"LABOR FOR CHRIST"
"The harvest truly is plenteous, but the labourers are few" (Matt. 8.37)
INTRO.: A hymn which encourages Christians to become laborers in the harvest is "Labor for Christ." The text was written by Horatius Bonar (1808-1889). Produced, originally with eight stanzas beginning, "Go, labor on, spend and be spent," in 1836 for the use of workers in his mission district at Leith, Scotland and published at Kelso in a small booklet of hymns, it later appeared under the heading "Labour for Christ" in his 1843 Songs of the Wilderness. Sometimes an 1857 date is given, but that is when Bonar republished a version of the hymn, beginning with the stanza, "Go labor on, while it is day" in his Hymns of Faith and Hope, first series. All of Bonar's previous hymns had been for children, and this is said to be his first "adult" song. Several melodies have been used with the hymn. Most of our books have four stanzas with a tune (Ernan) composed by Lowell Mason (1792-1872). It is dated 1850.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, these four stanzas of Bonar's original poem appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. Today, this same version may be found in the 1971 Songs of the Church, the 1990 Songs of the Church 21st C. Ed., and the 1994 Hymns of Faith and Praise all edited by Alton H. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand. The 1978 Hymns of Praise edited by Reuel Lemmons had the song with the text slightly altered and a new tune composed for it both by John D. Bacon (1900-1982). This same version is found in the 1999 Into Our Hands edited by Leland R. Fleming. John Julian, in his Dictionary of Hymnology, said that some older books actually make this two hymns.
Therefore, using Bacon's tune, one could make a separate hymn of the following stanzas.
I. Stanza 1 speaks of the need
"Men die in darkness at thy side, Without a hope to cheer the tomb;
Take up the torch and wave it wide, The torch that lights time's thickest gloom."
A. All must die, but too many people are dying in the darkness that is not in God: Heb. 9.27, 1 Jn. 1.5
B. Those who thus die in darkness are without hope: Eph. 2.11-12
C. Thus, to give as many people hope as possible, we should be taking up the torch and showing people a lamp to their feet to guide their pathway: Ps. 119.105
II. Stanza 2 speaks of our praise from the Lord
"Go, labor on: enough while here If He shall praise thee, if He deign
Thy willing heart to mark and cheer; No toil for Him shall be in vain."
A. While we may not have the praise of men, we shall have the praise of God: Jn. 12.42-43
B. Also, He has promised to cheer us while in our work: Matt. 14.27
C. Part of this cheer is knowing that our labor is not in vain in the Lord: 1 Cor. 15.58
III. Stanza 3 speaks of the urgency
"Go, labor on while it is day: The world's dark night is hastening on;
Speed, speed thy work, cast sloth away; It is not thus that souls are won."
A. Our labor is made urgent because the world's dark night, representing sin, is hastening on: Rom. 13.11-14
B. Therefore, we need to speed our work and cast sloth away: Prov. 24.30-34
C. It is not thus, that is by sloth, that souls are won, which is the goal of those who are wise: Prov. 11.30
IV. Stanza 4 speaks of the reward
"Go, labor on! Your hands are weak, Your knees are faint, your soul cast down;
Yet falter not; the prize you seek Is near—a kingdom and a crown."
A. Sometimes we are weak in hands and faint of knees: Heb. 12.12-13
B. However, in spite of our weakness, we must never falter by growing weary and losing heart: Gal. 6.9
C. Rather, we must keep the faith because we are toiling for the prize--the crown of righteousness: 2 Tim. 4.6-8
CONCL.: It is so easy to become comfortable with our nice homes in the suburbs that we fail to see the suffering that sin causes in the lives of people. However, whether it is people who live in our neighborhoods or in the slums, if they are without Christ they are in sin and lost. While we certainly can be thankful for the material blessings that are ours and rejoice in the spiritual blessings that we have in Christ, we must not neglect the souls of those who need salvation. This should motivate us to "Labor for Christ."
"KNEEL AT THE CROSS"
"Wherefore He is able also to save them...seeing He ever liveth to make intercession for them" (Heb. 7.25).
INTRO.: A song that encourages us to come to the cross of Jesus who is the one who makes intercession for us is "Kneel At The Cross" (#331 in Hymns for Worship Revised and #49 in Sacred Selections for the Church). The text was written and the tune was composed both by Charles Earnest Moody who was born on Oct. 8, 1891, near Tilton, GA, and as a child moved with his family to nearby Tunnel Hill where he lived until age 36 and served as music director for the local Methodist Church after having studied music with A. J. Simms of Dalton, GA, and the Southern Development Normal in Ashville, NC. Also, while working as a bookkeeper in a local store, he taught singing schools and led singing at many revivals in various local churches. Most older books say that the song was based on a "theme suggested by Rev. Sam Hair" who was preaching in a meeting at the New Hope Baptist Church in town and copyrighted by Moody and Sebren in 1924.
However, newer books say that it was copyrighted in 1938 and then renewed in 1966 by the Stamps-Baxter Music Co. The 1938 date could be when the copyright was transferred to the Stamps-Baxter Co. However, Stamps-Baxter was notorious for taking songs written by others, giving their own arrangement to them, and then copyrighting them as their own. Moody moved to Calhoun, GA, in 1927, where he sang professionally with the Georgia Yellow Hammers for Victor Records and married Fannie Brownlee. They had three children, and to support his family he had to leave the singing group and teach public school. From 1938 to 1940, the Moodys lived in Tunnel Hill again where ran a gas station. Returning to Calhoun, he continued teaching public school and doing bookkeeping. He died in 1977.
Among hymnbooks published by by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in the 1938 Spiritual Melodies edited by T. S. Teddlie; the 1940 Complete Christian Hymnal edited by Marion Davis; and the 1944 New Wonderful Songs edited by T. S. Cobb; the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; the 1963 Abiding Hymns edited by Robert C. Welch, and the 1963 Christian Hymnal by J. Nelson Slater. 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 by John P. Wiegand; as well as Hymns for Worship and Sacred Selections.
The song calls upon people to submit to Jesus, symbolized as "kneeling at the cross."
I. According to stanza 1, kneeling at the cross means leaving our cares with Christ
"Kneel at the cross, Christ will meet you there, Come while He waits for you;
Lift up your voice, Leave with Him your care, And begin life anew."
A. The cross is figuratively pictured as the place where Christ will meet us because it was on the cross that He died as an atonement for our sins: Phil. 2.8
B. When we thus come to the cross by submitting to Christ, we can leave all our cares with Him: 1 Pet. 5.7
C. Having left all our cares, including our sins, with Christ at the cross, we can begin life anew: Rom. 6.3-4
II. According to stanza 2, kneeling at the cross means anchoring our souls to Christ
"Kneel at the cross, There is room for all Who would His glory share;
Bliss there awaits, Harm can ne'er befall Those who are anchored there."
A. There is room for all at the cross because God so loved the whole world that He gave His only begotten Son to taste death for everyone: Jn. 3.16, Heb. 2.7
B. If people come to the cross, spiritual "harm can ne'er befall" because Christ has promised that "they shall never perish; neither shall anyone snatch them out of My hand": Jn. 10.27-28
C. However, in order to receive the benefits of this promise, we must anchor our souls to Christ by faithfully following Him in all things: Heb. 6.19-20, Rev. 2.10
III. According to stanza 3, kneeling at the cross means giving all idols up
"Kneel at the cross, Give your idols up, Look unto realms above;
Turn not again To life's sparkling cup; Trust always in His love."
A. Anything that we would allow to come between us and Christ is an idol, and we must keep ourselves from all such things: 1 Jn. 5.21
B. Rather than looking to the idols of this life, we should look unto realms above: Col. 3.1-3
C. This will help us not to turn again to life's sparkling cup but to trust always in His love: Heb. 10.36-39
CONCL.: The chorus continues the appeal for all who need the Lord in any way:
"Kneel at the cross, Leave every care;
Kneel at the cross, Jesus will meet you there."
Ellis J. Crum in Sacred Selections identified this song as "Christian's Admonition" and even changed stanza 1, line 3 to read, "He intercedes for you," apparently thinking that the concept of kneeling at the cross can only apply to Christians going to God in prayer and thus placing it in "Prayer Songs" (#'s 23-65). However, Shepard and Stevens in Hymns for Worship, though following the same change that Crum made, place it in "Invitation Songs" (#'s 263-349). The fact is that "kneeling at the cross" can be thought of as a generic symbol for submitting oneself completely to the Lord. One way that those of us who are Christians do so is by our prayers. Those who are not Christians do so by obeying the gospel of Christ. Hence, it seems to me that the song can fit either category. The important point is that to receive the blessings and favor of the Lord, we must do whatever it takes to submit ourselves to His will and "Kneel At The Cross."
"JUST OVER IN THE GLORY LAND"
"A great multitude...stood before the throne...saying, Salvation to our God...and unto the Lamb" (Rev. 7.9-10).
INTRO.: A song which describes the joy of that great multitude who will stand around the throne in heaven is, "Just Over In The Glory Land" (#218 in Hymns for Worship Revised and #457 in Sacred Selections for the Church). The text was written by James W. Acuff, who was born on Jan. 4, 1864, in Freestone County, TX, the sixth of seven children in the home of Barton W. and Selena J. Randolph Acuff. His father may have been a minister. On Sept. 22, 1925, he married Leila Byrd Elney in Williamson County, TX. Becoming a beloved song-leader and well-known hymnwriter among churches of Christ, especially in the southwest, he is credited with several popular gospel songs and often led the singing for protracted meetings.
No specific information is available about the circumstances of this hymn's origin. The tune (Dean or Gloryland) was composed by Emmet Sidney Dean (1876-1951). Dean was a Methodist musician who provided melodies for a number of gospel songs that have appeared in our books, including "Ye Are the Light of the World" by Pearl F. Hatchett Thomas. "Just Over in the Glory Land" was apparently produced around 1906 because it was copyrighted and first published that year in Glad Hosannas, compiled by Acuff, Dean, and William D. Everidge for the Trio Music Co. of Waco, TX.
Acuff also assisted in compiling hymnbooks for the Firm Foundation Co. of Austin, TX, the best known of which was The New Ideal Gospel Hymn Book, edited in 1930 by Acuff, J. W. Everidge, G. H. P. Showalter, and Austin Taylor. Taylor was another hymnwriter among churches of Christ whose most famous songs are "Closer to Thee" and "Do All in the Name of the Lord." Acuff's career as a singer and songwriter spanned nearly fifty years. It is often reported that he was related to the famous country singer Roy Acuff, but I have never sought to confirm this. James lived for many years at Granger, TX, before moving to Georgetown, TX, where he died on Aug. 1, 1937.
