"MY MOTHER'S PRAYER"
"Her children arise up, and call her blessed" (Prov. 31:28)
INTRO.: A song which encourages children to rise up and call their mother blessed is "My Mother's Prayer." The text was written by Judson Wheeler VanDeVenter (1855-1939). The tune was composed by Winfield Scott Weeden (1847-1908). The song was copyrighted in 1895 by Weeden and VanDeVenter. VanDeVenter was an evangelistic preacher, and Weeden served as his song director. The two collaborated on several songs, including the well known "I Surrender All" beginning "All to Jesus I surrender," and "Sunlight" beginning "I wandered in the shades of night." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "My Mother's Prayer" appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson. It used to be quite popular judging from its appearance in older hymnbooks, but very few in recent years have used it. There is another song by Tullius Clinton O'Kane that was included in Ira Sankey's Gospel Hymns Nos. 1 to 6 Complete with the same title.
The song relates the prayers of godly mothers to their children and their behavior.
I. Stanza 1 mentions a mother's influence in prayer
"I never can forget the day I heard my mother kindly say:
'You're leaving now my tender care; Remember, child, your mother's prayer.'"
A. God has created us with the capacity to remember, and there are certain things that we should not forget: 2 Pet. 1:9
B. One thing that we should not forget is the law of our mother: Prov. 1:8-9
C. This is true even after that time when a man should leave his father and mother and be joined to his wife: Gen. 2:24
II. Stanza 2 mentions a mother's influence through different places
"I never can forget the voice That always made my heart rejoice;
Though I have wandered, God knows where, Still I remember mother's prayer."
A. Not forgetting the teaching that our mothers have given us is one way to honor our mothers: Eph. 6:2
B. Especially if we have had mothers who have stirred up unfeigned faith in us through their teaching, remembering their voice will always make our hearts rejoice: 2 Tim. 1:5
C. Quite often, our lives will cause us to wander in various places, but wherever we are, we should remember that when we live righteously, it causes our mothers to rejoice: Prov. 23:24-25
III. Stanza 3 mentions a mother's influence over the passage of time
"Though years have gone, I can't forget Those words of love--I hear them yet;
I see her by the old arm chair, My mother dear, in humble prayer."
A. Of course, the older we get, the more the years go by: Gen. 25:7-8
B. Yet, it is still important to remember that no matter how old we become, it is possible to act in such a way as to bring a mother to shame: Prov. 29:15
C. Rather, throughout life, assuming that our mothers are or were praying for us, we should strive to live in such a way as to honor them or at least their memory, knowing that the effective fervent prayer of a righteous person avails much: Jas. 5:16
IV. Stanza 4 mentions a mother's influence leading to salvation
"I never can forget the hour I found the Savior's cleansing power;
My sins and guilt He cancelled there. 'Twas there He answered mother's prayer."
A. Certainly all Christians can be thankful for the Savior's cleansing power: Eph. 5:26
B. When we obey the gospel, our sins and guilt He cancels or remits and remembers them no more: Heb. 10:17-18
C. Such an occasion might just be the answer to a mother whose heart's desire and prayer to God has been that her child might be saved: Rom. 10:1
CONCL.: The chorus continues to remind one of his mother's care and concern for him or her.
"When-e'er I think of her so dear, I feel her angel spirit near;
A voice comes floating on the air, Reminding me of mother's prayer."
The chorus to the final stanza reads as follows:
"O praise the Lord for saving grace! We'll meet up yonder face to face,
The home above together share, In answer to my mother's prayer."
Some might object to songs like this as merely sentimental religious nostalgia, and others might think this song inappropriate because not all Christians have had godly mothers whom they expect to see in heaven. However, I have to wonder, since the scriptures command us to honor our mothers, is it unscriptural to honor them in spiritual songs? Many denominational churches observe Mother's Day as a special occasion in their worship. The New Testament does not authorize the church to observe any such special days. However, it is not wrong for individuals to observe Mother's Day, and it is not wrong for the church by its teaching to exhort people to honor their mothers. So again I have to ask, does it make any difference whether that teaching is done by word or by song? Each one will have to make up his own mind about the matter, but I have to admit that the older I get, it not only brings a tear to my eye but also helps me to be more faithful in my service to God when I remember "My Mother's Prayer."
“MY MOTHER’S BIBLE”
“Heaven and earth shall pass away, but My words shall not pass away” (Matt. 24:35)
INTRO.: A song which emphasizes the eternal nature of the words of Jesus as recorded in the Scriptures is “My Mother's Bible.” The text was written by Milan Bertrand Williams, who was evidently a preacher of some sort since in some books he is identified as “Evangelist M. B. Williams.” A book entitled Record of Christian Work, Volume 14 edited by Alexander McConnell, William Revell Moody, and Arthur Percy Fitt contains the following item. “We have just closed a remarkable series of revival meetings under the leadership of Evangelist M. B. Williams of Atlanta, AG, assisted by Prof. Chas. Alexander of the Moody Institute, Chicago, as singer, and Fred Seibert, also a student of the Institute. Mr. Williams is one of God's rare men; reading makes a full man, writing makes an exact man, speaking makes a ready man, all these are combined in him very eminently.” Books by Williams include Among Many Witnesses: A Book for Bible Students of 1891, Where Satan Sows His Seed of 1896, and If Any Man Will, and Other Sermons of 1899.
A book entitled Adversaries of Dance: From the Puritans to the Present by Ann Louise Wagner dated 1997 says that Williams, who flourished from 1889 to 1910, was an itinerant evangelist in the Midwest during the late eighties and during the nineties, who also served as a secretary of the Young Men’s Christian Association. In the 1890s he was sometimes assisted by the neophyte evangelist Billy Sunday. After 1901, Williams mixed revival preaching with lectures on “sex problems” and then veered off into the perils of immigration and the virtues of the Anglo-Saxons. Williams’ 1896 publication Where Satan Sows His Seed gave the reader “Plain Talks” on the evils of modern amusements—dance, theater, cards and wine. However, he considered dancing to be to “some extent” a greater evil than the other amusements.
I have not been able to find any other information about this author. The tune for the hymn was composed by Charles (Charlie) Davis Tillman (1861-1943). The song was first published in 1893, and the copyright was renewed by Tillman in 1921. Tillman provided melodies for such well known songs as “Ready to Suffer” and “The End of the Way.” Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, “My Mother’s Bible” appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; and the 1940 Complete Christian Hymnal edited by Marion Davis (giving the date of 1883, which is probably a misprint). The song was apparently a very popular hymn at one time. Among other hymnbooks in my collection, it was used in the 1926 American Hymnal, the 1935 Church Hymnal of the United Brethren in Christ, the 1940 Broadman Hymnal, and the 1947 Voice of Praise. In fact, Hymnary.org lists 78 hymnbooks that contained the hymn.
The song reminds us of the importance of Biblical principles that are often taught by parents.
I. Stanza 1 tells about how the Book should be taught by parents to children
“There’s a dear and precious Book, Though it’s worn and faded now,
Which recalls those happy days of long ago,
When I stood at Mother’s knee, With her hand upon my brow,
And I heard her voice in gentle tones and low.”
A. The word “Bible” means “book,” and thus refers to the book of God: Jn. 20:30-31
B. For people who have been taught to remember their Creator in the days of their youth, the Bible should remind them of the happy days of long ago when their parents brought them up in the nurture and admonition of the Lord: Eccl. 12:1, Eph. 6:4
C. It is certainly right for a mother to teach her children from God’s book: 2 Tim. 1:3-5, 3:14-15
II. Stanza 2 tells about how the stories of the Old Testament illustrate resisting the wiles of Satan
“As she read the stories o’er Of those mighty men of old,
Of Joseph and of Daniel and their trials,
Of little David bold Who became a king at last,
Of Satan with his many wicked wiles.”
A. Two of the mighty men of old from whose trials we can learn are Joseph and Daniel: Gen. 50:15-21, Dan. 6:18-23
B. Another Old Testament character who has much to teach us is David: 1 Ki. 15:1-5
C. These Old Testament examples help to illustrate how we can stand against the wiles of Satan: Eph. 6:11
III. Stanza 3 tells about how the life and death of Jesus as recorded in the New Testament were for us
“Then she read of Jesus’ love As He blessed the children dear,
How He suffered, bled, and died upon the tree,
Of His heavy load of care; Then she dried my flowing tears
With her kisses as she said it was for me.”
A. During His life, Jesus blessed the children dear: Matt. 19:13-15
B. But more importantly, He suffered, bled, and died upon the tree: 1 Pet. 2:24
C. This He did for every person on earth: Heb. 2:9
IV. Stanza 4 tells about how the teachings that we learn from the Book should guide us through life
“Well, those days are passed and gone, But their memory lingers still,
And the dear old Book each day has been my guide;
And I see to do His will As my mother taught me then,
And ever in my heart His words abide.”
A. The dear old Book should be our guide because God gave it to make us complete and thoroughly furnished unto all good works: 2 Tim. 3:16-17
B. By following it, we can do God’s will so that we may abide forever: 1 Jn. 2:17
C. But in order to follow it, His words (note, it is not “her words” but “His words” as taught by her) must abide in us: Jn. 15:7
CONCL.: The chorus talks about how we should love to look in the blessed Book and follow it.
“Blessed Book, precious Book,
On thy dear old tear-stained leaves I love to look;
Thou art sweeter day by day, As I walk the narrow way
That leads at last to that bright home above.”
Some might think of a song like this as mere religious-based nostalgia. Such a kind of thing was quite popular back in the late 1800s and into the early 1900s. While there is certainly a nostalgic element present in the song, the emphasis is really upon the content of the Scriptures and the importance of its being taught to a child. If I have learned from my parents the importance of God’s word, I cannot see anything wrong with singing about “My Mother’s Bible.”
“MAKE TODAY YOUR BEST DAY”
“Wherefore (as the Holy Ghost saith, To day if ye will hear His voice)” (Heb. 3:7)
INTRO.: A song which encourages us to hear the voice of the Lord today is “Make Today Your Best Day.” The text was written by N. A. McAuly, which is most likely the same as Neal A. McAulay (also sometimes spelled McCauley), who was born in 1854. From 1886 to 1907, he was minister with the First Presbyterian Church in Wilton, IA. Cyberhymnal lists three other hymns by him, “How Could it Be,” “I Love the Gospel Story,” and “The Old Fashioned Faith.” In addition to gospel songs, he also published poetry in several Masonic works. The tune for “Make Today Your Best Day” was composed by Samuel William Beazley (1873-1944). The song was copyrighted in 1913 by Hildebrand-Burnett Co. Inc. of Roanoke, VA, and probably first appeared in the 1914 Crown Him King edited by Beazley for the Ruebush Kieffer Co. of Dayton, VA. McCaulay died around 1922. The 1971 Songs of the Church edited by Alton H. Howard has a song entitled “Deep Settled Peace” with words by N. A. McAulay and music by Samuel W. Beazley. Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, “Make Today Your Best Day” appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson, who at the time controlled the copyright.
The song mentions several things that we need to do every day to make it our best day.
I. Stanza 1 mentions giving our all to the Master
“Give your all to the Master here; Time is passing away.
Serve His cause with a heart sincere; Make today your best day.”
A. We should give our all to the Master here just as the Macedonians first gave themselves to the Lord: 2 Cor. 8:5
B. We understand that time is certainly passing away so that now is our salvation nearer than when we first believed: Rom. 13:11
C. Therefore, we should serve His cause with a heart sincere 1 Thess. 1:9
II. Stanza 2 mentions praying
“He will answer your heart’s appeal, When for favor your pray;
Love and light through His word reveal! Make today your best day.”
A. God has promised to hear and answer His people: 1 Pet. 3:12
B. Therefore, we should pray: Lk. 18:1
C. When we do, we shall find that love and light are revealed to us through His word: Jn. 1:4, 17
III. Stanza 3 mentions casting our cares on Him
“Wander not from His blessed side; He will lighten the way
For the ones who in Him confide! Make today your best day.”
