "Chiefest of sinners, Jesus can save, As He has promised, so will He do; O sinner, hear Him, trust in His word, Then He will pass, will pass over you." A. Paul said that Christ came to save even the chief of sinners: 1 Tim. 1.15 B. And this He will do because He has promised it: Heb. 10.23 C. But to receive this salvation, the sinner must hear and trust: Matt. 17.5 III. Stanza 3 talks about the judgment of Christ. "Judgment is coming, all will be there, Who have rejected, who have refused; O sinner hasten, let Jesus in, Then God will pass, will pass over you." A. Another cardinal fact of scripture is that judgment is coming: Acts 17.30-31 B. Everyone will be there, including those who have rejected God: 2 Cor. 5.10 C. Because of this coming judgment, we should let Jesus in: Rev. 3.20 IV. Stanza 4 talks about the compassion of Christ. "O what compassion, O boundless love! Jesus hath power, Jesus is true; All who believe are safe from the storm, O He will pass, will pass over you." A. What Jesus did for us, He did because of His boundless love: 1 Jn. 3.16 B. And the power of Jesus's love to save us is found in the gospel: Rom. 1.16 C. Therefore, all who truly believe in Him are safe. In the third line of stanza 3, Crum changed "all who believe" to "all who obey." However, if we understand that the Biblical concept of "believe" refers to all of our response to God's commands, including our obedience, that we might be saved, then there should be no problem using the original, even as Jesus used it: Jn. 3.16. CONCL.: The chorus then reminds us that just as God passed over the Israelites during the death of the firstborn in Egypt because they had sprinkled the blood on their doorposts and lintels, so He will pass over us if we are washed in the blood of the Lamb. "When I see the blood, When I see the blood, When I see the blood, I will pass, I will pass over you." Not only should we encourage others to be cleansed in the blood of Christ, but also we who are Christians can be thankful for what God has promised us when He tells us, "When I See The Blood." "WHEN THE BATTLE'S OVER" "Thou therefore endure hardness, as a good soldier of Jesus Christ" (2 Tim. 2.3) INTRO.: A song which encourages us to be good soldiers of Jesus Christ is "When the Battle's Over" (see #275 in Hymns for Worship Revised and #224 in Sacred Selections for the Church). The text is taken from a poem written by Isaac Watts (1674-1748). The exact date and circumstances of its writing are unknown. Watts was in the habit of composing a hymn each week to use in connection with his Sunday morning sermon. This one, to accompany a lesson on the subject of "Holy Fortitudes," has been placed as early as 1709 and as late as 1723. It first appeared in print as an appendix to the third volume of Watts's Sermons published in 1724. These words have been set to many different tunes, most of which are also associated with other hymns. The one whose chorus begins "When the battle's over" is believed to be an old English song arranged by William B. Blake. Nothing much is known about it or the arranger. The majority of hymnbooks used among churches of Christ in the 20th century, beginning with the 1921 Great Songs of the Church edited by E. L. Jorgenson, have had this text in one form or another, including an arrangement with a tune and chorus beginning "We will stand the storm" (q.v.) by Tullius Clinton O'Kane. However, none that I know of has used the Blake version. The hymn points out the need to be faithful in fighting the good fight of the faith. I. Stanza 1 says that as soldiers, we should not fear to own Christ's name "Am I a soldier of the cross, A follower of the Lamb; And shall I fear to own His cause, Or blush to speak His name?"
A. We are soldiers of the cross because we are to wage a good warfare: 1Tim. 1.18 B. As soldiers of the cross, we are followers of teh Lamb: Rev. 14.1-4 C. Because of what the Lamb has done for us, we should never be ashamed of the cause for which He fights: Rom. 1.16 II. Stanza 2 says that as soldiers, we must be willing to fight that we might gain the prize "Must I be carried to the skies On flowery beds of ease, While others fought to gain the prize, And sailed through bloody seas?" A. A good soldier of Christ will fight the good fight of the faith: 1 Tim. 6.12 B. Only those who thus fight can hope to gain the prize: Phil. 4.13-14 C. And such a fight may require us to "sail through bloody seas" in the sense of being willing to give up our lives for the cause of Christ if necessary: Matt. 16.25 III. Stanza 3 says that as soldiers, we must always be prepared to meet the foe "Are there no foes for me to fight? Must I not stem the flood?