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 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. Today it may befound in the 1971 Songs of the Church and the 1990 Songs of the Church 21st C. Ed. both edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
This song gives a poetic description of some of the blessings of heaven.
I. Stanza 1 says that in heaven we shall be by our Savior's side
"I've a home prepared where the saints abide, Just over in the glory land;
And I long to be by my Savior's side, Just over in the glory land."
A. Heaven is a prepared place for a prepared people because God has prepared it for the righteous from the foundation of the world: Matt. 25.34
B. It is the eternal home where the saints will abide as they sit with Abraham, Isaac, and Jacob in the everlasting kingdom: Mt. 8.21
C. But most of all, we will have the privilege of being by the Savior's side, because when we are absent from this physical body, we shall be present with the Lord: 2 Cor. 5.1-8
II. Stanza 2 says that in heaven we shall sing God's praise in the mansions fair
"I am on my way to those mansions fair, Just over in the glory land;
There to sing God's praise, and His glory share, Just over in the glory land."
A. Heaven is a place to which God has prepared a way: Mt. 7.13-14
B. This way takes us to the mansions fair that the Lord is building for His people; some object to using the word "mansions" but the word originally meant simply a dwelling place, which is exactly what Jesus promised would be there: Jn. 14.1-3
C. And in those mansions or dwelling places we shall sing God's praise and His glory share: Psa. 26.8
III. Stanza 3 says that in heaven we shall see the Lord and those who have gone on before.
"What a joyful thought that my Lord I'll see, Just over in the glory land;
And with kindred dear there forever be, Just over in the glory land."
A. It should certainly be a joyful thought that we can join with the saints of all ages in singing praises to God: Rev. 5.13-14
B. We are promised that even though we do not know what we shall be when Jesus returns, we shall be like Him for we shall see Him as He is: 1 Jn. 3.1-3
C. Not only do we have the hope of seeing the Lord but also of being reunited with those kindred who have fallen asleep in Jesus: 1 Thes. 4.13-17
IV. Stanza 4 says that in heaven we shall give glad hosannas to Christ the King
"With the blood-washed throng I will shout and sing, Just over in the glory land;
Glad hosannas to Christ, the Lord and King, Just over in the glory land."
A. Heaven is the hope of the blood-washed throng, those who have been washed in the blood of the Lamb: Rev. 1.5-6
B. Those who now surround the throne of God in heaven are pictured as giving Him praise and honor and glory: Rev. 4.9-11
C. Thus, those whose hope it is to be there someday can likewise look forward to giving Him praise and honor and glory forever: Rev. 7.11-17. Some might object to the use of a passage from Rev. 7 to accompany a song about the eternal reward of the righteous in heaven. My understanding of Rev. 7 is that it likely pictures the great host of those saints who had been martyred by the Roman persecution and were awaiting God's vengeance on His enemies as they stood in the heavenly realm (Hades) before His throne and praised Him. I would assume that the departed souls of the righteous who are now in the Hadean world to await the second coming of Christ are engaged in the same sort of activities. However, I would also assume that what the righteous do in Paradise is very similar to what the redeemed will do in heaven, and thus I do not have the problem that some apparently do of looking at Rev. 7 as a glimpse of the praise, honor, and glory that the saints of all ages will give to God around His throne in His eternal kingdom.
CONCL.: The chorus repeats the great joy that we should feel as we contemplate heaven.
"Just over in the glory land, I'll join the happy angel band, Just over in the glory land;
Just over in the glory land, There with the mighty host I'll stand, Just over in the glory land."
Escaping the punishment of hell is certainly a valid motivation for wanting to be saved. But beyond that, the sheer delight of being with God and Christ that will be experienced in heaven should motivate us to live here in such a way that we can live forever "Just Over In The Glory Land."
"JUST AS I AM"
"Ho, ever one that thirsteth come...without money and without price" (Isa. 55.1)
INTRO.: A hymn which indicates a desire to come to the Lord is "Just As I Am" (#330 in Hymns for Worship Revised and #605 in Sacred Selections for the Church). The text was written by Charlotte Elliot, who was born in the London, England, suburb of Clapham, on Mar. 18, 1789, the daughter of Charles Elliot, an Anglican minister. In her early years she lived a carefree and happy life, within the limits set for females at the end of the eighteenth century, gaining poplarity as a portrait artist a writer of humorous verse. However, in 1821, at the age of thirty she was attacked by a serious illness which left her a bed-ridden invalid by the time she was 31, a condition that continued for the last fifty years of her life. At first she was very bitter and despondent over her situation, but in 1822 she met the noted Swiss evangelist Henri Abraham Cesar Malan. Their friendship and correspondence with each other for over forty years helped to improve her outlook considerably and as a result of his influence she decided to devote her life to humanitarian interests.
A few years later, in 1834, Charlotte's brother Henry V. Elliot who was also a minister and with whom she lived at Westfield Lodge in Brighton, was trying to establish a school for the daughters of poor ministers and organized a bazaar to raise funds for a girls' school. Everyone in the Elliot family helped except Charlotte, now a 46-year-old spinster who was too weak to assist. Lying awake that night in great pain and feeling useless, she reached for pen and paper to set down these words, intending to sell the poem to make a small contribution for the benefit of the school. However, her sister-in-law, returning home late from the bazaar, found the paper and without Charlotte's knowledge sent it to a publisher who printed it anonymously on a leaflet in 1835. The only identification was a note which said, "Sold for the benefit of St. Margaret's Hall, Brighton" (some sources say that it was St. Mary's Hall).
Later that year, when the family doctor came around for a visit with Charlotte, he had nothing in his bag for her paralysis, but he did give her a new leaflet which he had purchased to cheer shut-ins. Charlotte immediately recognized her own words, and, in fact, the sale of the leaflet made far more money for the school than did the bazaar. The next year, she went on to publish a whole book of verses called The Invalid's Handbook, which contained a number of her poems, including this one. The tune (Woodworth) was composed by a well-known American hymn-tune composer of the nineteenth century, William Batchelder Bradbury (1816-1868). It first appeared in his 1849 collection, the Third Book of Psalmody. During her life, Miss Elliot produced over 150 hymns and several other books aimed at comforting those who were ill or suffering. When she died at the age of 82 in Brighton, England, on Sept. 22, 1871, she had left behind a rich legacy.
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 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 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; and the 1963 Christian Hymnal edited by J. Nelson Slater. 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; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
This song speaks of the submission which we must have as we come to God for salvation.
I. Stanza 1 indicates that we must come to Christ
"Just as I am, without one plea, But that Thy blood was shed for me,
And that Thou biddest me come to THee, O Lamb of God, I come, I come!"
A. "Without one plea" simply means that we have no inherent righteousness of our own upon which to plead our case for God's
favor: Tit. 3.5
B. Rather, our only plea is that Christ's "blood was shed for" us: Rom. 5.8
C. Therefore, to be saved we must come to Christ, and He has promised that those who come to Him He will by no means cast out: Jn. 6.37
II. Stanza 2 reminds us that the price for our sins has already been paid for us
"Just as I am, and waiting not To rid my soul of one dark blot,
To Thee whose blood can cleanse each spot, O Lamb of God, I come, I come!"
A. Therefore, because the price has been paid, we should not wait but come now: 2 Cor. 6.2
B. And the reason that we need to come is to rid our souls of the dark spots that sin has caused on our souls: 2 Pet. 3.14
C. Of course, the price that has been paid to accomplish this the blood of Jesus: Matt. 26.28
III. Stanza 3 expresses the penitent feelings that must motivate us to come to Christ
"Just as I am, though tossed about With many a conflict, many a doubt,
Fightings within, and fears without, O Lamb of God, I come, I come!"
A. All of us are tossed about from time to time with conflicts and doubts in our souls: Gal. 5.17
B. But the fightings and fears within and without can and should lead us to genuine repentance: 2 Cor. 7.10 (some versions read, "Fightings and fears, within, without)
C. Such were the feelings of David after confessing his sin to God: Psa. 51.1-2
IV. Stanza 4 tells us that when we come to Christ, we can find all that we need
"Just as I am, poor, wretched, blind; Sight, riches, healing of the mind,
Yea all I need in Thee to find, O Lamb of God, I come, I come!"
A. Like those of Laodicea, people in sin are spiritually poor, wretched, and blind: Rev. 3:17
B. What they need to find is sight, riches, and healing: Rev. 3:18
C. To have these things, they must come to Christ because all spiritual blessings are found in Him: Eph. 1:3
V. Stanza 5 refers to the fact that we must truly believe in order to come to Christ
"Just as I am--Thou wilt receive, Wilt welcome, pardon, cleanse, relieve;
Because Thy promise I believe, O Lamb of God, I come, I come!"
A. Jesus has promised that He will receive us because He is the Lamb of God who takes away the sin of the world: Jn. 1.29
B. And the reason that He came to welcome, pardon, cleanse, and relieve is because of the love of God: Jn. 3.16
C. Therefore, we must believe,a nd Christ has said that those who thus believe in Him will be provided for: Jn. 6.35
VI. Stanza 6 points out that what makes it possible for us to come and be saved in Christ is God's love
"Just as I am, Thy love unknown Hath broken every barrier down;
Now to be Thine, yea Thine alone, O Lamb of God, I come, I come!"
A. It was God's love that sent Christ to be our sacrifice for sin: Jn. 3:16
B. This love, when one responds to it properly, can break every barrier down that would keep us from coming to Christ: Rom. 8:39
C. By such love, we come to be God's and His alone as His children: 1 Jn. 3:1
CONCL.: In 1836, when the hymn was published in The Invalid's Handbook, it is believed that Charlotte added another stanza:
"Just as I am, of that free love The breadth, length, depth, and height to prove,
Here for a season, then above, O Lamb of God, I come, I come!"
Charlotte Elliot is regarded by many as the greatest English hymnwriter of her day, and perhaps the greatest woman hymnwriter of all England. To help her overcome her early bitterness after the loss of her health, a preacher friend told her to find Christ, and when she replied that she did not know how, said, "Come to Him just as you are." She replied, "I would come to God just as I am." Of course, coming to God just as we are does not mean that there are not any changes to make or that we can go on living as we used to. It means simply that we make the decision, wherever we are and whatever we are doing. to turn from all sin and obey God's will, letting Him mold and make us into whatever He wants us to be. And in coming to Christ, we also need to have the same attitude of faith and submissiveness that Miss Elliot evidently had when she wrote, "Just As I Am."