A. It should be our aim never to wander from His blessed side: Ps. 119:10
B. For those who follow Him, He will lighten the way because He offers rest: Matt. 11:28-30
C. Therefore, we can confined in Him by casting our burdens on Him: Ps. 55:22
IV. Stanza 4 mentions telling His mercy to those in need
“Tell His mercy to those in need; Show them Jesus, the way.
Bid them come while He gently pleads; Make today your best day.”
A. We need to tell of the Lord’s mercy to those in need that they might be saved: Tit. 3:5
B. In doing this, we show to them Jesus, who is the way: Jn. 14:6
C. The means by which we bid them come while He gently pleads is preaching the word: Acts 8:4
CONCL.: The chorus tells us that since it is the Lord who redeemed our souls and made us whole, we should strive to make each day count for Him.
“Live for the Lord who redeemed your soul, Since in His goodness He made you whole.
Let Him your talents by love control; Make today your best day.”
Every day of life that we have is a gift from the Lord and should be used wisely. We accomplish this aim by giving ourselves to the Lord, praying to Him, casting our cares on Him, and telling others about Him. It is my hope by this hymn study to exhort you to “Make Today Your Best Day.”
"LULLABY AND GOOD NIGHT"
"...For so He giveth His beloved sleep" (Ps. 127:2)
INTRO.: A song which reminds us how that God can give His beloved, especially little children, sleep is "Lullaby and Good Night." The text is of unknown origin. Two stanzas were published in 1868 as Wiegelied, Op. 49, No. 4, beginning "Guten Abend, gute Nacht, mid Rosen bedacht," with the tune (Cradle Song) composed by Johannes Brahms, who was born on May 7, 1833, in Hamburg, Germany. His father, Johann Jakob Brahms, had come to Hamburg from Dithmarschen, seeking a career as a town musician, and married Johanna Henrika Christiane Nissen, a seamstress, who was seventeen years older than he was. Johann Jakob gave first musical training to his son who then studied piano from the age of seven with Otto Friedrich Willibald Cossel and later with Eduard Marxsen. Johannes first visited Vienna, Austria, in 1862, stayed there over the winter, and based himself increasingly in Vienna, soon making it his home.
During the succeeding years in Vienna, Brahms was a leader of the musical scene, composing for piano, chamber ensembles, symphony orchestra, voice, and chorus. An accomplished pianist, he gave the first performance of many of his own pieces and worked with the leading performers of his time, with many of his compositions becoming staples of the modern concert repertoire. Nineteenth century conductor Hans von Bülow grouped him with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs." Brahms was both a traditionalist and an innovator. His music was firmly rooted in the structures and compositional techniques of the Baroque and classical masters, yet he created bold new approaches to harmony and timbre which challenged existing notions of tonal music. Brahms developed cancer (sources vary on whether this was in the liver or pancreas), and he died on April 3, 1897, in Vienna.
Concerning the song that has come to be known as "Brahms' Lullaby," several sources say that the reputed author of the original two stanzas was a German writer and poet named Karl Joseph Simrock (1802-1876). However, other sources say that the first stanza was taken from a collection of German folk poems called Das Knaben Wunderhorn (The Youth's Magic Horn), edited by Achim von Arnim and Clemens Bretano, and published in Heidelberg between 1805 and 1808. It is possible that Simrock borrowed a stanza from it and then provided his own second stanza, or just used a couple of stanzas from the folk collection and perhaps arranged them. The translator of the standard English version is unknown. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared with two stanzas in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson, who provided his own translation for stanza 2. Further stanzas from various sources have been added to lengthen the song.
The song is obviously intended to help in putting a small child to sleep.
I. Stanza 1 talks the blessing of sleep
"Lullaby, and good night! With roses bedight,
With lillies bespread (o'er-spread) Is baby's wee bed;
Lay thee down now and rest: May thy slumber be blest;
Lay thee down now and rest: May thy slumber be blest."
Arthur Wesbrook provided this alternate translation:
"Lullaby and goodnight! With roses bedight,
Creep into thy bed, There pillow thy head.
If God will thou shalt wake When the morning doth break.
If God will thou shalt wake When the morning doth break."
A. "Bedight" is am archaic word that is seldom used today; it is defined to mean "deck out, array, equip, adorn." The idea of having the bed decked out with roses and lillies suggests the sweetness and blessing of sleep: Eccl. 5:12
B. The bed, of course, is the place of sleep: Ps. 63:6
C. The purpose of sleep is so that we may lie down and rest, which is something that we need: Mk. 6:31
II. Stanza 2 talks about dreaming of Paradise
"Lullaby and good night! Dream of Paradise bright,
While near thee, at hand, The angels shall stand.
If God wills, thou shalt wake When the morning doth break;
If God wills, thou shalt wake When the morning doth break."
The standard translation reads:
"Lullaby and good night! Thy mother's delight,
Bright angels beside My darling abide.
They will guard thee at rest, Thou shalt wake on my breast;
They will guard thee at rest, Thou shalt wake on my breast."
(One version has: "Soft and warm is your bed, Close your eyes, rest your head")
Arthur Westbrook's alternate translation is as follows:
"Lullaby and goodnight! Those blue eyes close tight;
Bright angels are near, So sleep without fear.
They will guard thee from harm, With fair dreamland's sweet charm;
They will guard thee from harm, With fair dreamland's sweet charm."
A. Paradise, coming from a Persian word that means "beautiful garden," in the Bible refers either to the place of comfort which the souls of the righteous (or safe) go at death and by extension perhaps the eternal home of God's
people: Lk. 23:43, 2 Cor. 12:4, Rev. 2:7
B. There is much about the activities of angels that we do not know because it is not revealed in scripture, but with reference to children, Jesus did make reference to "their angels": Matt. 18:10
C. After dreams of Paradise while possibly being guarded by angels during the night, we can look forward to waking when the morning breaks: Ps. 139:17-18
III. Stanza 3 talks about the care of parents and angels
"Sleepyhead, close your eyes, Mother's right here beside you.
I'll protect you from harm, You will wake in my arms.
Guardian angels are near, So sleep on with no fear;
Guardian angels are near, So sleep on with no fear."
A. A mother who truly loves her children as God's word commands will certainly be concerned for them even while they sleep: Tit. 2:4
B. One of the roles of parents, including mothers, in laying up for their children and providing for their own is to protect them from harm to whatever extent they can: 2 Cor. 12:14, 1 Tim. 5:8
C. Again, there is great debate among Bible believers as to whether the scriptures teach the concept of "guardian angels" or not, but God's word does say that angels are ministering spirits sent forth for those who will inherit salvation: Heb. 1:13-14
IV. Stanza 4 talks about awakening in the morning
"Lullaby, and sleep tight. Hush! my darling is sleeping,
On his sheets white as cream, With his head full of dreams.
When the sky's bright with dawn, He will wake in the morn;
When the sky's bright with dawn, He will wake in the morn."
(or the last line: When noontide warms the world, He will frolic in the sun.")
A. God made the night for sleeping: Prov. 3:24
B. God made the dawn to bring in the new day: Matt. 28:1
C. Then we can awaken for the events and activities of the day: Ps. 3:5
CONCL.: There is another "further" stanza that some might find amusing.
"Go to sleep, little one, Think of puppies and kittens;
Go to sleep, little one, Think of butterflies in spring.
Go to sleep, little one, Think of sunny bright mornings;
Go to sleep, little one, Sleep tight through the night."
Whether this is a "hymn" or even a spiritual song would be a matter of debate, especially if it came to using it in a worship service. Some might argue that it does mention God and angels and Paradise, while others might argue that it is primarly secular in nature and just happens to have some religious references. Each will have to make his own decisions as to its usefulness. However, there is certainly nothing wrong with singing about God to a small child when we tell it "Lullaby and Good Night."
"LOVE HIM, LOVE HIM"
"...Out of the mouths of babes and sucklings Thou hast perfected praise" (Matt. 21:16)
INTRO.: A song which encourages children and even infants to give praise to God is "Love Him, Love Him." The author is usually identified as unknown or anonymous. The original text is thought possibly to have been written and the tune (Bonner, Praise Him, God Is Love, or He Is Love) was most likely composed (or at least arranged) under the pseudonym of E. Rawdon Bailey both by Carey Bonner, who was born on May 1, 1859, at Southward in London, England. The son of a Baptist minister, he attended the Plaistow School and, after hearing a sermon by Charles H. Spurgeon, studied at Rawdon Baptist College in London. Becoming a Baptist minister himself in 1884, he worked with the Oakfield Union Church at Sale in Cheshire from 1884 to 1895, and with the Portland Chapel in Southampton from 1895 to 1900. Going on to become involved in the British Sunday School Movement, he began as secretary in 1900, a position which he held for the rest of his life, then additionally served as President of the National Sunday School Union in 1922 and 1923. Also, he was President of the Baptist Union in 1931 and 1932.
Another principal interest of Bonner's beside Sunday school work was hymns. In 1896, he served as music editor for The Christian Endeavor Hymnal. In 1905 he edited The Sunday School Hymnary, and he published three volumes of Child Songs in 1908, 1923, and 1936. Also, he was chairman of the committee that prepared the Baptist Church Hymnal Revised in 1933, and with W. T. Whitley, he compiled its handbook in 1935. Bonner's other major work was Some Baptist Hymnists of 1937. A founding member of The Hymn Society of Great Britain and Ireland, he composed cantatas, anthems, sacred songs, part songs, in addition to being an author and arranger, often using pseudonyms. He died at Muswell Hill, Hornsey, in Middlesex, England, near London, on June 16, 1938. His best-known contribution to children's religious songs is this little piece originally entitled "Praise Him, all ye little children."
The hymn first appeared in Bonner's Sunday School Hymnary of 1905, although some sources it was in the first edition (1908) of his Child Songs. The Handbook to the Baptist Hymnal (1992) observes that Bonner was noted for his arrangements and harmonizations of melodies from other sources and says, "It is therefore unclear to what extent this is an original work." Most of our books have made "Love Him, love Him, all ye little children" the first stanza, have "Praise Him..." as the second, and simply mark the hymn "Arr." for "arranged." One of them has "Arr. H. P. M," which according to another source refers to Hubert Platt Main (1839-1925). Most other books have three stanzas, "Praise Him...Love Him...Thank Him," and all end each line with "God is love." One book has added a fourth stanza, "Serve Him." I have taken the liberty to make some other additions and changes to give the song a little more substance and make it somewhat less repetitious.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Love Him, Love Him" appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the 1948 Christian Hymns No. 2 and the 1966 Christian Hymns No. 3 both 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 edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to the 2009 Favorite Songs of the Church edited by Robert J. Taylor. Other books in my collection to contain this song are the 1940 Broadman Hymnal edited by B. B. McKinney; the c. 1950s Praise and Worship Hymnal and the 1972 Worship in Song Hymnal both published by Lillenas Publishing Co.; the 1957 All American Church Hymnal and the 1968 American Service Hymnal both published by John T. Benson; the 1958 Our Hymns of Praise edited by J. Mark Stauffer; the 1967 Tabernacle Hymns published by Tabernacle Publishing Co.; the 1972 Living Hymns edited by Alfred B. Smith; the 1980 Praises We Sing edited by Elmina Yoder and Lula A.Miller (harmonized by the editors); the 1991 Baptist Hymnal edited by Wesley L. Forbis; the 1992 Pilgrim's Praises edited by Steven S. Rodabaugh; the 1997 Celebration Hymnal edited by Jack W. Hayford; and the 1999 Songs and Hymns of Revival edited by Jack Trieber (where it is erroneously attributed to Anna B. Warner as author and William B. Bradbury as composer). Almost all of these begin the song, "Praise Him, praise Him."
The song identifies several characteristics of God and tells what our response should be.
I.Stanza 1 says that we should love God because He is love
"Love Him, love Him, All ye little children,
God is love, God is love;
He sent Christ to Die for our salvation,
God is love, God is love."