Is this vile world a friend of grace To help me on to God?" A. A good soldier of Christ will remember that he fights against spiritual enemies: Eph. 6.10-11 B. In doing so, he will be helping to setm the flood of evil and wickedness: Eph. 5.11 C. This requires not maintaining friendship with the enemy, the world: Jas. 4.4 CONCL.: The chorus points us to the blessings that will be received by the faithful soldier when his fighting days are over. "And when the battle's over We shall wear a crown! Yes, we shall wear a crown! Yes, we shall wear a crown! And when the battle's over We shall wear a crown In the new Jerusalem. Wear a crown, Wear a crown, Wear a bright and shining crown; And when the battle's over We shall wear a crown In the new Jerusalem." The scripture reference of the sermon with which this hymn was written to be used is 1 Cor. 16.13 which says, "Watch, stand fast in the faith, be brave, be strong." Although written over 200 years ago, these words are still a challenge for us today. Every Christian must examine himself daily, especially as he faces times of sufferings or difficulties in life, and continue to be a good soldier for Jesus Christ, looking forward to the reward "When the Battle's Over." "WHERE HE LEADS ME" "...Let him deny himself, and take up his cross, and follow me" (Matt. 16.24) INTRO." A song which well expresses the idea of denying ourselves, taking up the cross, and following Jesus is, "Where He Leads Me" (#334 in "Hymns for Worship Revised" and #639 in "Sacred Selections for the Church"). The text was written by E. W. Blandy (often misspelled Blandly), a 19th-century author about whom no other information is available. The tune (Norris) was composed by John Samuel Norris (1844-1907). Born on the Isle of Wight in the English Channel off the coast of England, he moved to Canada and began to serve as a Methodist minister. After his marriage, he became a Congregationalist minister in the United States. He published one collection of hymns, "Songs of the Soul," and this song bears the copyright date of 1890, which was during or immediately following the two years that Norris was with the Congregational Church in Webster City, IA. This song explains several reasons why we should follow after Jesus. I. Stanza 1 says that we shouild follow Jesus because He calls us "I can hear my Savior calling, I can hear my Savior calling, I can hear my Savior calling, 'Take thy cross and follow, follow me." A. Certainly, Jesus calls us to come to Him: Mt. 11.28-30 B. And we need to hear His call: Jn. 5.24-25 C. Specifically He calls us to take up our cross and follow Him: Lk. 9.23 II. Stanza 2 says that we should follow Jesus because He will lead us through the garden "I'll go with Him through the garden, I'll go with Him through the garden, I'll go with Him through the garden, I'll go with Him, with Him all the way." A. The garden evidently refers to the suffering that Jesus experienced in the garden of Gethsemane: Mt. 25.36-39 B. The Bible teaches that we also will experience suffering in this life: 2 Tim. 3.12 C. Going with Jesus through the garden would simply mean that we must be willing to suffer whatever comes our way on this earth: Phil. 1.29-30 III. Stanza 3 says that we should follow Jesus because He will lead us through the judgment "I'll go with Him through the judgment, I'll go with Him through the judgment, I'll go with Him through the judgment, I'll go with Him, with Him all the way." A. The judgment apparently refers to Jesus' trials before the Jewish leaders and Pilate: Mt. 27.22-26 B. Today, Jesus can be our Savior, but there will come a day when He will be our judge: Acts 17.30-31 C. To go with Him through the judgment should remind us that just as He stood before Pilate, so someday we shall all stand before God in judgment: Rom. 14.10-12 IV. Stanza 4 says that we shouild follow Jesus because He will give us grace and glory "He will give me grace and glory, He will give me grace and glory, He will give me grace and glory, And go with me, with me all the way." A. Grace would seem to refer to the spiritual blessings that Jesus gives His people