"JOYFUL, JOYFUL, WE ADORE THEE"
"But let all those that put their trust in Thee rejoice...let them also that love Thy name be joyful in Thee" (Ps. 5.11)
INTRO.: One song that encourages us to be joyful in the Lord is "Joyful, Joyful, We Adore Thee" (#27 in Hymns for Worship Revised). The text was written by Henry Jackson VanDyke, who was born at Germantown, PA, on Nov. 10, 1852. After receiving his education at Brooklyn Polytechnic Institute, Princeton University, Princeton Theological Seminary, and the University of Berlin, he became a Presbyterian minister and began his work with the United Congregational Church of Newport, RI, in 1879. Then in 1883, he became minister with New York City's Brick Presbyterian Church. Leaving there in 1899, he was appointed to serve as professor of English literature at Princeton University in New Jersey where he continued 23 years, with an interruption from 1908 to 1909 as American lecturer at the Sorbonne in Paris, France.
Serving other universities as well, VanDyke was a member of the Board of Preachers at Harvard University. This hymn was penned in 1907 while he was a guest speaker at Williams College in Williamstown, MA, among the Berkshire Hills. His aim was to produce suitable words for the tune (Ode to Joy) taken from the final movement of the Ninth Symphony ("Choral") composed in 1824 by Ludwig van Beethovan (1770-1827). This music had already been arranged as a hymn tune in 1864 by an English-born musician who served at Trinity Church in New York City, NY, Edward Hodges (1796-1867). However, the noble melody lacked an adequate text. One morning at the breakfast table, VanDyke handed the manuscript to Mr. Garfield, the Williams college president, saying, "Here is a hymn for you. Your mountains [the Berkshires] were my inspiration. It must be sung to the music of Beethovan's 'Hymn to Joy.'"
The poem was first published in 1911 in VanDyke's Book of Poems, third edition, where it is dated 1908. Afterwards, VanDyke also served for three years, from 1913 to 1916, as United States Ambassador to the Netherlands and Luxembourg under President Woodrow Wilson, whom VanDyke had known when Wilson was President of Princeton and VanDyke was professor there. During World War I, he served as a lieutenant commander in the United States Navy Chaplain Corps beginning in 1917. In addition, he published a number of books and chaired the committee which prepared the Book of Common Worship for the Presbyterian Church. Following his retirement as professor in 1923, he spent his remaining years in Princeton, where he died on Apr. 10, 1933.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the tune was found with two other hymns in the 1963 Christian Hymnal edited by J. Nelson Slater; and the song appeared in the 1975 Supplement to the 1937 Great Songs of the Church No. 2 originally edited by E. L. Jorgenson. Today, the hymn may be found in the 1986 Great Songs Revised edited by Forrest M. McCann; the 1990 Songs of the Church 21st C. Ed. and the 1994 Songs of Faith and Praise both edited by Alton H. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, and the 2007 Sacred Songs for the Church edited by William D. Jeffcoat.
This hymn portrays the interplay between God's created world and our joy.
I. In stanza 1, the God who is manifest outwardly in creation is also the Lord who must be manifest inwardly in human life
"Joyful, joyful, we adore thee, God of glory, Lord of love;
Hearts unfold like flowers before Thee, Opening to the sun above.
Melt the clouds of sin and sadness; Drive the dark of doubt away;
Giver of immortal gladness, Fill us with the light of day!"
A. As flowers open to the sun above, so our hearts should turn toward the God of heaven and be filled with joy: Isa. 49.13
B. As the sun melts the gloomy fog, so we can ask God to drive the dark of doubt in our lives away: Mal. 4.2
C. And as the sun is the bringer of light for life, so God is the Giver of immortal gladness who can fill us with the light of day: Jas. 1.17
II. In stanza 2, we are reminded that God's physical creation speaks of
His glory and so directs our worship to the Creator Himself
"All Thy works with joy surround Thee, Earth and heaven reflect Thy rays;
Stars and angels sing around Thee, Center of unbroken praise.
Field and forest, vale and mountain, Flowery meadow, flashing sea,
Chanting bird, and flowing fountain Call us to rejoice in Thee."
A. Indeed, all of God's works point us joyfully to praise Him who made them: Ps. 145.10-12
B. Even the very stars of the heavens declare His glory and show His handiwork: Ps. 19.1-4
C. And all the fields, forests, vales, mountains, meadows, seas, birds, and fountains in this world remind us that the earth is the Lord's and call us to rejoice in Him: Ps. 24.1-2
III. In stanza 3, emphasis is now placed on the spiritual blessings that
this same creative God provides for the inner needs of man
"Thou art giving and forgiving, Ever blessing, ever blessed,
Well-spring of the joy of living, Ocean-depth of happy rest!
Thou our Father, Christ our brother, All who live in love are Thine;
Teach us how to love each other, Lift us to the joy divine."
A. The God who is giving is also forgiving so that we might have the joy of living and happy rest: Ps. 103.8-14
B. Because He is our Father, He sent Christ to partake of flesh and blood as our Brother and through death bring salvation: Heb. 2.14-18
C. Our goal should be that this same which God has shown to us, with its accompanying joy, may be ours too: Gal. 4.21-22
IV. In stanza 4, the ultimate effect of our relationship with this God is victory over the ills of life and eternal triumph as we march onward to be with God
"Mortals, join the mighty chorus Which the morning stars began;
Father love is reigning o'er us, Brother love binds man to man.
Ever singing, march we onward, Victors in the midst of strife;
Joyful music lead s us sunward In the triumph song of life."
A. God's children are invited to join the mighty chorus of joy which began at creation's dawn: Job 38.4-7
B. To do this, we must acknowledge the reign of God in love over our lives which in turn binds us to one another as fellow citizens of His kingdom: Lk. 17.20-21
C. And as we sing together and march according to His directions, we can be victors in the midst of strive: Rom. 8.37-39, 1 Cor. 15.54-57, 1 Jn. 5.4
CONCL.: VanDyke was a prolific writer and is still noted in the history of American literature as a great author and poet, but he is probably best remembered for this one majestic hymn of joyful praise. The Bible has a lot to say about the importance of genuine joy in the life of each Christian. And with trust and hope in God we can certainly find many good aspects of life which should bring us joy. But we need to remember that every good gift comes from God. Therefore, may we ever express our praise to Him as we sing, "Joyful, Joyful, We Adore Thee."
"JOY TO THE WORLD"
"Make a joyful noise unto the Lord, all the earth..." (Psa. 98.4)
INTRO.: A hymn which encourages us to make a joyful noise unto the Lord because of the coming of Christ to this earth is "Joy To The World" (#495 in Hymns for Worship Revised). The text was written by Isaac Watts (1674-1748). It first appeared, entitled "The Messiah's Coming and Kingdom" in his 1719 Psalms of David Imitated in the Language of the New Testament as his version of Psa. 98.4-9. Thus, the song is taken from the Psalm, but it is more than just a metric rendering. Watt's intention was to take the language of each Psalm and apply it to the teachings of the New Testament. The tune (Antioch) is usually identified being based on music composed by George Frederick Handel, who was born at Halle, Germany, on Feb. 23, 1685. Although he showed extraordinary musical talent at an early age, his father greatly discouraged his musical interests, preferring that his son follow the legal profession.
Still, Handel managed to study organ, harpsichord, violin, counterpoint, and fugue with F. W. Zachaw, mastering his instruments by the age of twelve, and eventually abandoned law studies for music. After playing in a Hamburg opera orchestra for four years, he went to Italy where he studied Italian opera and won considerable acclaim performing his compositions. However, after 1713, he made his home in England, being a great favorite of King George II, and became a British subject in 1727. Following great success composing Italian style operas in London, he went bankrupt in 1737 when their popularity waned. Afterwards, he abandoned opera and began writing oratorios.
Handel's most famous work, the oratorio Messiah, was finished in 1741, and it was first performed on Apr. 13, 1742. With its immediate success, Handel regained public favor. Although he became blind in 1752, he continued his musical performances as an organist for his own oratorios. His output included 46 operas, 32 oratorios, numerous cantatas, and many other organ, choral, and instrumental works before his death in London, England, on Apr. 14, 1759. This music used with "Joy to the World" appears to have been arranged from various phrases in several sections of Handel's Messiah by Lowell Mason (1792-1872). It is dated 1836 and first appeared in Mason's Modern Psalmist, published in 1839 at Boston, MA, with the note that it was "from Handel."
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 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 1935 Christian Hymns (No. 1), the 1948 Christian Hymns No. 2, and the 1966 Christian Hymns No. 3 all edited by L. O. Sanderson; and the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found in the 1917 Songs of the Church, the 1990 Songs of the Church 21st C. Ed., and the 1994 Songs of Faith and Praise all edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship Revised (not in the original edition).
This hymn offers several reasons why we can be joyful.
I. According to stanza 1, we should be joyful because the Lord is come
"Joy to the world! the Lord is come; Let earth receive her King.
Let every heart prepare Him room, And heaven and nature sing."
A. To say "the Lord is come" simply means that He has come and the effect of His coming is still with us: 1 Tim. 1.15
B. He came to be our King: Rev. 19.16
C. Therefore, every heart should make room to receive Him: Jn. 1.11-12
II. According to stanza 2, we should be joyful because the Savior is reigning
"Joy to the earth! the Savior reigns; Let men their tongues employ.
While fields and floods, rocks, hills, and plains Repeat the sounding joy."
A. This doesn't picture some millennial reign of Christ on earth after His second coming, but His present reign from heaven over His spiritual kingdom, the church, as Peter preached on Pentecost: Acts 2.30-36
B. Even the fields, floods, rocks, hills, and plains acknowledge the Lordship of Christ over the earth: Psa. 148.7-9
C. And as a result of what the Lord has done, we can be filled with joy: Phil. 4.4
III. According to stanza 3, we should be joyful because He makes His blessings flow
"No more let sin nor sorrow grow, Nor thorns infest the ground;
He comes to make His blessings flow Far as the curse is found."
A. The earth has been cursed by sin: Rom. 3.23
B. However, Jesus came to offer mankind relief from the spiritual effect of sin through the blessings that He brings: Eph. 1.3-7
C. And these blessings are available as far as the curse is found: Gen. 3.17-18
IV. There is an additional stanza which is found in the New Harmonia Sacra, first published in 1835 by Joseph Funk at Winchester, VA. It ran through fourteen editions (some of them titled Genuine Church Music) before Funk died in 1862, continued through three more additions by his sons, the last one being in 1878, and has gone through seven more editions since then. Originally in three-part harmony, the "Legacy Edition" of 1980 has transcribed the songs into the four-part harmony common today. I have a copy of Watts's Psalms and Hymns, and the one beginning "Joy to the World" has only four stanzas. I have searched through the book to see if the new stanza was borrowed from any of Watts's other Psalms or hymns and can find nothing that even resembles it, so I have no idea of its source. According to this extra stanza, we should be joyful because Jesus died for our sins.