A. We should love the Lord God with all our heart, soul, and mind: Matt. 22:37-38
B. The reason that we should love Him is that He is love: 1 Jn. 4:8
C. He showed His love for us in that He sent Christ to die for our salvation: Rom. 5:8
II. Stanza 1 says that we should praise God because He is great
"Praise Him, praise Him, All ye little children,
God is great, God is great;
He created All in earth and heaven,
God is great, God is great."
A. We should offer up the sacrifice of praise to God continually: Heb. 13:15
B. The reason that we should praise Him is because He is great: Ps. 150:1-2
C. He showed His greatness in that He created all in earth and heaven: Gen. 1:1
III. Stanza 3 says that we should thank God because He is good
"Thank Him, thank Him, All ye little children,
God is good, God is good;
He's the source of Every perfect blessing,
God is good, God is good."
A. We should express our thanks to God in everything: 1 Thess. 5:18
B. The reason that we should be thankful is that He is good: Ps. 34:8
C. He showed His goodness towawrd us in that He is the source of every good and perfect gift: Jas. 1:17
IV. Stanza 4 says that we should serve Him because He is near
"Serve Him, serve Him, All ye little children,
God is near, God is near;
He wants us to Be with Him in heaven,
God is near, God is near."
A. We should serve God with reverence and godly fear: Heb. 12:18
B. The reason that we should serve Him is that He is near, not far from any of us: Acts 17:28
C. Not only does He want to be near us in this life, but He also wants
us to be even nearer to Him in heaven: Col. 1:5
CONCL.: Many of us learned to sing this song when small children in Bible study classes and "vacation Bible schools." In one congregation where I labored and a book with this song was used, a brother would lead it occasionally. Some may object to the inclusion of such "children's songs" in a regular worship service. Each congregation and song leader will have to make their own decisions on the matter, but since we are to have a child-like faith ("become as little children"), I have trouble understanding why we cannot sing songs in our worship that express the trust of a child as we encourage each other to "Love Him, Love Him."
"LO! WHAT A GLORIOUS SIGHT APPEARS"
"And I saw a new heaven and a new earth..." (Rev. 21:1)
INTRO.: A hymn which seeks to help our minds picture what the Scriptures say about the new heaven and new earth is "Lo! What a Glorious Sight Appears." The text was written by Isaac Watts (1674-1748). All sources but one say that it was first published in six stanzas as a paraphrase of Rev. 21:1-4 in his 1707 Hymns and Spiritual Songs. One source gives the date of 1745. It did appear in the Scottish Paraphrases of 1751 with several alterations and an additional stanza. The tune (Crediton) used in some books was adapted from Thomas Clark (1775-1859). Other tunes have been used, but the one (Northfield) in our books was composed by Jeremiah Ingalls (1764-1828). It is dated 1805 and was probably first published in his Christian Harmony of that year, which also contained the first publication of the anonymous hymn and tune, "I Love Thee, I Love Thee." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Lo, What a Glorious Sight Appears" appeared in the 1925 edition of the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 1966 Christian Hymns No. 3 edited by L. O. Sanderson; and the 1978 Hymns of Praise edited by Reuel Lemmons. Today it may be found in the 1992 Praise for the Lord edited by John P. Wiegand. The Good Old Songs, a 1913 book edited by C. H. Cayce for the Primitive Baptists, using the Ingalls tune, inexplicably makes stanza 6 beginning "How long, dear Savior, O, how long" as number 1, with a few alterations ("That bright hour" and "The promised day") and makes stanzas 1 through 5 as stanzas 2 through 6.
The song points our thoughts forward to the second coming of Christ when time will end and our eternity will begin.
I. Stanza 1 refers to the earth and sea passing away
"Lo! what a glorious sight appears To our believing eyes!
The earth and sea are passed away, And the old rolling skies."
(Scottish paraphrase: "Lo! what a glorious sight appears To our admiring eyes!
The former seas have passed away, The former earth and skies.")
A. It will be a glorious sight to our eyes because, as was true of Christ's judgment upon the persecutors, so when He comes in final
judgment "every eye will see Him": Rev. 1:7
B. The earth with the sea and all that is in them will be burned up: 2 Pet. 3:10
C. Even the old rolling skies, the physical heavens, will grow old and perish: Heb. 1:10-12
II. Stanza 2 refers to the new Jerusalem
"From the third heaven, where God resides, That holy, happy place,
The new Jerusalem comes down, Adorned with shining grace."
A. The third heaven refers to the dwelling place of God: 2 Cor. 12:2
B. "The new Jerusalem" draws upon the Old Testament picture of Jerusalem as God's chosen city among His covenant people Israel to identify the heavenly city which is above: Gal. 4:26
C. John saw this new Jerusalem coming down because the vision which he received was sent to him out of heaven: Rev. 21:2
III. Stanza 3 refers to the attending angels
"Attending angels shout for joy, And the bright armies sing--
'Mortals, behold the sacred seat Of your descending King."
A. When Jesus comes, all His holy angels will be with Him: Matt. 25:31
B. These bright armies even now sing around the throne of God in heaven: Rev. 5:11-12
C. Then, mortals can behold the sacred seat because they will be in the very presence of God Himself: Rev. 21:22-23
IV. Stanza 4 refers to the presence of God
"'The God of glory down to men Removes His blest abode--
Men, the dear objects of His grace, And He the loving God."
(Scottish paraphrase: "The God of glory down to men Removes His blest abode;
He dwells with men; His people they, And He His people's God.")
A. God removes His blest abode in that no longer will mankind be separated from the presence of God by time and space, but the tabernacle or dwelling of God will be with men: Rev. 21:3
B. Of course, this blessing will be only for those who are the dear objects of His grace, having been saved by grace through faith: Eph. 2:8-9
C. But for these, the final fulfillment of that promise will be realized which began by His grace here on earth that we shall be His people and He our God: 2 Cor. 6:16-18
V. Stanza 5 refers to the wiping away of all tears
"'His own soft hand shall wipe the tears From every weeping eye,
And pains and groans and griefs and fears And death itself shall die.'"
(Scottish paraphrase: "His gracious hand shall wipe the tear From every weeping eye;
And pains and groans and griefs and fears And death itself shall die.")
A. God promises that in the New Jerusalem He shall wipe away all tears: Rev. 21:4
B. All the pains, groans, griefs, and fears will cease from which those who die in the Lord have found rest: Rev. 14:13
C. Even death itself shall die, because death will be the last enemy that Christ will put under His feet at His coming: 1 Cor. 15:24-26
VI. Stanza 6 refers to the desire of the righteous for this day
"How long, dear Savior, O how long Shall this bright hour delay?
Fly swifter round, ye wheels of time, And bring the welcome day."
A. As the martyrs under the altar asked concerning God's judgment on their persecutors, we today also look forward to Christ's return and cry, "How long?": Rev. 6:9-10
B. As John called upon the Lord to come quickly in bringing that judgment on the persecutors, we the righteous even now may pray, "Lord, quickly come": Rev. 22:20-21
C. Thus, we look forward to that welcome day when we shall be forever with the Lord: 1 Thess. 4:16-17
CONCL.: The additional stanza found in the Scottish Paraphrases, which seems intended to make a personal application of the thoughts of the song to us, reads as follows:
"O may we stand before the Lamb, When earth and seas are fled,
And hear the Judge pronounce our name With blessings on our head!"
Watts uses present tense language to describe figuratively the scene of Christ's return as if we were actually there, seeing it right now. Surely, when it comes, whether we are alive at His coming or are among those raised from the dead, we shall be able to say, "Lo! What a Glorious Sight Appears."
"LO! HE COMES WITH CLOUDS DESCENDING"
"Behold, He cometh with clouds; and every eye shall see Him..." (Rev. 1:7)
INTRO.: A hymn which emphasizes that when Jesus comes again in the clouds, every eye shall see Him is "Lo! He Comes with Clouds Descending." The original text was written by John Cennick (1718-1755). Produced perhaps as early as 1750, it was first published in his 1752 Collection of Sacred Hymns, 5th Edition, in six stanzas. It was altered by John Benjamin Wesley (1703-1791). He heard Cennick's hymn, was moved by it, and decided to provide a better version. Sometimes, the altered version is attributed to John's brother Charles Wesley (1707-1788). Perhaps they collaborated on it. Basically the Wesleys changed two of Cennick's stanzas drastically, kept two others basically the same, and added two or three more of their own. This version was first published in their 1758 Hymns of Intercession for All Mankind. Further alterations were made by Martin Madan (1726-1790). His arrangement was published in his 1760 Collection of Psalms and Hymns. Many tunes have been used with the song, but one (Regent Square) of the most popular was composed by Henry Thomas Smart (1813-1879). It was first published in the 1867 Presbyterian collection of Psalms and Hymns for Divine Worship edited by James Hamilton where it was set to Horatius Bonar's "Glory Be to God the Father."
Among hymnbooks published by members of the Lord's church during the twentieth century for us in churches of Christ, "Lo, He Comes with Clouds Descending" appeared in the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. The same tune was used with Henry F. Lyte's "Praise, My Soul, the King of Heaven" in the 1963 Christian Hymnal edited by J. Nelson Slater. Today, "Lo, He Comes with Clouds Descending" may be found in the 1986 Great Songs Revised edited by Forest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand. Praise for the Lord also uses the same tune with James Montgomery's "Angels from the Realms of Glory," as does the 1994 Songs of Faith and Praise edited by Alton H. Howard.
The song uses present tense language to describe Christ's coming as if we were there to see it happening.
I. Stanza 1 emphasizes the manner of His coming
"Lo! He comes with clouds descending, Once for favored sinners slain;
Thousand, thousand saints attending Swell the triumph of His train:
Hallelujah! Hallelujah! Jesus Christ shall ever reign."
A. The scriptures promise that just as Christ was received from the earth by a cloud, so He will come again in like manner: Acts 1:11 (because "Once for favored sinners slain" sounds like the Calvinistic concept of limited atonement, which teaches that Christ died only for those who had been previously elected, many modern books change it to "Once for our salvation slain.")
B. Thousand, thousand saints will attend because the souls of those who sleep in Jesus will He bring with Him: 1 Thess. 4:13-14 (the word "saints" or "holy ones" could also refer to, or include, the angels who will come with Him)
C. Most books read, "Hallelujah! God appears on earth to reign." Some modern books read, "Christ, the Lord, returns to reign." In Great Songs of the Church (No. 1) E. L. Jorgenson changed it to read "Jesus now shall ever reign," but in Great Songs of the Church No. 2 altered that to read "Jesus Christ shall ever reign" to avoid aggrevating the premillennial controversy that had arisen among churches of Christ. The Bible does teach that "He shall reign forever and ever": Rev. 11:15
II. Stanza 2 tells us who will see Him at His coming
"Every eye shall now behold Him, Robed in dreadful majesty;
Those who set at naught and sold Him, Pierced and nailed Him to the tree,
Deeply wailing, Deeply wailing, Shall the true Messiah see."
A. Every eye will then behold Him because all who are in the tombs shall come forth: Jn. 5:28-20
B. This will include even those who crucified Him: Acts 2:23
C. Like those persecutors upon whom God's judgment was promised, they will be deeply wailing: Rev. 18:15-19
III. Stanza 3 explains what will happen at His coming
"Every island, sea, and mountain, Heaven and earth, shall flee away;
All who hate Him must, confounded, Hear the trump proclaim the day.
Come to judgment, come to judgment, Come to judgment, come away."
A. Heaven and earth shall flee away in that they will perish: Heb. 1:10-11
B. All, including those who hate Him, will hear the trump of God: 1 Cor. 15:52
C. Then they will come to judgment: Acts 17:30-31
IV. Stanza 4 identifies the blessings to the redeemed at His coming
"Now Redemption, long expected, See in solemn pomp appear!
All His saints, by man rejected, Now shall meet Him in the air;
Alleluia! Alleluia! See the day of God appear."