now: Eph. 1.3-7 B. Glory would seem to refer to the eternal blessings that He will give His people in heaven: Eph. 2.5-7 C. And as we enjoy these spiritual blessings here in preparation for the eternal blessings of heaven, Jesus has promised to go with us all the way: Matt. 28.20 CONCL.: The chorus then sets forth the resolve that each of us should have in following Jesus. "Where He leads me I will follow, Where He leads me I will follow, Where He leads me I will follow, I'll go with Him, with Him all the way." God sent Jesus Christ from heaven to this earth that He might live as our example, die as our sacrifice, and thus become our Savior. Jesus wants us to follow Him, through our sufferings in this life and the judgment to come; and if we do, He has promised to give us grace and glory, both now and in eternity. Therefore, my response should be that I will go "Where He Leads Me." "WHERE LIVEST THOU?" "So then everyone of us shall give account of himself to God" (Rom. 14.12) INTRO.: A song that reminds us that we should live in such a way as to remember that we shall give account of ourselves to God is "Where Livest Thou?" (#318 in "Hymns for Worship Revised"). The text was written, under the pseudonym of Vana R. Raye, and the tune (Vana) was composed, both by Lloyd Otis Sanderson (1910-1992). Sanderson edited three hymnbooks, "Christian Hymns" (No 1) in 1935, "Christian Hymns No. 2" in 1948, and "Christian Hymns No. 3" in 1966, for the Gospel Advocate Co., all of which were very popular in their day. Sanderson has produced several songs, tunes, and arrangements which are still fairly well known among us. He did both words and music for "The Lord Has Been Mindful Of Me." He provided tunes for Thomas Obadiah Chisholm's lyrics "A New Creature," the perennial favorite "Be With Me Lord," and "Bring Christ Your Broken Life." And he did the arrangement that we often use of "He Loves Me" ("Why did the Savior heaven leave, And come to earth below?"). "Where Livest Thou?" was first published in "Christian Hymns No. 2" in 1948. Also it appeared in the 1966 "Christian Hymns No. 3" and the 1978 "Gospel Songs and Hymns" edited by V. E. Howard. Today it can be found in the 1971 "Songs of the Church" and the 1990 "Songs of the Church 21st C. Ed." both edited by Alton H. Howard, the 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 "Hymns for Worship." Most books give the copyright date of 1948, but my copy of "Praise for the Lord" omits the copyright notice. This song has often been used effectively for the invitation. I. Stanza 1 suggests that we live with the sons of God A. Some people choose to live in pleasures of the world: 1 Tim. 5.6, 2 Tim. 3.4 B. However, God wants us to live in the realm where Satan's darts are hurled: Eph. 6.16. Since Satan already has those who live in pleasures of the world, he does not need to waste his darts on them; rather, he casts them at those who are in Christ C. Therefore, we should choose to follow with the sons of God: Jn. 1.12, Rom. 8.14, Phil. 2.15, 1 Jn. 3.1-2 II. Stanza 2 suggests that we live as sacrifices to the Lord A. Some people choose to live in malice and in strife: Tit. 3.3, Jas. 3.14-16 B. Those who so live are in darkness that veils and marks the righteous life: Jn. 3.19-20, 1 Jn. 1.6 C. However, God wants us to choose to make a living sacrifice: Rom. 12.1-2 III. Stanza 3 suggests that we live in Christ A. God wants us to be in Christ, where all spiritual blessings are found: Eph. 1.3-7 B. This is because Christ alone is the true and living way: Jn. 14.6 C. And to be in Christ is to be in His kingdom where we labor for Him and obey His will: Col. 1.13 CONCL. Those who are not yet Christians should ask themselves if they want to stay in malice and strife and the pleasure of this world or if it would be better to follow with the sons of God and be living sacrifices to the Lord by coming to Christ. Those who are already Christians should examine themselves and make sure that they are truly being faithful to the Lord. God is continually asking us and will ask us at the judgment, "Where Livest Thou?" "WHERE THE GATES SWING OUTWARD NEVER" "And the gates of it shall not be shut at all by day, for there shall be no night there" (Rev. 21.25) INTRO.: A song which talks about the gates of the city which shall not be shut at all by day is "The Gates Swing Outward Never" (#214 in "Hymns for Worship Revised" and #421 in "Sacred Selections for the Church"). The text was written and the tune was composed both by Charles Hutchinson Gabriel (1856-1932). Born in Iowa and eventually settling in Chicago, IL, he was a popular hymnwriter with the publishing firm of Homer Rodeheaver, and in all edited some thirty-five gospel songbooks, producing both words and music for many hymns and often providing tunes for texts by others. Some of hiss widely-used songs include "I Stand Amazed," "He Lifted Me," "More Like The Master," "I Will Not Forget Thee," and "Send The Light." Probably Gabriel's most famous is "O That Will Be Glory." However, many of his songs which are now forgotten in general are still known and used among churches of Christ, probably as a result of his helping to edit "The New Christian Hymn Book" with T. B. Larimore for the Gospel Advocate Company in 1907. "Where The Gates Swing Outward Never" first appeared in "Victory Songs" compiled in 1920 by Rodeheaver and Gabriel. It apparently entered songbooks used among churches of Christ in the 1925 edition of the 1921 "Great Songs of the Church" No. 1 edited by E. L. Jorgenson. Since then, it has appeared in nearly every hymn collection published by members of the Lord's church and appears to be quite beloved among us. The song focuses our attention on the gates of the heavenly city which is our hope. I. Stanza 1 pictures the heavenly city as a place of glory "Just a few more days to be filled with praise, And to tell the old, old story; Then, when twilight falls, and my Savior calls, I shall go to Him in glory." A. As long as our lives continue here on earth, and short they are, they should be filled with praise: Heb. 13.15 B. Then the fact that day begins to end as twilight falls is used as a picture to say in like manner life begins to end as the Savior calls us to leave this life in death: Heb. 9.27 C. But it is then that we can begin to realize the hope of going to be with Him in glory: Ps. 73.24 II. Stanza 2 pictures the heavenly city as the end of the journey "Just a few more years with their toils and tears, And the journey will be ended; Then I'll be with Him, where the tide of time With eternity is blended." A. As our lives continue here on earth, while filled with praise, they will also have their share of toils and tears, but soon the journey will be ended: Ps. 90.10 B. Then, after that, we shall be with Christ: Phil. 1.23 C. And it will be "where the tide of time with eternity is blended" because we shall eventually be granted eternal life: Matt. 25.46 III. Stanza 3 pictures the heavenly city as a place of joy "Though the hills be steep and the valleys deep, With no flowers my way adorning; Though the night be lone and my rest a stone, Joy awaits me in the morning." A. The toil and tears of this life are pictured as a journey through steep hills and deep valleys often with little to bring pleasant feelings: Job. 14.1 B. The lack of spiritual comfort in this life is likened to the time when Jacob was fleeing and had to use a stone for his pillow: Gen. 28.10-11 C. But all of the unpleasantness and lack of comfort that we may experience in this life will be worth it because joy awaits us in the morning: Ps. 30.5 IV. Stanza 4 pictures the heavenly city as the place where we shall see Christ "What a joy 'twill be when I wake to see Him for whom my heart is burning! Nevermore to sigh, nevermore to die--For that day my heart is yearning." A. When we wake to see Him for whom our hearts are burning will be the final resurrection: 1 Thess. 4.16-17 B. And in that eternal home which we shall inhabit following the resurrection, there will be nothing to cause sighing or dying: Rev. 21.4 C. Therefore, throughout our lives on earth our hearts should be yearning for that day: 2 Pet. 3.10-13 CONCL.: The chorus then reminds us of that time when we shall exchange our cross for a starry crown and reign forever with Jesus. "I'll exchange my cross for a starry crown, Where the gates swing outward never; At His feet I'll lay every burden down, And with Jesus reign forever." Ellis J. Crum in "Sacred Selections" made some alterations in the chorus which Shepard and Stevens have followed in "Hymns for Worship" but which I believe are totally unnecessary. "Starry crown" is replaced by "shining crown." Crum changed any mention of stars in our crowns for all hymns, but I do not know exactly why. I did hear someone else