"Blest be the Lord who sent His Son To take our flesh and blood.
He for our lives gave up His own To make our peace with God."
A. It was God who sent His only begotten Son for our salvation: Jn. 3.16
B. In coming to this earth, the Son took our flesh and blood: Heb. 2.14-15
C. His purpose in doing this was so that He could give up His life in order to make peace with God for us by the blood of His cross: Col. 1.20
V. According to stanza 4 we should be joyful because He rules the world with truth and grace
"He rules the world with truth and grace, And makes the nations prove
The glories of His righteousness And wonders of His love."
A. Because Jesus died and is now on His throne at the right hand of God, He makes his grace to abound wherever the curse of sin abounds: Rom. 5.20-21
B. And He wants all nations to hear the gospel message of salvation: Mt. 28.18-20
C. As a result, people of all nations can experience the wonders of the love of Him who tasted death for everyone: Heb. 2.14-15.
CONCL.: Some tinkering with this great hymn has been attempted. A Seventh-Day Adventist hymnbook focused it on the second coming of Christ by changing the first line to say, "Joy to the world! the Lord will come." The 1838 Social Hymns for the Use of Friends of the Rational System of Society sought to remove entirely the concept of divine incarnation by altering the first stanza to read, "Joy to the world! the light has come, The only lawful King: Let every heart prepare it room And moral nature sing." Many people consider this a so-called "Christmas carol" and sing or even think of it only during the holiday season. I once led it on a warm Sunday morning and one brother later remarked that it made him feel cooler just singing it! As a result of this, some brethren object using the song at all because they oppose all songs about the birth of Christ. However, neither Watts nor Handel had any idea of celebrating "Christmas" by their words or music. The hymn can be sung at any time as a joyful proclamation of of praise to Christ for His coming to save sinful mankind. Indeed, our message to the whole earth should be that in Christ there is truly "Joy to the World."
"JESUS, WONDERFUL THOU ART"
"Who is the image of the invisible God, the firstborn of every creature" (Col. 1.15)
INTRO.: A hymn which identifies Jesus Christ as the image of the invisible God is "Jesus, Wonderful Thou Art." The text was written by Forrest Mason McCann, who was born at Lometa, TX, on Oct. 12, 1931, the son of Dewey Forrest and Jean Olive Salyer McCann. His mother was a descendant of Francis Redford, who settled on land that is now part of Richmond, VA, in 1635. After receiving an education in the public schools of Texas, Forrest attended Florida (Christian) College in Temple Terrace, FL; the University of Florida; and Texas Tech University, where his Ph. D. dissertation was entitled, "The Development of the Hymn in Old and Middle English Language." Having married Clara Lugenia Moore of Gainesville, FL, in 1952, he is the father of three children, Forrest, John, and Carol. While preaching among churches of Christ since 1947, he taught three years in the public schools of Florida, from 1965 to 1968, and then was Professor of English Literature and Language at Abilene Christian University in Abilene, TX, from 1968 to 1996. Also he has served as both a deacon and an elder in the church. In 1973, he was working on the Supplement to Great Songs of the Church No. 2, which had originally been published in 1937 by E. L. Jorgenson, with Bill W. Davis (b. 1917).
In seeking to maintain the alphabetical arrangement of the hymnbook, they discovered that they needed to fill half a page. Davis said that he had composed a tune (Davis) several years before, in the early 1950's, and gave McCann the meter. McCann had been reading the book of Colossians in his own private study at the time and produced a text that was the overflow of that study and designed to fit the meter of Davis's melody. When they brought the words and the music together, they seemed to fit well. The hymn was copyrighted in 1974 and first published in the Supplement in 1975. Since then, McCann served as chairman of the Revision Committee and general editor of Great Songs Revised in 1986, which also included the hymn, and was the author of Hymns and History: An Annotated Survey of Sources, which is the handbook to Great Songs of the Church. He is now retired and lives in Abilene, TX . Among other hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song 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; in addition to the Supplement to Great Songs of the Church No. 2 and Great Songs Revised.
The song identifies characteristics of Jesus for which He is to be praised.
I. Stanza 1 talks about His omniscience, knowing every heart
"Jesus, wonderful Thou art, Wholly God in every part,
Yet Thou knowest every heart: Dwell in us today."
A. The prophet Isaiah included the name "Wonderful" in the description of the Messiah whose coming he foresaw: Isa. 9.6-7
B. Jesus Christ is wholly God in every part because in Him dwells all the fullness of the godhead bodily: Col. 2.9
C. Because He is divine, He knows every heart: Jn. 2.24-25
II. Stanza 2 talks about His omnipotence, being all powerful in creation
"Lord of angel hosts above, Moving force of all that moves,
Firstborn, King, Thy name is love: Dwell in us today."
A. Jesus is Lord of angel hosts above, and all the angels worship Him: Heb. 1.6
B. He is moving force of all that moves because all things were made through Him: Jn. 1.1-3
C. Because of His love for us, He is King, sitting at the right hand of the Majesty in heaven: Heb. 8.1
III. Stanza 3 talks about His omnipresence
"Though we cannot see Thy face, Jesus, Lord of far-flung space,
While Thou rulest every place, Dwell in us today."
A. Because Jesus is now in heaven, we cannot see His face: 1 Pet. 1.8
B. Yet, He is still Lord of far-flung space and upholds all things by the word of His power: Heb. 1.1-3
C. Therefore, we know that He rules in every place because there is nowhere that we can flee from His presence: Ps. 139.7
CONCL.: What is so amazing is that this being who is infinite in His omniscience, omnipotence, and omnipresence can "dwell in us today" if we just submit to His will and obey Him. Many of the religious songs being written today, even by those associated with churches of Christ, partake of the "praise song" character, tending to be extremely repetitious and highly emotional. In contrast, this is a good example of a modern day hymn which actually expresses intelligent praises to our Lord. Because of what He has done for us, may we always love Him to the point of telling Him, "Jesus, Wonderful Thou Art."
(Words and music copyright 1974 by Great Songs Press/ACU Press)
"JESUS WILL GIVE YOU REST"
"Come unto Me...and I will give you rest" (Matt. 11.28)
INTRO.: A song which encourages the lost to come and receive the rest that Jesus offers is "Jesus Will Give You Rest" (#333 in Hymns for Worship Revised and #594 in Sacred Selections for the Church). The text was written by Frances (Fanny) Jane Crosby VanAlstyne (1820-1915). The tune was composed by John Robson Sweney (1837-1899). The song was copyrighted in 1878, but the first known publication seems to have been in the 1889 Redemption Songs edited by Sweney, William James Kirkpatrick, and John J. Lowe for John J. Hood of Philadelphia, PA. It has been observed that the works of Fanny Crosby would probably never be considered of great literary merit. However, her poems and hymns evidently touched a responsive chord in many people of the late nineteenth century and were wildly popular in her time. As she produced over 8,000 sacred lyrics, many of these have not stood the test of time and are now forgotten. Yet, even today, among those religious groups considered "evangelical," a causal look at most of their hymnbooks would likely reveal that there are more gospel songs by Fanny Crosby than by any other single author, and many of them are still very well-known and beloved.
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 Gospel Advocate's 1927 Sweeter Than All Songs edited by C. M. Pullias; their 1935 Christian Hymns (No. 1) and 1948 Christian Hymns No. 2 (but not the 1966 No. 3), both edited by L. O. Sanderson; the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the Firm Foundation's 1938/1944 (New) Wonderful Songs edited by Thomas S. Cobb; their 1959 Majestic Hymnal No. 2 and 1978 Hymns of Praise both edited by Reuel Lemmons; the 1963 Abiding Hymns edited by Robert C. Welch; the 1963 Christian Hymnal edited by J. Nelson Slater; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. Today, it may 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; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship and Sacred Selections.
The song invites those who are weary to come to Jesus for rest.
I. Stanza one emphasizes the need
"Will you come, will you come, With your poor, broken heart, Burdened and sin oppressed?
Lay it down at the feet of your Savior and Lord, Jesus will give you rest."
A. The reason why we need to come to Jesus is that our hearts are broken and not right with God: Acts 8.21
B. The reason that our hearts are broken is that they are burdened and oppressed with sin: Rom. 3.23
C. However, we can lay our hearts at the feet of Jesus who is our Savior and Lord, bowing in complete submission to His will, to receive His rest: Rev. 1.17
II. Stanza two emphasizes the reward
"Will you come, will you come? There is mercy for you, Balm for your aching breast;
Only come as you are, and believe on His name, Jesus will give you rest."
A. If we come to Jesus in complete submission to His will, there is mercy available for us: Eph. 2.4-6
B. And through His mercy, God offers us balm for our aching breasts: Jer. 8.22
C. However, coming to Jesus that we might receive this balm, we must come as we are and believe on His name. New Wonderful Songs changed this line to, "Only come unto Him, and believe on His name," apparently with the idea that the original might encourage people to come to Jesus "as they are" without repentance. However, this is not necessarily the case, but the line can be understood simply to urge people not to wait until they can make themselves better or pull themselves up by their own bootstraps but to come "as they are" now in the same way another song says, "Just as I am." Then, Sacred Selections changed this line to "Obey Jesus your Lord, heed His every command," apparently with the idea that the original sounded too much like salvation by faith alone. However, this is not necessarily the case either. The song does not say that all a person has to do to be saved is to believe, but it says that we must believe on His name, and we can understand this in the same way that many passages of scripture use the words "believe" and "faith" to involve all of our response to God's offer of grace, including our obedience to His will: Jn. 3.16
III. Stanza 3 emphasizes the price
"Will you come, will you come? You have nothing to pay; Jesus, who loves you best,
By His death on the cross purchased life for your soul, Jesus will give you rest."
A. We have nothing to pay because God offers His salvation as a free gift: Isa. 55.1
B. The price has already been paid by Jesus, who loves us best: 1 Jn. 3.16
C. And the price that He paid was the blood that He shed by His death on the cross so that we could have redemption: Eph. 1.7
IV. Stanza 4 emphasizes the call
"Will you come, will you come? How He pleads with you now! Fly to His loving breast;
And whatever your sin or your sorrow may be, Jesus will give you rest."