A. Some newer books read, "Now the Savior, long expected." While it is true that Jesus came the first time to provide redemption through His blood and we can have that now, we still await the final, eternal redemption at Christ's coming: Rom. 8:22-25
B. Then, His saints will rise to meet Him in the air: 1 Thess. 4:15-17
C. All this will occur when the "day of the Lord" appears: 2 Pet. 3:10
V. Stanza 5 talks about what we shall see at His coming
"The dear tokens of His passion Still His dazzling body bears,
Cause of endless exultation To His ransomed worshippers.
With what rapture, with what rapture Gaze we on those glorious scars."
A. "The dear tokens of His passion" refer to the print of the nails in His hand and the print of the spear in His side: Jn. 20:25
B. These tokens form part of the reason that we worship Him because they declare Him to be the spotless Lamb of God by whose blood we are redeemed: 1 Pet. 1:18-19
C. Whether He still bears the mark of these scars in His glorious body is a matter for the theologians to debate, but we know that when He comes we shall see Him just as He is: 1 Jn. 3:1-2
VI. Stanza 6 urges the Lord to be quick about His coming
"Yea, Amen! let all adore Thee, High on Thine exalted throne;
Savior! take Thy power and glory, Claim the kingdoms for Thine own:
Hallelujah! Hallelujah! Quickly, Lord, O quickly come!"
A. Just as Jesus is now upon His exalted throne, when He returns, we shall see Him on His throne: Matt. 25:31-32
B. The original read, "Claim the kingdom for Thine own," which would most likely refer to the fact that Christ would take the citizens of His kingdom home and then deliver the kingdom back to the Father: 1 Cor. 15:24
C. Wesley's original read, "O come quickly! Everlasting God, come down!" Various books have made different changes, such as "O come quickly! Alleluia, come, Lord, come," or "Alleluia! Thou shalt reign and Thou alone." In any event, just as John pled for the Lord to come quickly in judgment upon the persecutors, so we may hope that He will come quickly to take His people home:
Rev. 22:20-21
CONCL.: As given above, stanzas 1-2, and 5-6 are primarily the work of Wesley, whereas stanzas 3-4 are taken pretty much directly from Cennick. Another stanza of Wesley's, generally omitted, is as follows:
"Answer Thine own bride and Spirit, Hasten, Lord, the general doom!
The new heaven and earth t'inherit, Take Thy pining exiles home:
All creation, all creation Travails, groans, and bids Thee come!"
We do not know when the Lord will return. However, as Christians, we know that He could descend at any day or time, and thus we must always be ready. And when He does appear, we shall certainly say, "Lo! He Comes with Clouds Descending."
“LIGHT OF THE CROSS”
“I am the light of the world…” (Jn. 8:12)
INTRO.: A song which pictures Jesus Christ as the Light of the world is “Light of the Cross” (#323 in Sacred Selections for the Church). The text was written by James Robinson, about whom no further information seems available. The tune was composed by Bentley DeForest Ackley (1872-1958). Other tunes by Ackley in our books include those for James Rowe’s “Just Outside the Door,” “I Walk with the King,” and “I Would Be Like Jesus,” William Poole’s “Sunrise,” and Eliza E. Hewitt’s “Somebody Else Needs a Blessing.” Another collaboration by Robinson and Ackley was “What Shall It Be?” beginning, “What will you do with Jesus?” The original copyright for “Light of the Cross” is usually given as 1895. Hymnary.org says that it appeared in that year in Sunshine Songs for Sunday Schools edited by Charles H. Gabriel for Meyer and Bros. of Chicago, IL.
Ehymns.org, citing Fillmore’s Male Choir as its source, ascribes it to Gabriel under the pseudonym Charlotte G. Homer but with question marks, and this may be due to Gabriel’s owning the original copyright. In our books, the song is listed as “Copyright, Gospel Advocate Co., 1932,” but this must be a renewal or assignment, because in addition to Sunshine Songs for Sunday School, it also appeared in the 1899 Gospel Herald in Song, in addition to others. Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, the song appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; the 1938 Spiritual Melodies edited by Tillit S. Teddlie; the 1940 Complete Christian Hymnal edited by Marion Davis; and the 1952 Hymns of Praise and Devotion edited by Will W. Slater. Today it may be found in Sacred Selections.
The song identifies some of the blessings that the light of Christ provides for us.
I. Stanza 1 says that it points us to the homeland
“From the cross of Christ uplifted Shines an everlasting light;
By its rays the clouds are rifted Till the homeland is in sight.”
A. This light is pictured as coming from the cross because that was where Jesus gave His life for us: Eph. 2:16
B. The clouds represent the darkness of this world: Jn. 3:19
C. However, the light from the cross rifts the clouds and shows the way to the homeland of eternal life: Matt. 7:13-14
II. Stanza 2 says that it helps to alleviate the cares that come our way
“Every storm that gathers o’er us Adds new luster to its ray;
And the cares that rise before us In its radiance pass away.”
A. The trials and tribulations of life add new luster to the ray of the cross because by them we learn patience: Jas. 1:2-3
B. Thus, we learn to cast our cares upon Him who cares for us: 1 Pet. 5:7
C. These cares pass away in its radiance because we learn that the sufferings of this present time are not worthy to be compared with the glory that shall be revealed: Rom. 8:18
III. Stanza 3 says that it guides us through the tempests of life
“Though the tempest wildly rages, By this Light the way is sure;
And throughout the sweep of ages, It, unshaken, shall endure.”
A. Trials and tribulations in life are often represented by a tempest that rages wildly: Ps. 107:23-29
B. However, all through such spiritual tempests, the Light, revealed to us in God’s word, is a lamp to our feet to guide us: Ps. 119:105
C. In this way, we have help that we might endure to the end: Matt. 24:13
CONCL.: The chorus praises Christ for the blessings of the light of His cross.
“Blessed Light, Light divine, To the world the rays are streaming;
Hallowed Light, Light of love, From the cross of Christ are beaming.”
It is such a blessing to have light by which we can see in darkness. Throughout history, mankind has had the light of torches, candles, oil lamps, gas lights, and now electricity. But even more important is that as we make our way through this world of spiritual darkness we have guidance from the “Light of the Cross.”
"LIFT UP, LIFT UP YOUR VOICES NOW"
"And having spoiled principalities and powers, He made a show of them openly, triumphing over them..." (Col. 2:15)
INTRO.: A hymn which praises Christ for the triumph which Christ had in spoiling the principalities and powers by His resurrection from the dead is "Lift Up, Lift Up Your Voices Now." The text is usually attributed to John Mason Neale, who was born on Jan. 24, 1818, near St. Paul's Cathedral at Bloomsbury in London, England, to evangelical parents and named for his maternal grandfather John Mason Good. Cornelius Neale, his father who was a minister and fellow of St. John's College, Cambridge, died when John was five years old, and the boy was brought solely by his mother. Attending Sherborne Grammar School, he was then tutored privately until 1836, when he entered Trinity College, Cambridge, where he won the Seatonian Prize for sacred poetry eleven times. After graduating in 1840, he served as a fellow, chaplain, and tutor at Downing College, becoming identified with the Oxford Movement and founding the Cambridge Camden Society. In 1842, he married the daughter of an evangelical minister, and that year he became a minister, but after he had served six weeks with a small church at Crawley in Sussex, chronic lung disease and his strong Anglo-Catholic leanings kept him from active service.
Spending three winters in Madeira, Portugal, for his health, Neale produced three books of original poetry, Hymns for Children in 1842, Hymns for the Sick in 1843, and Hymns for the Young in 1844. In 1846 he returned to England and was offered a position at St. Ninian's in Perth, Scotland, but refused because of the climate and became warden of Sackville College in East Grinstead, a home for elderly indigent men. Shortly afterwards, he began work on the five volume History of the Holy Eastern Church, which was finished in 1873. However, he is best known as a one of the most important translators of Greek and Latin hymns. Besides researching and writing, he also founded a nursing sisterhood, promoted social welfare, and expanded the ministry of Sackville to orphans and young women. His primary publications include Mediaeval Hymns and Sequences in 1851, Hymns of the Eastern Church in 1862, Hymns Chiefly Mediaeval on the Joys and Glories of Paradise in 1865, and Original Sequences, Hymns, and Other Ecclesiastical Verses in 1866. Both The Hymnal Noted and Hymns Ancient and Modern contain many of his original hymns as well as translations, which include "All Glory, Laud, and Honor," "Good Christian Men, Rejoice," "The Day of Resurrection," "Jerusalem, the Golden," "Art Thou Weary, Art Thou Languid?", and "Brief Life Is Here Our Portion."
Also, Neale wrote the well known holiday carol, "Good King Wenceslaus." He died, aged 48, at East Grinstead in Sussex, England, on Aug. 6, 1866. Because of Neale's translating work, some books say, "Greek Translation by John M. Neale, 1854," but "Lift Up, Lift Up Your Voices Now" is now considered an anonymous cento from several sources. The first stanza is taken directly from Neale's "The foe behind, the deep before," published in his 1854 Carols for Eastertide. Other stanzas are taken from his translation of the Latin hymn "En dies est dominca" and from Mrs. Elizabeth Charles's 1858 translation of the Latin hymn "Aurora licis." The song as it appears today was published in The Church Hymnal of 1892 edited by Charles L. Hutchins. All books that I checked use a tune (Waltham, Camden, or Calkin) composed in 1872 by John Baptiste Calkin (1827-1905). However, it is found in most of our books with George Washington Doane's hymn "Fling Out the Banner, Let It Float," for which the composer intended it. Calkin composed another tune (Sefton), also dated 1872, which fits "Lift Up, Lift Up Your Voices Now" perfectly. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared, with the Waltham tune, in the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found, again with the Waltham tune, in the 1986 Great Songs Revised edited by Forrest M. McCann.
The song encourages us to give praise to the Lord for the resurrection of Jesus Christ from the dead.
I. Stanza 1 tells us to lift up our voices to Christ who reigns
"Lift up, lift up your voices now; The whole wide world rejoices now.
The Lord hath triumphed gloriously, The Lord shall reign victoriously."
A. We should lift up our voices even as we lift up our heads to see the King of glory: Ps. 24:7
B. This King, our Lord, has triumphed gloriously over death just as He did over the Egyptians: Exo. 15:1
C. And having triumphed, our Lord shall reign forever and ever: Rev. 11:15
II. Stanza 2 tells us that Christ triumphed over the grave
"In vain with stone the cave they barred; In vain the watch kept ward and guard.
Majestic from the spoiled tomb, In pomp of triumph Christ is come."
A. His enemies sealed the tomb: Matt. 27:62-66
B. However, their guard could not prevent the resurrection of Christ: Matt. 28:1-4
C. Thus, Jesus rose early on the first day of the week: Mk. 16:9
III. Stanza 3 tells us that Christ binds the ancient foe
"He binds in chains the ancient foe; A countless host He frees from woe.
And heaven's high portal open flies, For Christ has risen, and man shall rise."
A. By His resurrection, He bound in chains the ancient foe: Matt. 12:29
B. In so doing, He freed a countless host by the truth: Jn. 8:31-32
C. Because Christ has risen, man shall rise: 1 Cor. 15:20-22
IV. Stanza 4 tells us that Christ has won so that man can win
"And all He did, and all He bare, He gives us as our own to share;
And hope and joy and peace begin, For Christ has won, and man shall win."
A. In His death, Christ bore our sins: 1 Pet. 2:24
B. But by His death and resurrection He gives us hope: 1 Pet. 1:3
C. Therefore, because He has won, we can gain the victory: 1 Cor. 15:54-57
V. Stanza 5 tells us that Christ is the Victor who will lead us through death
"O Victor, aid us in the fight, And lead through death to realms of light;
We safely pass where Thou hast trod. In Thee we die to rise to God."
A. As Victor, Christ can aid us in fighting the good fight of the faith: 1 Tim. 6:12
B. He can lead us through death to realms of light because He Himself has trod that path: Phil. 2:5-8
C. Therefore, in Him after death we have the hope of rising to God: Rom. 8:11
VI. Stanza 6 tells us that Christ is worthy of our alleluias
"Thy flock, from sin and death set free, Glad alleluias raise to Thee;
And ever with the heavenly host Praise Father, Son, and Holy Ghost."