object to the hymn, "Will There Be Any Stars In My Crown," on the basis that he had heard a Baptist preacher use the hymn to teach the impossibility of apostasy, saying that once we are saved, even if we go back into sin we shall still receive a crown but just not have any stars in it. However, the idea of "stars" in our crown has traditionally be a poetic way of referring to people whom we teach and lead to Christ. Furthermore, my dictionary lists "shining" as a synonym for "starry," so it appears that Crum really accomplished nothing by his change. Also, "reign forever" is replaced by "live forever." Again, Crum eliminated any mention of our reigning with Christ in heaven for all hymns. I assume that this concept was somehow likely thought to teach premillennialism. However, Rev. 22.1-5 plainly shows that in the new heaven and new earth, where the pure river of water of life flows and the throne of God and of the Lamb shall be in it, His servants shall serve Him, "And they shall reign forever and ever." Was John promoting premillennialism? I think not. Some have even questioned the very idea that "the gates swing outward never," saying that this phrase is never found in the Bible and asking what it means. It appears merely to be the poet's way of expressing the idea that the gates will never be shut by day because there will be no night in that city. We can discuss and even debate the words and phrases that we have to use in our finite language to describe the infinite beauty of the eternal home. But we would better spend our time centering our thoughts and preparing our lives for that great city "Where The Gates Swing Outward Never." "WHERE WILL YOU SPEND ETERNITY?" "All that are in the graves shall hear His voice, and shall come forth...unto the resurrection of life and...of damnation" (John 5:28-29) INTRO.: A song which asks whether we shall spend eternity in life or in damnation is "Where Will You Spend Eternity?" (#323 in "Hymns for Worship Revised" and #634 in "Sacred Selections for the Church"). The text was written by Elisha Albright Hoffman (1839-1929). A prolific hymnwriter, his best-known song is probably "I Must Tell Jesus," but his other credits include "Are You Washed In The Blood Of The Lamb?" and "Leaning On The Everlasting Arms." The tune was composed by John Harrison Tenney (1840-1918). Some of his other melodies that appear in our books are with "Come To Jesus" and "I Will Pray." The song "Where Will You Spend Eternity" first appeared in 1887, but it is not known where it was first published. Among hymnbooks published by brethren and commonly used by churches of Christ in the twentieth century, this song was found as a male quartet in the 1937 "Great Songs of the Church No. 2" (#307) edited by E. L. Jorgenson. However, it does not appear in any of the books published by the Gospel Advocate, the Firm Foundation, Will Slater, Tillit Teddlie, Marion Davis, or Alton Howard, at least in my collection. And it is not in the new "Praise for the Lord." Therefore, its popularity among us seems to be due to its inclusion in "Sacred Selections" and now in "Hymns for Worship." The song asks each one to consider what his eternal fate will be. I. Stanza 1 poses the question. "Where will you spend eternity? This question comes to you and me! Tell me, what shall your answer be? Where will you spend eternity?" A. Eternity is something that faces us all: Eccl. 3:11 (note newer Bible versions) B. Like the question, "What shall I do with Jesus?", the question of eternity comes to us: Matt. 27:22 C. And it is a question that each of us shall answer in one way or another: 1 Pet. 3.15, 21 II. Stanza 2 offers one alternative "Many are choosing Christ today, Turning from all their sins away; Heaven shall their happy portion be; Where will you spend eternity?" A. Some choose Christ because He is the way, the truth, and the life only by which we can come to the Father: Jn. 14.6 B. Those who so choose Christ must turn from all their sins away in repentance: Acts 2:38 C. The blessing promised to those who do this is heaven: 1 Pet. 1.3-5 III. Stanza 3 mentions the only other alternative. "Leaving the strait and narrow way, Going the downward road today, Sad will their final ending be, Lost through a long eternity!" A. Some choose to reject Christ and refuse the strait and narrow way that leads to life: Matt. 7.13-14 B. Rather, they take the downward roa |