A. Jesus, through His inspired messengers who recorded the scriptures, pleads with us to come to Him that we might be reconciled to God: 2 Cor. 5.20
B. Therefore, we must flee to His loving breast that we might find refuge and lay hold on the hope set before us: Heb. 6.18
C. And He has promised that when we do so, whatever burden of sin or sorrow we may have, we can cast it on Him: Ps. 55.22
CONCL.: The chorus continues to remind us of the rest that Jesus offers to all mankind and gives to those who come to Him:
"O happy rest! Sweet, happy rest! Jesus will give you rest.
Oh! Why won't you come in simple, trusting faith? Jesus will give you rest."
Unfortunately, not everyone will respond to the call of the gospel. But for those who are tired of the paths of sin and long for a better way, it is truly good news that we can share when we tell them, "Jesus Will Give You Rest."
"JESUS WALKED THIS LONESOME VALLEY"
"For every man shall bear his own burden" (Gal. 6.5)
INTRO.: A song which encourages us to bear our own burdens by reminding us that Jesus did so in His earthly life and death is "Jesus Walked This Lonesome Valley." The text is an American folk song from traditional sources. The tune (Lonesome Valley) is an African-American folk melody or spiritual. There seem to be four traditional stanzas. Hymns for the Family of God (1976, Brentwood-Benson Music), edited by Fred Bock, has an additional stanza by Erna Moorman. "As we walk our lonesome valley, We do not walk it by ourselves, For God sent His Son to walk it with us, We do not walk it by ourselves." Praise: Our Songs and Hymns (1979, Zondervan Music), edited by Norman Johnson, has an additional stanza by Frank Anderson. "Now in every lonesome valley, The trials and sorrows we must face, O Jesus Himself will be there with us--To fill the shadows with His grace."
Worship and Rejoice (2001, Hope Publishing Company), edited by George H. Shorney, has three additional stanzas by Jack Schrader.
2. "Jesus prayed for His disciples; He prayed alone for you and me.
O, nobody else could bear such sorrow; He prayed alone for you and me."
3. "Jesus died on Calvary's mountain; He died alone for you and me.
O, nobody else could die for sinners; He had to die for you and me."
4. "Jesus rose from death's dark prison; He lives again for you and me.
O, nobody else could bring us victory; He is alive to set us free."
With all due respect to these attempts to complete the meaning of the song, I have taken the liberty of adding a fifth stanza of my own (I actually did it in 1994). Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in an arrangement by Jack Boyd in the 1975 supplement to the 1937 Great Songs of the Church No. 2 originally edited by E. L. Jorgenson. Today, it may be found in the 1977 Special Sacred Selections arranged by the editor Ellis J. Crum; 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, both with the Boyd arrangement; and in the 1994 Songs of Faith and Praise arranged by the editor Alton H. Howard.
The song compares the experiences of Jesus to the lives that we must lead as we journey toward heaven.
I. Stanza 1 says that Jesus walked this lonesome valley
"Jesus walked this lonesome valley, He had to walk it by Himself;
O nobody else could walk it for Him--He had to walk it by Himself."
A. The concept of Jesus walking this lonesome valley symbolizes the fact that He left heaven and came to live on this earth: Phil. 2.5-6
B. He had to walk it by Himself in that He came to His own and His own received Him not: Jn. 1.11
C. Nobody else could walk it for Him because only He, as the sinless Son of God, could accomplish God's purpose: Heb. 4.15
II. Stanza 2 says that we likewise must walk this lonesome valley
"I must walk this lonesome valley, I have to walk it by myself;
O nobody else can walk it for me--I have to walk it by myself."
A. Walking this lonesome valley symbolizes our lives upon this earth: 2 Cor. 5.7
B. We have to walk it by ourselves in that the world will not love us if we follow Christ: Jn. 15.18-21
C. Nobody else can walk it for us because each one of us must take up the cross and follow Him: Matt. 16.24
III. Stanza 3 says that Jesus had to stand His trial
"Jesus went to stand His trial, He had to stand it by Himself;
O nobody else could stand it for Him--He had to stand it by Himself."
A. Jesus went to stand His trial: Matt. 27.1-2
B. He had to stand it by Himself because all His disciples forsook Him and fled: Mk. 14.50
C. Nobody else could stand it for Him because He alone was qualified to taste death for every man: Heb. 2.9
IV. Stanza 4 says that we likewise must stand our trial
"You must go and stand your trial, You have to stand it by yourself;
O nobody else can stand it for you--You have to stand it by yourself."
A. In addition to the trials of this life, we must stand trial before the judgment seat of God: Acts 17.30-31
B. We will have to stand there by ourselves because each one must give account of himself: Rom. 14.12
C. Nobody else can stand there for us because each one will receive the things that he has done: 2 Cor. 5.10
V. Stanza 5 says that when we walk death's lonesome valley Jesus will go with us
"When I walk death's lonesome valley, I will not walk it by myself,
But Jesus the Lord will walk it with me, For He has walked it by Himself."
A. Someday all of us will walk through the valley of the shadow of death: Ps. 23. 4
B. However, we shall not have to walk it by ourselves because Jesus has promised that He will be with us: Matt. 28.20
C. The reason why He can promise this is that He has walked it Himself and thus already entered as our forerunner into the veil: Heb. 6.19-20
CONCL.: For a long time, African-American spirituals were not included in hymnbooks used in white American churches. However, this has changed over the past few years because, as Edwin John Stringham has noted, "They express, through singularly original words and music, the deepest religious emotions and feelings of a transplanted and enslaved people, seeking hope and redemption and final rest with their God." Few today may have experienced literal slavery, but all Christians have at one time been slaves to sin, and as we struggle through the trials and difficulties of this life it should be of great comfort and assurance to be reminded that "Jesus Walked This Lonesome Valley."
"JESUS, THY NAME I LOVE"
"Wherefore, God also hath highly exalted Him, and given Him a name which is above every name" (Phil. 2.9)
INTRO.: A hymn which places great emphasis on the name of Jesus and what it means is "Jesus, Thy Name I Love." The text was written by James George Deck, who was born on Nov. 1, 1807, at Bury St. Edmunds in Suffolk, England, the oldest son of John Deck. Educated for the army, he became an officer in the Indian service. After retiring from the army, he joined the Plymouth Brethren and began producing hymns. His first collection was Hymns for the Poor of the Flock in 1838, and the next was Psalms and Hymns in 1842, which Julian says contained this hymn. In 1843 Deck undertook work as minister with a congregation at Wellington in Somerset. In 1851 he went abroad and in 1852 settled in New Zealand. Sometimes the date of 1853 is given for this hymn's origin. That may be the year that major alterations were made in the hymn which were then published in the 1855 Psalms and Hymns for Public and Social Worship. Deck's later collections include Wellington Hymn Book of 1857, Hymns and Spiritual Songs of 1860, and Hymns and Sacred Poems of 1876, and he is credited with over 37 hymns. He died at Moteuka, New Zealand, on Aug. 14, 1884.
The tune (Lyte) was composed by Joseph Perry Holbrook (1821-1888). It is dated 1865 and was likely first published that year in Charles S. Robinson's Songs of the Sanctuary, of which Holbrook was the music editor. Holbrook was also editor of the 1878 Methodist Hymnal, but the tune does not occur there or in any other Methodist hymnal. Holbrook is best known for a tune (Refuge) which is often used as an alternate melody for Charles Wesley's "Jesus, Lover of My Soul." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Jesus, Thy Name I Love" appeared in the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson. 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 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand.
The song identifies several concepts that are related to the name of Jesus.
I. Stanza 1 says that the name of Jesus is above all other names
"Jesus, Thy name I love, All other names above, Jesus, my Lord!
O Thou art all to me; Nothing to please I see, Nothing apart from Thee, Jesus, my Lord!"
A. Jesus has been given a name that is far above all principality, power, dominion, and every name that is named: Eph. 1.20-21
B. Therefore, He should be all to us: Col. 3.11
C. There is nothing to see apart from Him because He is the way, the truth, and the life, and no one can come to the Father except by Him: Jn. 14.6
II. Stanza 2 ways that the name of Jesus shows His love
"Thou, blessed Son of God, Hast bought me with Thy blood, Jesus, my Lord!
How mighty is Thy love, All other names above, Love that I daily prove, Jesus, my Lord!"
A. Jesus Christ is the blessed Son of God: Matt. 16.16
B. As the blessed Son of God He has bought us with His blood: Rev. 5.9
C. The reason that He did this is because of His mighty love for us: 1 Jn. 3.16
III. Stanza 3 says that the name of Jesus is our refuge
"When unto Thee I flee, Thou wilt my refuge be, Jesus, my Lord!
What need I now to fear, What earthly grief or care, Since Thou art ever near? Jesus, my Lord!"
A. We can flee to Jesus for refuge: Heb. 6.18
B. With Him as our refuge, we have nothing to fear: Heb. 13.5-6
C. He has promised to be ever near so that we can cast all our cares upon Him: 1 Pet. 5.7
IV. Stanza 4 says that the name of Jesus will bring happiness when He comes
"Soon Thou wilt come again; I shall be happy then, Jesus, my Lord!
Then Thine own face I'll see, Then I shall like Thee be, Then evermore with Thee, Jesus, my Lord!"
A. Someday Jesus will come again: Acts 1.11
B. Then we shall be happy because we shall see His face and be like Him: 1 Jn. 3.2
C. Then we shall also be with Him evermore because He will give us eternal life in the world to come: Mk. 10.29-30
CONCL.: It has been said that the majority of Deck's hymns are about the second coming of Christ in some way or another. From a personal standpoint, I have a little trouble with songs which say things like, "Soon Thou wilt come again," because statements like that seem to imply that we have some knowledge as to when Jesus will come again, whereas the Bible says, "But of that day and hour no one knows, not even the angels in heaven, nor the Son, but only the Father" (Mk. 13.32). When I have copied this song to teach it, I have just taken some correction fluid and marked out the "on" in "Soon" and left just "So." Be that as it may, certainly as I think of all the Jesus has done for me and thus means to me, I should have no difficulty telling Him, "Jesus, Thy Name I Love."