A. Christ's flock consists of those who have been set free from sin and death: Rom. 8:1-2
B. Therefore, His flock should raise glad alleluias to Him: Rev. 19:1
C. In so doing, we praise the Father, the Son, and the Holy Ghost: Matt. 28:19
CONCL.: John Julian called this hymn "a mosaic made up of fragments of...hymns, pieced together without any regard to the continuity of the originals" (p. 1664). That may be, but it certainly has a joyful message that is well brought out by Calkin's melody. The death of Christ procured our salvation from sin and justification before God. Yet, His death would mean little without the resurrection by which He gives us the hope of our own future resurrection and a home with God in heaven. As we think about this great event, we should exhort each other to "Lift Up, Lift Up Your Voices Now."
"LET US PASS OVER THE RIVER"
"For he that is entered into his rest...hath ceased from his own works" (Heb. 4:10)
INTRO.: A song which looks forward to that time when we shall enter into our rest and cease from our works is "Let Us Pass Over the River." The text was written by Kate Cameron. I have no further information about the author or the date, circumstances, and original publication of the song, except that the quote in the chorus contains the dying words of General Thomas Jonathan "Stonewall" Jackson, who was born on Jan. 24, 1824, in Clarksburg, VA (now WV), the third child of Jonathan and Julia Beckwith Neale Jackson. A graduate of West Point, Thomas served in the artillery during the Mexican War, earning two brevets, and then resigned to accept a professorship at the Virginia Military Institute at Lexington, VA. At the outbreak of the American Civil War, he was commissioned a colonel in the Virginia forces and dispatched to Harpers Ferry. There he was active in organizing the raw recruits until relieved by Joe Johnston.
In October of 1862 Jackson was made a lieutenant general with the Confederate States of America army. Leaving Harpers Ferry with Johnston, his brigade moved to join with Beauregard at Manassas. In the First Battle of Bull Run, they were so distinguished that both the brigade and its commander were called "Stonewall" by Gen. Barnard Bee. That fall, Jackson was promoted to Major General, was given command of the Valley, and participated in battles at Kernstown, McDowell, Front Royal, Winchester, Cross Keys, and Port Republic. Then he joined Lee in the defense of Richmond and fought in the Seven Days battle. Following the battle of Cedar Mountain, he was sent to capture Harpers Ferry during the invasion of Maryland, and after being distinguished at Antietam with Lee was promoted and given command of the now official Second Corps. Gaining a victory at Fredericksburg, he led his corps around the Union right flank at Chancellorsville but while returning to his own lines he was accidentally shot and wounded by some of his own men on May 2, 1863.
Jackson's arm was amputated and he survived the surgery, but he died eight days later on Sunday, May 10, 1863, at Chancellorsville, VA, from complications of pneumonia. When he was notified that he had not long to live, this devoutly religious man replied, "It is the Lord's Day. My wish is fulfilled. I have always desired to die on Sunday." His personal physician, Dr. Hunter McGuire, said that a few moments before he died, Jackson cried out in his delirium, "Order A. P. Hill to prepare for action! Pass the infantry to the front rapidly! Tell Major Hawks--." Then he stopped, leaving the sentence unfinished. The doctor continued, "Presently a smile of ineffable sweetness spread itself over his pale face, and he said quietly, and with an expression as if of relief, 'Let us cross over the the river, and rest under the shade of the trees.'" The tune for the song was composed by Rigdon McCoy McIntosh (1836-1899). Among hymnbooks published by members of the Lord's church, it appeared in the 1927 Sweeter Than All Songs edited by C. M. Pullias; the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; the 1940 Complete Christian Hymnal and the 1959 Hymnal both edited by Marion Davis; and the 1963 Abiding Hymns edited by Robert C. Welch. Today it may be found in the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song emphasizes the importance of looking beyond the work, sorrows, and battles of this life to the rest of heaven.
I. Stanza 1 talks about our work
"When our work is ended, we shall sweetly rest
'Mid the sainted spirits safe on Jesus' breast;
All our trials over, we shall gladly sing,
'Grave, where is thy victory? Death, where is thy sting?'"
A. When we pass from this life, we shall rest from our labors: Rev. 14:13
B. Then we shall be with the sainted spirits safe on Jesus's breast, as Lazarus was in comfort on Abraham's bosom: Lk. 16:23-25
C. And when the Lord returns to raise the dead and give us our eternal reward, we shall say, "Grave, where is thy victory; death, where is thy sting?": 1 Cor. 15:54-55
II. Stanza 2 talks about our sorrows
"Earth hath many sorrows, but they cannot last,
And our greatest troubles quickly will be past;
If we look to Jesus, He will give us strength.
By His grace we shall be conquerors at length."
A. In this life on earth we have many sorrows and troubles: Job 14:1
B. However, they will not last forever, and we can look to Jesus, the author and finisher of our faith, to give us strength to run the race: Heb. 12:1-2
C. By His grace, we can be more than conquerors: Rom. 8:37
III. Stanza 3 talks about our battles
"When the storm is over, sweet will be the calm,
After life's long battle, bright the victor's palm;
And the cross of anguish which now weighs us down,
We'll exchange in heaven for a shining crown."
A. Storms are often used to represent the battles of life that must be fought by God's people: 1 Tim. 6:12
B. However, after the storm of battle is over, we shall gain the victor's palm having overcome the world through faith: 1 Jn. 5:4
C. Then we shall exchange the cross of anguish for the shining crown: Jas. 1:12
CONCL.: The chorus urges us to endure through the dark waves until we can rest under the shade of the eternal tree of life.
"Though the dark waves roll high, we will be undismayed.
'Let us pass over the river, And rest under the shade,
Rest under the shade, rest under the shade of the trees.'"
Of course, there is more to do in this life than just sit around waiting for it to end so that we can go to heaven. However, as we grow older and come closer to the time when death will overtake us, Christians can look forward to the eternal rest that God has prepared for His people and encourage one another by saying, "Let Us Pass Over the River."
"LET THE WHOLE CREATION CRY"
"And I heard as it were the voice of a great multitude....saying, Alleluia! for the Lord God omnipotent reigneth!" (Rev. 19:6)
INTRO.: A hymn that is filled with commitment to praise the Lord is "Let the Whole Creation Cry." The text was written by Stopford Augustus Brooke, who was born on Nov. 14, 1832, at Glendoen, Letterkenney, in Donegal, Ireland. Educated at Kingstown in Kidder minster, he attended Trinity College where he won the Downes Prize and the Vice Chancellor's prize for English verse, graduating with a B. A. in 1856 and an M. A. in 1858. Becoming an Anglican minister, he served at St. Matthews in Marylebone from 1857 to 1859 and then at St. Mary Abbots in Kensington from 1860 to 1863. After working as chaplain to the British Embassy in Berlin, Germany, from 1863 to 1865, he was minister at St. James Chapel, York St. in London from 1866 to 1875, and was appointed as Chaplain in Ordinary to the Queen in 1872. Some of his written works include the Life and Letters of the Late F. W. Robertson in 1865, Theology in the English Poets in 1874, and Primer of English Literature in 1876.
In 1876, Brooke leased Bedford Chapel, where he continued to preach until his retirement in 1894. Withdrawing from the Church of England in 1880, he became an independent because of his liberal views, but although he had Unitarian leanings he never joined any denomination. In 1881, he prepared Christian Hymns for use in the congregation, and it included this hymn entitled "Invitation to Praise God" originally in ten four-line stanzas, loosely based on Psalm 148. His later works include Poems in 1888 and A Treasury of Irish Poetry in the English Tongue around 1900, and his death occurred on Mar. 18, 1916 at The Four Winds, Ewhurst, in Surrey, England. He refused to copyright his hymns, saying, "They are free, as I think all hymns ought to be, for the use of anyone who may care for them." A couple of melodies have been used with this one. The traditional tune (Salzburg) dates from 1678, is attributed to Jacob Hintze, and was harmonized by Johann Sebastian Bach. It requires the stanzas to be combined into eight-line stanzas.
Most modern books set the song to an 1817 Welsh tune (Llanfair) composed by Robert Williams and arranged by John Roberts. It is a wonderful melody but the vast majority of books use it with the anonymous Latin hymn "Jesus Christ Is Risen Today." However, I like the "Alleluia"s, which are not used with the Hintze melody, so I provided my own tune (Shakamak) in imitation of Welsh hymn melodies. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the text is found in the 1986 Great Songs Revised edited by Forrest M. McCann with the Hintze tune; and in the 1998 Hymn Supplement published by The Columbia Hymn Association Supplement, the 2007 Hymns for Worship Supplement edited by R. J. Stevens et. al, and the 2007 Sumphonia Hymn Supplement from Guardian of Truth Foundation edited by Steve Wolfgang et. al., all three with the Williams tune.
The song calls upon all of God's creation to praise God and sing "Alleluia!" to Him.
I. Stanza 2 is addressed to heaven and earth
"Let the whole creation cry: Alleluia!
'Glory to the Lord on high!' Alleluia!
Heaven and earth, awake and sing: Alleluia!
'God is good and therefore King!' Alleluia!"
A. The whole creation includes everything in the physical universe because made it all: Exo. 20:11
B. The whole creation should give God the glory: Ps. 29:1-2
C. Heaven and earth should awake and sing because God created them: Gen. 1:1. Evidently editors have felt the need to do a lot of tinkering with this song. For the last line, one book reads, "Praise to our almighty King," another reads, "God is God and therefore King," and still another reads, "God is good and reigns supreme."
II. Stanza 2 is addressed to the heavenly hosts both spiritual and physical
"Praise Him, all ye hosts above: Alleluia!
Ever bright and fair in love: Alleluia!
Sun and moon, uplift your voice: Alleluia!
Night and stars, in God rejoice! Alleluia!"
A. The heavenly hosts are told to praise the Lord: Ps. 103:20-21
B. The sun and moon are also told to lift up their voice: Ps. 148:3-4
C. Even the night and stars are told to join in declaring God's glory: Ps. 19:1-3. Again, tinkering has occurred. In the first line, one book reads, "Praise Him, angel hosts above," and another reads, "Praise God, heavenly hosts above." Many books change "uplift" in the third line to "lift up."
III. Stanza 3 is addressed to God's people
"Warriors fighting for the Lord: Alleluia!
Prophets burning with His word: Alleluia!
Those to whom the arts belong: Alleluia!
Add their voices to the song: Alleluia!"
A. All Christians are to be soldiers or warriors of Christ: Eph. 6:10-13 (books have changed this to "Christians fighting" or even to "Rulers bowing to")
B. There are no longer prophets today, those who are directly guided by the Holy Spirit to reveal God's word to mankind, but all Christians are to be teachers: Heb. 5:12
C. "The arts" here may refer to more than just things like painting, sculpture, music, and poetry, but to anything made by "artisans," and since all able Christians are to work at some trade, they should glorify God even in their work: Col. 3:22-24 (more tinkering--some books have the last line read, "Join the rushing of the song")
IV. Stanza 4 is addressed to those in civil authority
"Kings of knowledge and of law: Alleluia!
To the glorious circle draw: Alleluia!
All who work and all who wait: Alleluia!
Sing, 'The Lord is good and great!' Alleluia!"
A. While it is true that not many do or have done so, even kings and other rulers should praise the Lord: Ps. 148:11 (some books read simply, "Those of knowledge and of law")
B. They should to His glorious circle draw rather than setting themselves against the Lord: Ps. 2:1-3
C. Indeed, all who work and all who wait in the civil affairs of this life should acknowledge God: Dan. 4:36-37
V. Stanza 5 is addressed to all of mankind
"Men and women, young and old: Alleluia!
Raise the anthem manifold: Alleluia!
And let children's happy hearts: Alleluia!
In this worship bear their parts: Alleluia!"