"JESUS, THOU JOY OF LOVING HEARTS"
"We also joy in God, through our Lord Jesus Christ, by whom we have now received the atonement" (Rom. 5.11)
INTRO.: A hymn which speaks of the joy that we have through our Lord Jesus Christ is, "Jesus, Thou Joy Of Loving Hearts" (#26 in Hymns for Worship Revised). The text is taken from a 192-line medieval devotional poem, Jubilus Rhythmicus de Nomine Jesu, also called The Rosy Hymn or the Jubilee Rhythm, based on the Song of Solomon, long attributed to a French monk, Bernard of Clairvaux (c. 1090-1153). It first appeared in the 12th century, around 1150. Other hymns taken from this poem include "Jesus, The Very Thought of Thee" ("Jesu, dulcis memoria") and "O Jesus, King Most Wonderful" ("Jesu, Rex admirabilis").
The translation/paraphrase of lines 4, 3, 20, 28, and 10 from the section "Jesu, dulcedo cordium," was made by Ray Ralmer (1808-1887). It was first published in The Sabbath Hymn Book, compiled by Lowell Mason, Edwin A. Park, and Austin Phelps at Andover, MA, in 1858. Palmer, an American Congregationalist preacher, is best-known as the author of "My Faith Looks Up To Thee." This text was later included in Palmer's Poetical Works of 1876.
These words have been set to many different tunes. Many denominational books use one (Quebec or Hesperus) composed in 1854 by Henry Baker and first published in 1862, which most of our books have used with John Bowring's hymn "Father And Friend, Thy Life, Thy Love" (Hymns of Worship Revised uses it with "Father of Heaven, Whose Love Profound" and "Take Up Your Cross"). For "Jesus, Thou Joy of Loving Hearts," all of our books have used a tune (Maryton) composed in 1874 by Henry Percy Smith, although the same tune is most often associated with Washington Gladden's hymn, "O Master, Let Me Walk With Thee." Some older books have one (Wescott or Panis Coeli) composed, probably for this hymn, in 1872 by Joseph Barnby (1838-1896).
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christhe text was used in the 1922 edition of the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson. Today it can 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 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship. It does not appear to be as widely used among us as "Jesus, The Very Thought Of Thee," but it is still a good hymn.
The song reminds of us the blessings in Christ that bring joy to our hearts.
I. In stanza 1, Christ is pictured as the fount of life and light
"Jesus, Thou joy of loving hearts, Thou fount of life, Thou light of men,
From all the bliss that earth imparts We turn unfilled to Thee again."
A. John identifies Christ as the source of both life and light for mankind: Jn. 1.1-4
B. This is set in contrast to "all the bliss that earth imparts": Col. 3.1-2. Palmer's original wording was "From the best bliss that earth imparts," but I assume that this was changed because it is not easy to say "best bliss" when singing the hymn
C. However, the "best bliss" of earth cannot satisfy our innermost needs and longings, so we must turn, unfilled, to the Lord: Ps. 42.1-2
II. In stanza 2, Christ is pictured as the truth that saves
"Thy truth unchanged hath ever stood; Thou savest those that on Thee call;
To them that seek Thee, Thou art good, To them that find Thee, all in all."
A. Only truth can make us free, and Christ Himself is that truth, which is then revealed to us in His word: Jn. 8.32, 14.6, 17.17
B. Because of this truth, Christ will save all those who truly call on Him: Acts 2.21, 1 Tim. 1.15
C. And to those who do seek and find Him, He becomes the all in all: Col. 3.11
III. In stanza 3, Christ is pictured as the living bread and water
"On Thee we feed, Thou living bread, And long to feast upon Thee still;
We drink of Thee, the Fountain Head, Whose streams each thirsting soul to fill!"
A. Again, Christ identified Himself as the living bread: Jn. 6.35, 41. Palmer's original wording read "We taste Thee, O Thou Living Bread," which I assume again was changed because it was not regarded as melifluous enough.
B. Christ is also the fountain of living water: Jn. 4.14
C. And all who come to this fountain for living water will have their thirst filled: Jn. 7.37-38. Palmer's original wording read, "And thirst
our souls from Thee to fill." I do not know precisely why this was changed.
IV. In stanza 4, Christ is pictured as our rest
"Our restless spirits yearn for Thee, Where'er our changeful lot is cast--
Glad, when thy gracious smile we see, Blest, when our faith can hold Thee fast."
A. Jesus Christ offers rest for our restless spirits: Mt. 11.28-30
B. When we receive this rest, we can, through spiritual eyes, see His glad smile and be glad: Phil. 4.4
C. And by holding fast to Him in faith, we can be blessed: Matt. 5.3-10
V. In stanza 5, Christ is pictured as an eternal presence in our lives
"O Jesus, e'er with us stay; Make all our moments calm and bright;
Chase the dark night of sin away, Shed o'er the world Thy holy light."
A. Christ has promised to be with His people as we allow Him to dwell in our hearts by faith: Mt. 28.20, Eph. 3.17
B. His presence will chase the dark night of sin away form us: Eph. 5.8-14
C. And He will shed over us, and through us over the world, His holy light: 1 Thess. 5.4-8
CONCL.: Some have criticized hymns such as this because they sound too much like a medieval monk, cloistered in his monastery and separated from the real world. While it is true that the Bible does not authorize monasticism and that we as Christians must live in the real world, at the same time we are not to be of this world. As we live in the midst of a crooked and perverse generation, maybe we could use a little more of the same devotional spirit as the medieval monks to help keep us unspotted from the world as we spend some time addressing our thoughts to "Jesus, Thou Joy Of Loving Hearts."
"JESUS, THE VERY THOUGHT OF THEE"
"In whom, though now ye se Him not, yet believing, ye rejoice..." (1 Pet. 1.8)
INTRO.: A song which expresses great joy as a result of believing in Christ is "Jesus, The Very Thought Of Thee" (#49 in Hymns for Worship Revised). The text is taken from "Dulcis Jesu memoria," a section of an anonymous Latin poem, Jubilus Rhythmicus de Nomine Jesu, which has long been attributed to a French monk, Bernard of Clarivaux, who was born at Les Fontaines near Dijon, France, around 1090. His life began in the castle of his father, a French knight who was a friend of the Duke of Burgundy and perished in the First Crusade. After receiving his education at Chatillon, Bernard, with a group of about thirty other noblemen including an uncle and two brothers, entered the Cistercian monastery at Citeaux in 1112, due to the influence of his mother, a very religious woman. Three years later, in 1115, with twelve other monks he founded the monastery at Clairvaux, from which he later established sixty-eight more monasteries. A highly respected person in his day, he achieved a position of great influence. In 1130 he helped choose the pope, and in 1146, he was chosen by the pope to prepare the people for the Second Crusade. After its failure, he retired from public life.
Around 1150 this poem, also called the Rosy Hymn or the Jubilee Rhythm, appeared. There is serious doubt today as to whether Bernard actually authored this work. However, it is generally agreed that, whoever wrote it, it does reflect the type of religion that characterized Bernard, with his mystic faith and emotional intensity. This sort of life was typical of the monks in Barnard's day, and the hymn writers of his age were primarily monks. Two other hymns have been taken from this same poem, "O Jesus, King Most Wonderful" also translated by Edward Caswall, and "Jesus, Thou Joy of Loving Hearts" translated and paraphrased by Ray Palmer, author of "My Faith Looks Up To Thee." After writing a number of books, including works on church government, monasticism, and other religious topics, Bernard, whose own self-discipline was so sever that it permanently broke his health, died at Clairvaux on Aug. 20, 1153.
The portion of the famous medieval poem which forms this hymn was translated by Edward Caswall (1814-1878). The son of an Anglican minister who himself became an Anglican minister in 1840, he resigned his position to enter the Roman Catholic Church in 1847. His most significant work was the 1849 Lyra Catholica, which contained 197 English translations of Latin hymns, including this one, from the Roman Breviary and other sources. The tune (St. Agnes) was composed for these words by John Bacchus Dykes (1823-1876). It was first published at London, England, in Grey's 1866 Hymnal for Use in the English Church. 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 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 1948 Christian Hymns No. 2 and the 1966 Christian Hymns No. 3 (both with a different tune) edited by L. O. Sanderson; and the 1963 Christian Hymnal edited by J. Nelson Slater. 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; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship.
The hymn mentions several reasons why we can find such great joy in Christ.
I. The first stanza reminds us that Jesus provides the sweetness for which we seek
"Jesus, the very thought of Thee With sweetness fills my breast;
But sweeter far Thy face to see, And in Thy presence rest."
A. Like the thought of water brooks to the panting deer, so should the thought of Jesus be to us: Psa. 42.1-2
B. And those who hunger and thirst after righteousness can have their breasts filled with the sweetness of Christ: Matt. 5.6
C. However, even sweeter is the prospect of seeing His face: 1 Jn. 3.1-2
II. The second stanza tells us that Jesus offers us the salvation that we need
"Nor voice can sing, nor heart can frame, Nor can the memory find
A sweeter sound than Thy blest name, O Savior of mankind!"
A. What Jesus has done to provide salvation for us could never have entered the heart of man: 1 Cor. 2.9
B. But all that Jesus has done to make salvation possible is summed up in the sweetness of His blest name: Acts 4.12
C. And His name means that He is the Savior of mankind: Matt. 1.21
III. The third stanza says that Jesus gives us the hope for which we search
"O Hope of every contrite heart! O joy of all the meek!
To those who fall, how kind Thou art! How good to those who seek!"
A. Jesus alone is the Hope of every contrite heart: Col. 1.27
B. But that hope is given only to those who are meek: Matt. 5.5
C. And this hope is attainable because His mercy makes possible to fallen mankind forgiveness of the sins that would keep us out of heaven: 1 Tim. 1.13-15
IV. The fourth stanza teaches that Jesus showers us with the love which we require
"But what to those who find? Ah, this Nor tongue nor pen can show--
The love of Jesus, what it is, None but His loved ones know."
A. There are many spiritual blessings available for those who find Christ: Eph. 1.3
B. All these blessings are the result of the great love which He had for us: Jn. 3.16
C. This wonderful love of Jesus is so great that no tongue nor pen can tell the height, breadth, and length of it, yet His loved ones can comprehend the love that passes understanding: Eph. 3.17-19
V. The fifth stanza points out that Jesus is the source of the true prize for which we long
"Jesus, our only joy be Thou, As Thou our prize wilt be;
Jesus, be Thou our glory now, And through eternity."
A. Jesus is our only joy because true joy can be found only in Him: Phil. 4.4
B. And He holds out the prize toward which we press: Phil. 3.14
C. Thus, we understand that our relationship with Christ benefits us both in the life which now is and in the life which is to come: 1 Tim. 4.8
CONCL.: While the Bible certainly does not authorize monasticism, Bernard is considered an example of an uncorrupted life and true piety in an age when even "the church" had degenerated into great moral and spiritual decay. He may or may not have been the source of this hymn. But as we also live in the midst of a crooked and perverse generation, we can still use these words to express the great joy of our relationship to the Lord as we say to Christ, "Jesus, The Very Thought of Thee."