A. Both men and women are encouraged to praise God, just as the Lord promised to pour out of His Spirit on both male and female: Joel 2:28-29
B. Both young and old are encouraged to praise God: Ps. 148:12
C. Even children are encouraged to praise God: Ps. 8:2 (again, more tinkering; in the second line, one book reads, "Raise the anthem loud and bold;" in the third line, some books read "Children, with your happy hearts;" and in the last line one book reads, "take their parts," while others read, "sing your parts.")
VI. Stanza 6 is addressed to the entire world
"From the north to southern pole: Alleluia!
Let the mighty chorus roll: Alleluia!
'Holy, holy, holy One: Alleluia!
Glory be to God alone!' Alleluia!"
A. The entire world from north to south should praise God: Ps. 89:11-12
B. The entire world should sing "Holy, Holy, Holy": Isa. 6:3
C. The entire world should give glory to God alone: 1 Pet. 3:10-11
CONCL.: Both the 1998 Hymn Supplement from The Columbia Hymn Association and the 2007 Sumphonia Hymn Supplement say of this hymn that it "calls for praise to God from all sources. This hymn depicts all created things, all heavenly beings, and all people singing praise to the Lord (Psa. 148:1-14, Rev. 19:1-6)." Truly, as our own hearts are filled with praise for all that God has done for us, we should declare to the entire world in singing alleluia, "Let the Whole Creation Cry."
"LET EVERY HEART REJOICE AND SING"
"O give thanks unto the Lord; for He is good: for His mercy endureth for ever" (Ps. 136:1)
INTRO.: A hymn which encourage us to give thanks to the Lord because He is good and His mercy endures forever is "Let Every Heart Rejoice and Sing." The text was written by Henry Stevenson Washburne (or Washburn), who was born at Providence, RI, on June 10, 1813, and spent his early years in Kingston, MA. After he had finished his education at the local grammar school, he worked in a bookstore at Boston, MA. Then he later attended Worcester Academy and entered Brown University to study law; one source says that he received no degree because of health problems but another said that he graduated in 1836. The following year he married Maria Carlisle Loring, and to their union were born five children. Active in various enterprises of the Baptist Church, he later became the director of publications with the New England Sabbath School Union for a time, where he originated the Young Reaper of which he was the editor for seven years, and then entered business at Worcester and Boston. Ultimately, he was employed by the Union Mutual Life Insurance Company where he rose to become president of the firm. Also, he served on the Boston School Board for nine years, was state representative from 1871 to 1872, and served one year as state senate in 1873 where he was the chairman of the committee on education. In 1876, he made a three year trip to Europe where he surveyed the condition of the insurance business for his company. His wife died in 1900, and Washburne himself died at Boston in 1903.
Washburne produced many poems and hymns which were widely circulated in his day. Little is known about the origin of "Let Every Heart Rejoice and Sing." It is dated 1842. Sometime during or after the Civil War, he wrote a poem entitled "The Vacant Chair" to commemorate the death of an eighteen year old Union Army lieutenant who was killed in action around Thanksgiving of 1861. It, along with several other of his poems, were published as The Vacant Chair and Other Poems in 1895. That volume contained the following poem by Washburne entitled "Let Every Heart Rejoice and Sing" with the note that it was "Sung by children of the Sabbath Schools of Boston in Fanueil Hall, July 4, 1842." However, it is somewhat different from the hymn as we have it.
1. "Let every heart rejoice and sing, Let the swelling chorus rise:
Ye reverend men and children, bring To God your sacrifice:
Whilst the breath of the morning floateth Along our valleys fair,
And the song of gladness riseth, Upon the dewy air--
While the rocks and the rills, While the vales and the hills,
A glorious anthem raise-- Let each prolong
The grateful song, And the God of our fathers praise!"
2. "Where first the voice of freedom Was heard in days of yore,
Now let the children's children Repeat that song once more;
While our country's banner o'er us Still waveth proudly free,
Oh, let the exulting chorus Ascend, great God, to thee:
While the rocks and the rills, While the vales and the hills,
A glorious anthem raise-- Let each prolong
The grateful song, And the God of our fathers praise!"
Forrest M. McCann in Hymns and History says that the text, presumably as we know it, was first published in The Psalmist, A New Collection of Hymns for the Use of Baptist Churches edited by Baron Stow and S. F. Smith at Boston for Kendall and Lincoln in 1843. Perhaps Washburne himself, or someone else, altered his original text to make it more suitable for general worship. The tune (Washburne) was composed by George Job Elvey (1803-1887). It is dated 1848, but I have found nothing about the circumstances of its composition. Some have suggested that it might have been a singing school exercise. Among hymnbooks published by brethren 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 Christian Hymnal edited by J. Nelson Slater; the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie; and the 1978 Hymns of Praise edited by Reuel Lemmons. 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; as well as the 2007 Sacred Songs of the Church edited by William D. Jeffcoat. All of these have but two stanzas and a rather long chorus. I have taken the first four lines of the chorus to make a third stanza, and then begun the chorus with "While the rocks and the rills," which seems to be in harmony with Washburne's original poem.
The song suggests several ideas related to praising God.
I. Stanza 1 indicates who should praise
"Let every heart rejoice and sing, Let choral anthems rise;
Ye aged men and children bring To God your sacrifice."
A. Every heart is encouraged to sing praise to the Lord: Ps. 150:6
B. This includes both aged men and children: Ps. 148:12-13
C. In doing so, we bring to God the sacrifice of praise continually: Heb. 13:15
II. Stanza 2 indicates how we should praise
"He bids the sun to rise and set; In heaven His power is known;
And earth subdued to Him shall yet Bow low before His throne."
A. Even the sun rising and setting in obedience to God's will declares the glory of God: Ps. 19:1-6
B. God wants the earth likewise to be subdued to Him: Ps. 66:1-4
C. Thus, one way way that we praise the Lord is to bow low before His throne: Ps. 95:1-6
III. Stanza 3 indicates why we should praise
"For He is good, the Lord is good, And kind are all His ways;
With songs and honors sounding loud, The Lord Jehovah praise."
A. We should praise the Lord for He is good: Ps. 100:4-5
B. Also, we should praise the Lord for His ways are kind: Ps. 117:1-2
C. Therefore, Jehovah should be praised with songs and honors sounding loud: Ps. 69:30
CONCL.: The chorus then encourages both the inanimate and the intelligent creation to prolong the grateful song of praise to God.
"While the rocks and the rills, While the vales and the hills
A glorious anthem raise;
Let each prolong the grateful song,
And the God of our fathers praise, And the God of our fathers praise."
This song sounds very Psalm-like, but other than the general scripture references that some hymnbooks use with hymns, I could find no confirmation that it might have been based on a specific Psalm (although it does sound a little like the first few verses of Psalm 136). When we think of all that God has done for us--both the physical blessings of this earth that He has bestowed upon the whole world to provide for all our needs and the redemption that He offers to sinful mankind through the sacrifice of Christ on the cross--we should certainly want to lift our voices in praise to Him as we "Let Every Heart Rejoice and Sing."
“LEAD ME HOME”
“I have gone astray like a lost sheep; seek Thy servant, for I do not forget Thy commandments” (Ps. 119:176)
INTRO.: A song which points out that we are like lost sheep which need the guidance of a shepherd to return to the fold is “Lead Me Home.” The text, based on Ps. 119:169-176 in four stanzas, is taken from The Psalter 1912. Several tunes have been used or suggested with the words. The first three stanzas were taken, with the fourth as a chorus, and a new tune was composed both by Charles Hutchinson Gabriel (1856-1932). The song is listed as copyright 1931 by the Gospel Advocate Publishing Co. Gabriel had compiled or assisted in the compilation of at least a couple of hymnbooks for the Gospel Advocate Co, including the 1907 New Christian Hymn Book with T. B. Larimore, and the 1923 Song Sunbeams. At least one other song by Gabriel in the latter is also later listed as copyright 1931 by the Gospel Advocate Publishing Co., although “Lead Me Home” does not appear in the table of contents of Song Sunbeams. Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, the song appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson.
The song asks the Lord to hear our prayer, help us, give us salvation, and lead us to His home.
I. Stanza 1 calls upon God to listen to our cry
“O let my supplicating cry By Thee, my gracious Lord , be heard;
Give wisdom and deliver me According to Thy faithful word.”
A. The idea of supplicating suggests asking for humbly as by prayer or making a humble request of someone: Ps. 6:9
B. What the Psalmist is asking humbly for is wisdom to deliver him: Ps. 7:1
C. Of course, this wisdom for deliverance will be according to God’s faithful word: Ps. 119:9
II. Stanza 2 seeks the Lord’s help
“Instructed in Thy holy law, To praise Thy word I lift my voice;
O Lord, be Thou my present help, For Thy commandments are my choice.”
A. To receive the Lord’s help, we must be instructed by His law: Ps. 119:97
B. Then we can look upon Him as a very present help in time of trouble: Ps. 46:1
C. With this attitude, we will always make His commandments our choice: Ps. 112:1
III. Stanza 3 longs for salvation
“For Thy salvation I have longed, And in Thy law is my delight;
Enrich my soul with life divine, And help me by Thy judgments right.”
A. We can rejoice in the salvation that God offers mankind: Ps. 9:14
B. Thus, we look to God to enrich our souls with life divine: Ps. 16:11
C. But to receive these blessings, we must follow God’s judgments: Ps. 119:62
CONCL.: The chorus concludes with a request for the Lord to lead us like a shepherd leads his sheep.
“Thy servant like a wandering sheep May lose the path and go astray;
Restore my soul and lead me home, For Thy commands I would obey.”
The original second line of the chorus (stanza 4) read, “Has lost the path and gone astray.” Even in a day and time when God did operate directly in some instances, the Psalmist understood that the primary way in which God provided guidance for His people was through His written word. Therefore, today as I seek the guidance of the Lord in my life, I must look to His written word as I ask Him to “Lead Me Home.”
"JUST FOR TODAY"
"Take therefore no thought for the morrow: for the morrow shall take thought for the things of itself" (Matt. 6:34)
INTRO.: A hymn which encourages us not to be anxious for the morrow because the morrow will take care of itself is "Just for Today." The text was written by Sybil Farish Partridge, who was born around 1856 at London in Middlesex, England. Originally in eight four-line stanzas, it is dated 1876 and first appeared in the Jan., 1880, issue of The Messenger of the Sacred Heart of Jesus. In 1881, she was a governess of a school in Liverpool while living in the convent of Notre Dame on Mount Pleasant. Frederick M. Steele, a Presbyterian minister from Chicago, IL, visited her, know then only as Sister Mary Xavier or S. M. X., to meet the author of "Lord, for tomorrow and its needs." She gave him her name but said, "It would be my preference that the great world outside should not know it till after I am gone." Sometimes the author's name is erroneously listed as E. R. Wilberforce. The text's first appearance in America seems to have been in the 1888 Songs of Rejoicing edited by Fred A. Fillmore.
In the Nov. 11, 1920, issue of The Continental, Lee wrote of his earlier visit with Partridge, saying, "I learn she recently has passed away, so I am at liberty now to tell the story." Thus, she must have died somewhere around 1910 to 1920, probably at the convent of Notre Dame in Liverpool, England. The tune (Vincent) most commonly used was composed for this text by Horatio Richmond Palmer (1834-1907). Though copyrighted in 1887, it first appeared in his 1892 Garnered Gems of Sunday School Song. Palmer is best remembered for "Yield Not to Temptation." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, a version of "Just For Today" appeared in the 1966 Christian Hymns No. 3 with both words and music arranged by editor Lloyd Otis Sanderson (1901-1992). The same tune was used in the 1925 edition of the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 with Robert Walmsley's hymn "The Sun Declines O'er Land and Sea."
The song makes several requests of the Lord for each day.
I. Stanza 1 asks for help with our speech
"Lord, for tomorrow and its need, I do not pray;
Keep me, my God, from stain of sin, Just for today.
Let me no wrong or idle word Unthinking say;
Set Thou a seal upon my lips, Just for today."