"JESUS, THE LOVING SHEPHERD"
"I am the good shepherd, and know My sheep...and they shall hear My voice" (John 10.14-16)
INTRO.: A song which identifies Jesus as the good shepherd and encourages people to hear His voice is "Jesus, The Loving Shepherd" (#272 in Hymns for Worship Revised and #167 in Sacred Selections for the Church). The text was written and the tune was composed both by William Augustine Ogden (1841-1897). Born in Franklin County, OH, he moved with his family to Indiana at age six and began studying music in local singing schools at age eight. After serving in the Civil War with the 30th Indiana Volunteer Infantry, he studied music with Lowell Mason, Thomas Hastings, E. E. Baily, and B. F. Baker, and became widely known as a music teacher.
Also, Ogden became interested in composing and publishing religious music. His first book, "Silver Song," came out in 1870. Some of his songs which are familiar to us include "He Is Able To Deliver Thee" and "Seeking The Lost." In addition, he provided melodies for songs by others, including "All Things Are Ready (Come To The Feast)" and "Bring Them In." The song "Jesus, The Loving Shepherd" was copyrighted in 1885, but I have not been able to find a source for its original publication. In 1887, Ogden was appointed supervisor of music for the public schools of Toledo, OH, where he remained until his death.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Jesus, The Loving Shepherd" appeared in the 1921 Great Songs of the Church (No. 1), edited by E. L. Jorgenson, but was omitted from No. 2 published in 1937; the Gospel Advocate's 1948 Christian Hymns No. 2 and 1966 Christian Hymns No. 3 both edited by L. O. Sanderson; and the 1963 Abiding Hymns edited by Robert C. Welch. Today it may be found 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, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat. It is often used as an invitation song.
The song urges us to follow Jesus as our Shepherd that we might be safe in Him.
I. Stanza 1 talks about what Jesus our Shepherd does
"Jesus, the loving Shepherd, Calleth thee now to come
Into the fold of safety, Where there is rest and room;
Come in the strength of manhood, Come in the morn of youth,
Enter the fold of safety, Enter the way of truth."
A. He calls us now to come that we might have rest: Matt. 11.28-30
B. He wants us to come into the fold of safety, which is the church: Acts 2.47, 1 Cor. 12.13
C. And He desires that we come as soon as possible, "in the strength of manhood," and even "in the morn of youth": Eccl. 12.1, 2 Cor. 6.2
II. Stanza 2 talks about what Jesus our Shepherd has already done for us
"Jesus, the loving Shepherd, Gave His dear life for thee;
Tenderly now He's calling, 'Wanderer, come to Me.'
Haste! for without is danger. 'Come,' cries the Shepherd blest;
Enter the fold of safety, Enter the place of rest."
A. He gave His dear life for us: Rom. 5.8, 1 Cor. 15.1-4
B. Therefore, by His death, He has made it possible for us to come to God: Jn. 3.14-16, 6.44-45, 12.32-34, 14.6
C. And through Him, we can escape from the danger that is in this world through sin: 2 Pet. 1.3-4
III. Stanza 3 talks about what Jesus our Shepherd will do for us when we come to Him
"Lingering is but folly; Wolves are abroad today,
Seeking the sheep who're straying, Seeking the lambs to slay.
Jesus, the loving Shepherd, Calleth thee now to come;
Enter the fold of safety, Where there is rest and room."
A. He will help to keep us from the wolves that are abroad: Matt. 7.15-20, Acts 20.29-32
B. He will protect us from these who are doing the bidding of Satan, who seeks whom He may devour: 2 Cor. 11.13-15, 1 Pet. 5.8
C. And He will afford us a place of safety from the temptations of this world: 1 Cor. 10.13, Gal. 1.4, Col. 3.1-3
CONCL.: The chorus reminds us that this Shepherd is lovingly and tenderly calling those who are wanderers to come to Him.
"Lovingly, tenderly, calling is He, 'Wanderer, wanderer, come unto Me;'
Patiently waiting there, standing I see, Jesus, my Shepherd divine."
And since all responsible human beings have sinned, at one time or another we all need to heed that call. There are many figures of speech used in the Bible of Jesus, especially in the book of John, that give us mental pictures of His blessings--the light of the world, the bread of life, the living water. But it is especially good to know that whether sheep in God's fold or wandering lambs in the world, we have the care and concern of "Jesus, The Loving Shepherd."
"JESUS SHALL REIGN"
"He shall have dominion also from sea to sea, and from the river unto the ends of the earth" (Ps. 72.8)
INTRO.: A hymn based upon Psalm 72 is "Jesus Shall Reign." The text was written by Isaac Watts (1674-1748). The second part of his paraphrase of the 72nd Psalm originally in eight stanzas (Part I has six more stanzas) and entitled "Christ's Kingdom Among the Gentiles," it was first published in his 1719 Psalms of David Imitated in the Language of the New Testament, and is said to have been translated into more languages and dialects than any other hymn by Watts. The most commonly used tune (Duke Street) used with it was composed by John Hatton and in our books has usually been associated with John Needham's "Awake My Tongue, Thy Tribute Bring." Instead, our books have used a tune (Mainzer) composed by Joseph Mainzer, who was born at Treves, Germany, on Mar. 7, 1801, and served as a chorister at Treves Cathedral where he received his early education at the Maitrise. Later he studied engineering at Darmstadt, Munich, and Vienna, and worked in the mines at Saarbrucken for a while but eventually became a singing teacher and journalist. Ordained a priest in Germany in 1826, he taught at a seminary there.
After leaving Germany for political reasons in 1833 and living in Brussels, Belgium, from 1833 to 1839, and Paris, France, for a short time, Mainzer moved to England in 1839. This tune first appeared in his 1841 Choruses published in London as a setting for a paraphrase of Psalm 107. During the time that Mainzer lived in Edinburgh, Scotland, from 1842 to 1847, he became an avide promoter of the teaching of sight singing and published Mainzer's Musical Times and Singing Circular, which became just The Musical Times in 1847 after being taken over by Novello. After moving to Manchester, Mainzer died at Salford, Higher Brougthon, near Manchester, England, on Nov. 10, 1851. 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 1925 edition of the 1921 Great Songs of the Church (No. 1; words only) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson. Today, the text is found with the Hatton tune in the 1986 Great Songs Revised edited by Forrest M. McCann, and with both tunes in the 1992 Praise for the Lord edited by John P. Wiegand.
The song uses the Psalm to extol God's kingdom and its spread throughout the world.
I. Stanza 1 emphasizes the reign of Christ
"Jesus shall reign where'er the sun Doth his successive journeys run;
His kingdom stretch from shore to shore, Till moons shall wax and wane no more."
A. The Bible teaches that Jesus is now reigning because He was raised up to sit on David's throne: Acts 2.30-31
B. This reign will exist wherever the sun shines, from shore to shore, and would encompass all nations: Isa. 2.2-3
C. Also, it will continue till moons shall wax and wane no more, that is, forever: Dan. 2.44
II. Stanza 2 emphasizes worship through Christ
"To Him shall endless prayer be made, And praises throng to crown His head;
His Name like sweet perfume shall rise With every morning sacrifice."
A. Some books read, "For Him shall endless prayer be made," apparently meaning for the spread of His kingdom; some brethren object to the idea of "praying to Christ," but I would understand this simply to mean that since He is our Mediator or Advocate, we pray to God through Him: 1 Tim. 2.5, 1 Jn. 2.2
B. Not only do we pray through Him but we praise Him: Ps. 21.13
C. This worship that the redeemed offer God through Christ is symbolized by offering sacrifices: Heb. 13.15
III. Stanza 3 emphasizes the love of Christ
"People and realms of every tongue Dwell on His love with sweetest song;
And infant voices shall proclaim Their early blessings on His name."
A. People and realms of every tongue will dwell on the great love that Christ has had for us: Eph. 5.2
B. This love will be expressed in sweetest song: Col. 3.16
C. Even infant voices will proclaim the love of Christ: Ps. 8.2
IV. Stanza 4 emphasizes the blessings of Christ
"Blessings about where'er He reigns; The prisoner leaps to lose his chains.
The weary find eternal rest, And all the sons of want are blessed."
A. All spiritual blessings are found in Christ: Eph. 1.3
B. One of these blessings is spiritual freedom from the prison chains of sin: Rom. 6.17-18
C. Another one of these blessings is rest for those who are weary of the burden of sin: Matt. 11.28-30
V. Stanza 5 emphasizes the power of Christ
"Where He displays His healing power, Death and the curse are known no more;
In Him the tribes of Adam boast More blessing than their father lost."
A. Jesus is the Sun of Righteousness who has risen with healing in His wings: Mal. 4.2
B. As a result of His power, death and the curse have no more power over us: Heb. 2.14-15
C. Therefore, through Him what mankind lost in Adam, and much more, we gain in Christ: Rom. 5.14-21
VI. Stanza 6 emphasizes the honor of Christ
"Let every creature rise and bring Peculiar honors to our King;
Angels descend with songs again, And earth repeat the long amen!"
A. Every creature should bow the knee to Christ and confess His name: Phil. 2.10-11
B. Also, the angels of God should worship Him in song: Heb. 1.6
C. Indeed, the whole earth should echo their praise: Ps. 96.1
CONCL.: The two stanzas usually omitted (although some books use a composite of the last two lines of each stanza as a separate stanza, often replacing "barbarous nations" with "Western empires") are:
2. "Behold the islands with their kings, And Europe her best tribute brings;
From north to south the princes meet, To pay their homage at His feet."
3. "There Persia, glorious to behold, There India shines in eastern gold;
And barbarous nations at His word Submit, and bow, and own their Lord."
Many of the Psalms are Messianic, looking forward to the spiritual kingdom that Christ was to establish following His death, burial, resurrection, and ascension. Therefore, it is certainly fitting that we can use this particular Psalm to declare to the whole world that both now and forever "Jesus Shall Reign."
"JESUS, SAVIOR, PILOT ME"
"He commandeth even the winds and water, and they obey Him" (Lk. 8.23).