A. There are many ways to sin, and we should ask God to lead us not into temptation but deliver us from the evil one: Matt. 6:13
B. One way that we often sin is by allowing wrong or idle words to proceed from our mouths: Matt. 12:36-37
C. Therefore, like the Psalmist, we should ask God to set a seal upon our lips: Ps. 141:3
II. Stanza 2 asks for help to be faithful in work
"Let me both diligently work, And duly pray;
Let me be kind in word and deed, Just for today.
Let me in season, Lord, be grave, In season gay;
Let me be faithful to Thy grace, Just for today."
A. We need to watch and pray and also work for the Lord: Matt. 26:41, 1 Cor. 15:58
B. In this work, we need to strive to be kind in word and deed: Eph. 4:31-32
C. There are times when we should be grave and others when we should be gay (some change these lines to read, "Let me in season, Lord, go foth, In season stay"), but in all our work we must strive to be faithful to the Lord: Rev. 2:10
III. Stanza 3 asks for help to be obedient
"And if, today, this life of mine Should ebb away
Give me Thy sacrament divine, Father, today.
Let me be slow to do my will, Prompt to obey;
Help me to sacrifice myself, Just for today."
A. As we grow older, our lives begin to ebb away as we see the night approaching: Jn. 9:4. The use of the word "sacrament" is indicative of the author's Roman Catholic background and suggests the rites of the Roman Catholic Church. It could be altered simply to read "Give me Thy love and grace divine."
B. Whether young or old, it should be our aim to be slow to do our own will and prompt to obey God's will: Matt. 26:39, Heb. 5:8-9
C. Thus, we should strive to present our bodies as living sacrifices to God throughout our lives on earth: Rom. 12:1-2
IV. Stanza 4 asks for help in going to heaven
"In pain and sorrow's cleansing fires, Brief be my stay;
O bid me, if today I die, Come home today.
So for tomorrow and its needs I do not pray;
But keep me, guide me, love me, Lord, Just for today."
A. However long we live on earth, there will be pain and sorrow, and life is brief: Job 14:1
B. Eventually, we shall die (and it could even be today), so we should live so that when that occurs we can go home to be with Christ: Phil. 1:20-23
C. To prepare for this, we need to ask the Lord to keep and guide us every day: Ps. 48:14
CONCL.: This song once seemed to be quite popular. Among other books in my collection, I have seen it in the 1927 Church Hymnal Mennonite edited by J. D. Brunk; the 1939 Christian Service Songs published by Homer Rodeheaver, and the 1940 Broadman Hymnal edited by Benjamin B. McKinney. The text also was found in the 1937 New Hymnal for American Youth with a 1906 tune (Belleville) composed by James Edmund Jones. It is a shame that it has not been used in more of our books, because it expresses several wonderful thoughts about what we need from the Lord "Just For Today."
"JOY COMETH IN THE MORNING"
"Weeping may endure for a night, but joy cometh in the morning" (Ps. 30:5)
INTRO.: A hymn which exhorts us to endure the weeping of the night in expectation of the joy that will come in the morning is "Joy Cometh in the Morning." The text was written by M. M. Wienland, about whom I have been able to find no further information, other than that he or she lived in the nineteenth century. One might guess that the author was a woman because other books have the following hymns by Mrs. M. M. Wienland: "By sin and pain and grief oppressed," "Come children, happy children," "I heard my blessed Savior's voice," "Pilgrim, art thou worn and weary," and "When by affliction sorely tried." The tune (Wienland) for the song beginning "O weary pilgrim, lift your head" was composed by Edmund Simon Lorenz (1854-1942). I do not know when the song was first published, but my copy of Gospel Hymns Nos. 1-6 Complete (1894) says that an arrangement was copyright in 1887 by Ira D. Sankey. This would mean that the arrangement probably first appeared in Sankey's Gospel Hymns No. 5 which came out in 1887. In Hymns and History, Forrest M. McCann wrote that the song was published in 1897, but that may be a misprint for 1887. Lorenz is known for such hymns as "Thou Thinkest, Lord, of Me" and "Wonderful Love of Jesus," as well as tunes for "Give Me the Bible" and "God Is Love" beginning "Come, let us all unite to sing." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Joy Cometh in the Morning" appeared, with only stanzas 1 and 3 and no chorus, in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson, where it is listed as "Copyright 1915 Renewal; Hope Publishing Co., Owner." At that time, a copyright could be renewed 28 years after it was initially taken out, which would mean that something renewed in 1915 would have been originally copyrighted in 1887.
The song points our minds toward the future, past whatever problems come to us in this life, to what God has prepared for His people in the hereafter.
I. Stanza 1 focuses on God's Word
"Oh (O), weary pilgrim, lift your head, For joy cometh in the morning!
For God in His own Word hath said That joy cometh in the morning!"
A. Christians must recognize that they are but pilgrims in this life: 1 Pet. 2:11
B. Therefore, we lift up our heads to heaven, where our citizenship is and from whence we wait for the Savior: Phil. 3:20-21
C. To do this, we must turn to God's word which is able to give us our inheritance: Acts 20:32
II. Stanza 2 focuses on God's power to take away our fears and tears
"Ye trembling saints, dismiss your fears, For you cometh in the morning!
Oh, weeping mourner, dry your tears, For joy cometh in the morning!"
A. Saints may dismiss their fears because what Christ has done for us removes the fear of death: Heb. 2:14-15
B. There will still be times in life when we mourn: Matt. 5:4
C. However, Christians can be comforted and dry their tears because they do not sorrow as others without hope: 1 Thess. 4:13-18
III. Stanza 3 focuses God's willingness to help the burdened and sinners
"Let every burdened soul look up, For joy cometh in the morning!
And every trembling sinner hope, For joy cometh in the morning!"
A. All of us have burdens in this life to bear: Ps. 55:22
B. However, as we bear our burdens, we can look up to God for help: Ps. 121:1-2
C. Furthermore, every trembling sinner can have hope because Jesus Christ came to save sinners: 1 Tim. 1:15
IV. Stanza 4 focuses on promise to end all sorrow and sighing
"Our God shall wipe all tears away, For joy cometh in the morning!
Sorrow and sighing flee away, For joy cometh in the morning!"'
A. In all our trials, we look to God because He is the God of all comfort: 2 Cor. 1:3-4
B. In the heavenly new Jerusalem, God shall wipe all tears away: Rev. 21:1-4
C. Then will be completely fulfilled the prophetic picture where sorrow and sighing flee away under the Messiah: Isa. 35:10
CONCL.: The chorus continues to remind us that we should look for the joy that God has prepared for us in the morning.
"Joy cometh in the morning! Joy cometh in the morning!
Weeping may endure for a night, But joy cometh in the morning!"
When I first saw this song years ago in Great Songs No. 2, I was impressed with its sense of glad hopefulness. I just wished that there were more stanzas, and I was elated when I found out that there are. There will be times when we must weep in this life, especially as it draws closer and closer to its end, but the child of God can take courage to endure whatever he must face from the promise that "Joy Cometh in the Morning."
“JESUS WILL NEVER FAIL”
“…For He hath said, I will never leave thee, nor forsake thee” (Heb. 13:5)
INTRO.: A song which reminds us that our Lord and Savior has said that He will never leave us nor forsake us is “Jesus Will Never Fail.” The text was written, under the pseudonym of Charlotte G. Homer, by Charles Hutchinson Gabriel (1856-1932). The tune was composed by Charles Hutchinson Gabriel Jr, who was obviously the son of the author. Unfortunately, I have been able to gather very little information on Junior. According to one source I found, Charles H. Gabriel married Amelia Moore in 1888. It was his second marriage. Charles H. Gabriel Sr. died in Hollywood at the home of his son Charles H. Gabriel Jr. on September 14, 1932. This source wrote, “I have a card written from Charles Gabriel Jr. to one of my aunts; in the picture he is wearing a military outfit. Charles H. Gabriel Jr. was also a songwriter and publisher like his father. He wrote songs for Hollywood movies like Meet Me in St. Louis (the song was ‘Brighten the Corner Where You Are’).” This is probably NOT the same as the song with the same title with words by Ina Duly Ogden and music by his father.
According to George W. Sanville in Forty Gospel Hymn Stories (Winona Lake, IN: Rodeheaver-Hall Mack Co. Inc., 1943; p. 80), “The noted songwriter Charles H. Gabriel had traveled to New York to see his namesake son off to France for the First World War. His son had said, ‘Dad, if I never see you again here, I’ll meet you where the gates never swing outward,’" referring to a song which the father had copyrighted in 1921. I was able to locate a hymn entitled “He Loves Me” with words by Rene Bower and music by Charles H. Gabriel Jr., beginning, “Is your heart grieving o'er life and its care?” Also, there is a booklet entitled Five Great Songs for a Few Good Men by Barry Jennings, Suzanne Gaither Jennings, Don Francisco, Charles H. Gabriel, Jr., Johnson Oatman, and Gloria Gaither published in 1991 by the Gaither Music Company.
“Jesus Will Never Fail” is listed as copyright 1931 by the Gospel Advocate Publishing Co. I do not know whether this was an original copyright, a renewal, or an assignment. Apparently, the song first appeared in a 1923 book entitled Song Sunbeams compiled by Gabriel (Sr.) for the Gospel Advocate Co. Among other hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, the song appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson. It is not to be confused with another popular hymn entitled, “Jesus Never Fails,” written by Arthur A. Luther in 1927, copyrighted by Singspiration, and beginning, “Earthly friends may prove untrue.”
The song points out several situations in which we can trust Jesus to be a Friend.
I. Stanza 1 talks about the times when we need a friend
“I have a Friend divine, sincere, One who is always lingering near,
Dearest of all I ever knew, And He will be a Friend to you.”
A. All of us need friends: Prov. 18:24
B. Jesus is a friend who will always linger near as we do His will: Matt. 28:20
C. He is the dearest of all friends because He gave His life for us: Jn. 15:13-15
II. Stanza 2 talks about the times when we are tempted and weak
“When I am tempted, He defends, Strength for my weakness always sends,
With me in everything I do, And He will be a Friend to you.”
A. We are tempted when drawn away by our own desires: Jas. 1:13-15
B. There are times that as we face such temptations, we are weak and need support: 1 Tim. 5:14
C. If we trust Him, Jesus will be with us in such times and make a way of escape that we may be able to bear the temptation: 1 Cor. 10:13
III. Stanza 3 talks about the times when we are faint and wounded by trials
“When I am faint and weary worn, Wounded by many a hidden thorn,
Faithful is He, and kind and true, And He will be a Friend to you.”
A. There are certainly times in this life when we become faint and weary: Heb. 12:3
B. The hidden thorns which wound us might be thought of as representing the various trials and tribulations that we face in life which cause us to become faint and weary: Acts 14:22
C. But Jesus is faithful and kind and true to give us God’s comfort in all our trials: 2 Cor. 1:3-5
IV. Stanza 4 talks about the time when we shall have to face death
“When at the river’s brink I stand, Waiting to hear the dread command,
He will be there to lead me through, And He will be a Friend to you.”
A. The picture of standing at the river’s brink waiting to cross over is drawn from the scene where Israel went over the Jordan River into Canaan: Josh. 3:14-17
B. Thus, the picture represents our waiting at the end of life to hear the dread command of that one appointment which all shall keep: Heb. 9:27
C. But for the child of God, our Shepherd has promised to lead us through the valley of the shadow of death: Ps. 23:4-6
CONCL.: The chorus continues to emphasize that Jesus has promised never to leave us and thus we can trust Him never to grieve us in spite of the sorrows and foes that we may have to face in life.
“He will never leave me, He will never grieve me;
Sorrow may come and foes assail, Jesus will never, never fail.”
Many of my human friends may turn away from me, and even those with the best of intentions may not always be able to help me. However, I can be assured that “Jesus Will Never Fail.”