INTRO.: A hymn which asks Jesus to guide our lives even as He commanded the wind and the waters is "Jesus, Savior, Pilot Me" (#89 in Hymns for Worship Revised and #184 in Sacred Selections for the Church). The text was written by Edward Hopper, who was born in New York City, NY, on Feb. 17, 1816, the son of a merchant. Following his education at New York University and Union Theological Seminary, from which he graduated in 1842, he became a Presbyterian minister. With the exception of eleven years when he preached at Greenville and at Sag Harbor on Long Island, both in New York State, he spent his entire life in his native city. In 1870 he began work with a small congregation known as the Church of the Sea and the Land in New York City, where he served his remaining years until his death.
The Church of the Sea and the Land had been established at New York City harbor as a mission for sailors, in whom Hopper had always been deeply interested, probably through due to hiscontact with them through his father's business. The congregation consisted mainly of seamen who made their way to and from their ships. Thus Hopper ministered to sea-faring men from around the world. Having already penned many poems which he never signed or for which he used pen names, he produced this hymn, probably in 1870, for the spiritual needs of his flock. It first appeared anonymously in the March, 1871, edition of The Sailor's Magazine. Later that year, it was published in The Baptist Praise Book, with the tune (Pilot) composed by a Philadelphia, PA, musician named John Edgar Gould (1822-1875). Gould was born in Bangor, ME, and established a successful music business in Philadelphia with hymnwriter William G. Fischer. Because of ill health, he travelled to Europe and Africa, but instead of getting better he died in Algiers, Algeria.
In 1880, a special anniversary service of the Seamen's Friends Society was held at the Broadway Tabernacle in New York City. Hopper was asked to provide a new hymn for the occasion, but instead brought and read "Jesus, Savior, Pilot Me," which had already become quite well-known. Then, for the first time, he acknowleged it to be his. Eight years later, on Apr. 23, 1888, at the age of 82, he was found sitting peacefully at his desk in his New York City study, pencil in hand, having died of a heart attack while writing a new poem on the subject of "Heaven." At his funeral, someone said, "Suddenly the gentle, affectionate spirit of Edward Hopper entered the heavenly port, as he had requested--safely piloted by that never-failing friend, Jesus, whose divine voice was still tenderly whispering to him, 'Fear not, I will pilot thee.'"
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 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 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; and the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found in the 1971 Songs of the Church, the 1990 Songs of the Church 21st C., and the 1994 Songs of Faith and Praise all edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
This hymn is a reminder of our constant need for Jesus on the stormy seas of life.
I. Stanza one speaks of life's tempestuous sea with its waves, rocks, and shoals
"Jesus, Savior, pilot me Over life's tempestuous sea;
Unknown waves before me roll, Hiding rock and treacherous shoal;
Chart and compass came from Thee; Jesus, Savior, pilot me."
A. In many ways, life is like a treacherous journey upon the seas of time: Psa. 107.25-30
B. As sailors do not always know exactly what kind of waves the seas will bring them, so we do not know what the vicissitudes of life will bring us: Jas. 4:14
C. However, whether facing storms of life or peaceful days, we can always look to the Lord to provide the fulness of joy: Psa. 89.8-9
II. Stanza two uses the story of Jesus's stilling the storm as an illustration of His power to help us as well.
"When th'apostles' fragile bark Struggled with the billows dark,
On the stormy Galilee, Thou didst walk across the sea;
And when they beheld Thy form, Safe they glided through the storm."
A. The fact is that on least two occasions Jesus was with the apostles during a storm on the Sea of Galilee: Lk. 8:22.25
B. One one of these occasions, He even walked acorss the water to aid and comfort them: Matt. 14:22-33
C. In like manner, God has promised His people that if we give control of our life's ship to Him, He will give and progect us: Isa. 43:1-2
III. Stanza three reminds us that we need Christ as our pilot even when there are no disturbing storms and life seems calm
"Though the sea be smooth and bright, Sparkling with the stars of night,
And my ship's path be ablaze With the light of halcyon days,
Still I know my need of Thee; Jesus, Savior, pilot me."
A. Paul knew both how to be abased and how to abound; sometimes we find that our lives are filled with good and we abound in all things: Phil. 4:12
B. The word "halcyon" literally means "kingfisher" in Greek and refers to an ancient legend in which a bird, believed to have been the
kingfisher, was supposed to have a calming influence on the sea at the time of the winter solstice; thus it is defined as tranquil or happy, and this is certainly the kind of life that we all would like to lead: 1 Tim. 2:1-2
C. Whether facing storms of life or peaceful days, we should always look to the Lord to guide us: Ps. 31:1-3
IV. Stanza four teaches us that Jesus is the only one who can hush the ocean wild when we do face the storms of life
"As a mother stills her child, Thou canst hush the ocean wild;
Boisterous waves obey Thy will When Thou sayest to them, 'Be still!'
Wondrous Sovereign of the sea, Jesus, Savior, pilot me."
A. As a child looks to its mother to calm its fears, so we, as children of God, can look to Him to protect and provide for us in life: Jas. 1.17, 1 Jn. 3.1
B. And the same divine power which Christ manifested to still the storms on the Sea of Galilee is available to assist us in our problems: Mk. 4.35-41
C. Hence, we do not have to make our journey on the seas of life with trust in God rather than in constant fear: 2 Tim. 1.7, 1 Jn. 4.18
V. Stanza five talks about the shore where we can find peaceful rest
"When at last I near the shore, And the fearful breakers roar
'Twixt me and the peaceful rest, THen, while leaning on Thy breast,
May I hear Thee say to me, 'Fear not, I will pilot thee.'"
A. The place where the fearful breakers roar refers to death: Heb. 9.27
B. The peaceful rest refers to the eternal home of the soul in heaven: Rev. 22.1-5
C. Therefore, if we truly trust in the Lord, He will show us the path of life to a land where there will be the fulness of joy in His presence and pleasures evermore: Psa. 16.10-11
CONCL.: We certainly do not expect Jesus to perform miracles today such as He did on the stormy Sea of Galilee. Those miracles are recorded in scripture and provide all the evidence that we need to believe on Him. But we can still expect Him to use His divine power to direct our lives. And this hymn's simple and direct statement of the need to look to Jesus for guidance in my pilgrimage should motivate me always to say, "Jesus, Savior, Pilot Me."
"JESUS PAID IT ALL"
"Purge me...and I shall be clean; wash me, and I shall be whiter than show" (Psa. 51.7)
INTRO.: A hymn which encourages us to remember that Jesus made it possible for us to be purged, cleansed, and washed whiter than snow is "Jesus Paid It All" (#488 in Hymns for Worship Revised and #606 in Sacred Selections for the Church). The text was written by Elvina Mabel Hall, who was born at Alexandria, VA, on June 4, 1820, the daughter of Capt. David Reynolds. After she married Richard Hall, for forty years they were faithful members of the Monument St. Methodist Church in Baltimore, MD. One Sunday morning in 1865, while supposedly listening to the minister's rather lengthy closing prayer, her mind wandered and she began thinking about the lesson's message regarding God's forgiveness and all that Christ had done to provide redemption for mankind, especially for her. A poem began forming in her mind, so since she had no paper handy she looked around and spied the only thing at hand to write on, a hymnbook whose title was the New Lute of Zion.
Picking up the hymnbook and opening to a blank flyleaf, Elvina began jotting down the verses. After the service, she showed it to the minister, George W. Schrick, although she was somewhat embarrassed at having to explain that she had written it in a hymnbook during the prayer. Schrick tucked it away in his files. Sometime after receiving Mrs. Hall's words, Mr. Schrick called on the church's music director, John Thomas Grape (1835-1915). Mr. Grape, also a successful coal merchant in Baltimore and an amateur musician, had earlier been impressed with another hymn entitled "Jesus Paid It All" which had appeared in The Golden Censer, a hymnbook published in 1864 by William B. Bradbury. Grape had composed a tune (All to Christ) patterned after the other hymn. When he gave a copy to Schrick, they found that the stanzas written by Mrs. Hall fit it perfectly. The song was soon sung at several churches in the Baltimore area.
Three years later, in 1868, someone--either Schrick or Grape--sent the hymn to be published in the 1868 collection, Sabbath Chords, compiled by Theodore Perkins for Brown and Perkins in New York City, NY. It is possible that Mrs. Hall was also familiar with the Bradbury song and was unconsciously influenced by it when she produced her words. Many alterations have been made to her original text, and this accounts for the changes of wording in different books. The song in its present form appeared in the 1874 Gospel Song Book Collection published by Philip Paul Bliss (1838-1876). After the death of her first husband, Elvina married Thomas Myers in 1885. He was a Methodist minister with the Baltimore Conference. She died three years later at Ocean Grove, NJ, on July 18, 1889.
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 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 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; and the 1963 Christian Hymnal edited by J. Nelson Slater. 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 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, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The hymn reminds us of the price that Jesus paid to save us from our sins.
I. From stanza 1 we learn that Jesus alone must be our all in all
"I hear the Savior say, 'Thy strength indeed is small;
Child of weakness, watch and pray, Find in Me thine all in all."
A. Our strength indeed is small because we all have sinned: Rom. 3.23
B. As a result, we are children of weakness before God and cannot save ourselves by our own good works: Eph. 2.8-9, Tit. 3.5
C. The reason that Jesus is our all in all is that only in Him is found redemption: Col. 1.12-14
II. From stanza 2 we learn that nothing but His power can change us
"Lord, now indeed I find Thy power and Thine alone
Can change the leper's spots, And melt the heart of stone."
A. Of course, the power of Jesus Christ to make this change is in the gospel: Rom. 1.16
B. By that same divine power Christ changed the leper's spots: Matt. 8.1-4
C. And this power can melt the heart of stone to change those who are unrighteous to those who are justified before God: 1 Cor. 6.9-11
III. From stanza 3 we learn that it is Christ's blood that can wash away our sin
"For nothing good have I Whereby Thy grace to claim;
I'll wash my garments white In the blood of Calvary's Lamb."
A. Nothing that we can do, no good works of ourselves, can make us clean: Tit. 3.3-5
B. Only the grace and power of God can take our sins which are like scarlet and make them white as snow: Isa. 1.18
C. The means by which He is able to do this is the blood of Christ: 1 Jn. 1.7
IV. From stanza 4 we learn that the righteousness which Christ proves us brings blessings
"And now complete in Him, With robes of righteousness,
Close sheltered 'neath His side, I am divinely blessed."
A. We can be complete in Christ because He has done everything that is needed to make salvation available: Col. 2.10
B. Thus, it is by the righteousness of Christ in dying for us that we are redeemed: Rom. 3.24-26
C. All spiritual blessings in heavenly places are found in Him and Him alone: Eph. 1.3-7
V. From stanza 5 we learn that His death will enable us to stand before His throne
"And when b