"JESUS, MY LORD, MY GOD, MY ALL"
"Lord...Thou knewest that I love Thee" (Jn. 21:17)
INTRO.: A hymn which shows a commitment to love Jesus more and more is "Jesus, My Lord, My Life, My All." The text was written by Henry Augustine Collins, who was born on Apr. 28, 1827, at Barningham in Yorkshire, England, the son of Thomas Collins, a minister with the Church of England. Graduating from Oxford with an M.A. in 1854, Henry also became an Anglican minister in 1853. In 1854, he published his Hymns for School and Missions which included this hymn. The book contained 37 hymns, but only two were by Collins, the other one being "Jesu, Meek and Lowly." Three years later, in November of 1857, he converted to Roman Catholicism. Joining the Cistercian Order in 1860, the following year he entered Mount St. Bernard Abbey at Coalville in North Leicster where he lived until 1882, when he was appointed chaplain to the Cistercian nuns at Holy Cross Abbey in Stapehill, Dorsetshire. Serving there until 1913, he returned to Mt. St. Bernard Abbey at Coalville, where he died on Jan. 29, 1919. His other works include the Life of the Rev. Father Gentili in 1861 and The Spirit and Mission of the Cistercian Order in 1866.
Several melodies have been used or suggested with "Jesus, My Lord, My Life, My All," but the only one of our books to include the hymn has a tune (Palestine) composed by Joseph Mazzinghi (1765-1844). Born in London, England, he was an English composer of Corsican origin. A child prodigy, after studying with J. C. Bach in London, he became music director and harpsichordist for the King's Theatre at age 19. Before leaving there in 1798 he presented over twenty ballets, most of which included pieces by other composers, along with two English and two Italian operas. Later he taught the piano, notably to the Princess of Wales. Also, he composed other English stage works, numerous instrumental works for amateurs, especially piano sonatas with violin accompaniment, and beginning in 1810 variations and arrangements for piano, harp and flute, as well as many songs and glees. 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 1963 Christian Hymnal edited by J. Nelson Slater.
The song expresses pure devotion and love to Jesus Christ for who He is and what He means to us.
I. Stanza 1 asks Jesus to hear us
"Jesus, my Lord, my God, my All,
Hear me blest Savior, when I call;
Hear me, and from Thy dwelling place,
Pour down the riches of Thy grace."
A. Jesus is our Lord: Jn. 13:13
B. Because He is our Lord, God, and Savior, we can call upon Him to hear us: Ps. 4:1
C. We can ask Him to pour down the riches of His grace: Eph. 1:6-7
II. Stanza 2 extols the name of Jesus
"Jesus, too late I Thee have sought;
How can I love Thee as I ought?
And how extol Thy matchless fame,
The glorious beauty of Thy name?"
A. Because of what He has done for us, we can never love Jesus as much as we ought, but we do need to love Him with all our heart: Matt. 22:37
B. One way we show our love for Him is by extolling His matchless fame: Ps. 145:1
C. His name should be beautiful to us because it is in His name that we have salvation: Acts 4:12
III. Stanza 3 wonders why Jesus loved us
"Jesus, what didst Thou find in me,
That Thou hast dealt so lovingly?
How great the joy that Thou hast brought,
So far exceeding hope or thought!"'
A. We might wonder why, when we were yet sinners, Christ loved us and died for us: Rom. 5:6-8
B. Yet, He did and brought great joy to mankind: 1 Jn. 1:1-4
C. The love and joy that He gives us far exceeds any hope or thought: Eph. 3:20-21
IV. Stanza 4 manifests a desire to belong to Jesus
"Jesus, of Thee shall be my song;
To Thee my heart and soul belong.
All that I have or am is Thine,
And Thou, blest Savior, Thou art mine."
A. Remembering what Jesus has done for us, of Him should be our song as we sing with grace in our hearts to the Lord: Col. 3:16
B. Not only should we sing to Jesus, but we should desire to belong to Jesus, heart and soul, by denying self, taking up the cross, and following Him: Matt. 16:24
C. And if we truly belong to Jesus, then He will be ours and be with us even till the end of the age: Matt. 28:20
CONCL.: The refrain at the end of each stanza once again expresses adoration and love for Jesus.
"Jesus, my Lord, I Thee adore;
O make me love Thee more and more."
Through the years some hymnbook editors have, for various reasons, been squeamish about hymns which call Jesus God. Therefore, either Slater or the source from which he drew the song changed the opening line of the first stanza to read, "Jesus, my Lord, my Life, my All." However, John wrote about Jesus that "The Word was God" (Jn. 1:1), and Thomas called Jesus "My Lord and my God" (John 20:28). Personally, I can see no good reason for not addressing Christ in song as "Jesus, My Lord, My God, My
All."
"JESUS LOVES THE LITTLE CHILDREN"
"Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven" (Matt. 19:14)
INTRO.: A hymn which encourages us to suffer little children and forbid them not to come to Jesus is "Jesus Loves the Little Children." The text was written by Clarence (or Clare) Hubert Woolston, who was born in 1856 at Chicago, IL. Very little information is available about him except that he was a preacher in Chicago and published a book entitle Seeing Truth in 1910. Apparently, the words for this children's song were produced around 1913 to fit an already existing tune that had been composed in 1864 by George Frederick Root (1820-1895). The melody began life as a Civil War song entitled "Tramp, Tramp, Tramp, the Boys are Marching" or "The Prisoner's Hope" with words also by Root.
Here are the lyrics of Root's original song.
1. "In my prison cell I sit, Thinking, Mother, dear, of you,
And our bright and happy home so far away;
And the tears, they fill my eyes 'Spite of all that I can do,
Though I try to cheer my comrades and be gay."
2. "In the battle front we stood, When their fiercest charge they made,
And they swept us off a hundred men or more;
But before we reached their lines, They were beaten back dismayed,
And we heard the cry of victory o'er and o'er."
3. "So within the prison cell We are waiting for the day,
That shall come to open wide the iron door.
And the hollow eye grows bright, And the poor heart almost gay,
As we think of seeing home and friends once more."
Chorus: "Tramp, tramp, tramp, the boys are marching,
Cheer up, comrades, they will come.
And beneath the starry flag we shall breathe the air again,
Of the free land in our own beloved home."
It was common in the late 1800s and early 1900s to provide religious words for popular secular melodies. Root himself produced several hymns, such as "Why Do You Wait, Dear Brother" and "Come to the Savior, Make No Delay," but he also penned many popular secular songs, such as "The Battle Cry of Freedom," "Just Before the Battle, Mother," and "The First Gun Is Fired," which was written in April of 1861 right after the firing on Ft. Sumter began the American Civil War. Woolston, whom Root once called one of his favorite lyricists, died in 1927. It has been said that "Jesus Loves the Little Children" is one of the first songs that small children learn in church, perhaps second only to "Jesus Loves Me." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the chorus alone appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie; the 1966 Christian Hymns No. 3 edited by L. O. Sanderson; and the 1978 Hymns of Praise edited by Reuel Lemmons. Today the chorus may be found in the 1992 Praise for the Lord edited by John P. Wiegand; and the 1994 Songs of Faith and Praise (where it is listed simply as "Traditional") edited by Alton H. Howard; in addition to the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song encourages children to give their lives to the service of Jesus Christ as early as possible.
I. Stanza 1 says that Jesus calls the children
"Jesus calls the children dear, 'Come to Me and never fear,
For I love the little children of the world;
I will take you by the hand, Lead you to the better land,
For I love the little children of the world.'"
A. The fact is that Jesus calls all people, both young and old, to come to Him: Matt. 11:28-30
B. All who come to Him have no reason to fear: Heb. 13:6
C. And if we come to Him, He will take us, figuratively, by the hand and lead us in the narrow way that will take us to the better land with eternal life: Matt. 7:13-14
II. Stanza 2 says that Jesus is the Shepherd and Savior
"Jesus is the Shepherd true, And He'll always stand by you,
For He loves the little children of the world;
He's a Savior great and strong, And He'll shield you from the wrong,
For He loves the little children of the world."
A. Jesus is the true Shepherd who gave His life for the sheep: Jn. 10:11
B. Therefore, He is also the Savior great and strong: Lk. 2:11
C. As our Shepherd and Savior, if we obey Him He'll shield us from all wrong so that we might be kept by His power through faith to the salvation ready to be revealed at the last time: 1 Pet. 1:5
III. Stanza 3 says that Jesus wants us to be His soldiers
"I am coming, Lord, to Thee, and Thy soldier I will be,
For He loves the little children of the world;
And His cross I'll always bear, And for Him I'll do and dare,
For He loves the little children of the world."
(Some modern books change this stanza as follows:
"...Your soldier I will be, For You love....
And Your cross...And for You I'll do...For You love...")
A. Jesus wants us to be good soldiers in His spiritual army: 2 Tim. 2:3
B. To do so, we must determine that we'll take up the cross and follow Him: Matt. 16:24
C. Also, we must resolve to do the will of the Father that we might enter the kingdom of heaven: Matt. 7:21
CONCL.: The chorus reminds us that Jesus loves everyone, including the little children.
"Jesus loves the little children, All the children of the world;
Red and yellow, black and white, They are precious in His sight,
Jesus loves the little children of the world."
The chorus has has taken on a life of its own, and children often sing just the refrain, to which new "stanzas" have been added, such as the following.
2. "Jesus died for all the children, All the children of the world;
Red and yellow, black and white, They are precious in His sight,
Jesus died for all the children of the world."
3. "Jesus rose for all the children, All the children of the world;
Red and yellow, black and white, They are precious in His sight,
Jesus rose for all the children of the world."
4. "Jesus wants the little children To be careful what they do;
Honor father, mother dear, Keep their hearts so full of cheer,
Then He'll take them home to glory by and by."
The Bible teaches that that infants, babies, and small children are "safe," not yet having reached an age of mature understanding and accountability to be guilty of sin. However, there is certainly nothing wrong with even young children learning and singing about what the Lord expects of them as they grow up and being taught that "Jesus Loves the Little Children."
“JESUS LIFTED ME”
“I will extol Thee, O Lord; for Thou hast lifted me up…” (Ps. 30:1)
INTRO.: A song which expresses thanks to the Lord for lifting us up is “Jesus Lifted Me.” The text was written by George Orlia Webster, who was born on Apr. 25, 1866, at Fort Ann. NY, the son of a Baptist minister. Attending school at Saxon’s River Academy, George also became a Baptist minister and began his work with a church in St. Johnsbury, VT. In 1899 he married Mabel Mary Vestella. Of his more than fifty years of service as a minister, over thirty were spent in inter-denominational settings, often with churches having Methodist, Presbyterian, and Baptist members. The author of several hundred published hymns and other songs, he produced “Jesus Lifted Me” around 1923 when it was copyrighted by the Gospel Advocate Co. in their Choice Gospel Hymns edited by Thomas B. Mosley with a tune by James Henry Fillmore (1849-1936). Webster and Fillmore collaborated on another song, “The Victory May Depend on You” copyrighted in 1906.
Perhaps one of Webster’s best known songs, at least among us, is “I Need Jesus” with music by Charles H. Gabriel, copyrighted in 1924 and used in Sacred Selections of the Church. Other books that I have seen include Webster’s “Love Led Him to Calvary,” also with music by Gabriel and copyrighted in 1924. Cyberhymnal lists eight of Webster’s hymns, but Hymnary.org credits him with 222. In later years, Webster was minister with the Federated Church at Essex, NY, where there is a plaque in his memory. His death occurred on Oct. 1, 1942, most likely near Bolton Landing, NY. Among other hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, “Jesus Lifted Me” appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson.
The song reminds us of the blessings that come to those who seek Jesus to lift them up.
I. Stanza 1 says that Christ will assist us with our burden of sin and care
“When I was sinking in despair, O’er-burdened by my sin and care,
I raised to heaven an earnest prayer, and Jesus came and lifted me.”
A. The Christian who has turned away from the Lord is often pictured as sinking in despair just as Peter was sinking in the sea when he looked away from Jesus: Matt. 14:28-30
B. The reason for this is that we sometimes allow ourselves to be over-burdened by sin and care: 1 Jn. 1:8
C. However, we can raise an earnest prayer and if our aim is truly to be right with God, He will hear and respond: 1 Jn. 5:14
II. Stanza 2 says that Christ will be a helper to bind our wounds
“No other helper could I find, No other friend my wounds to bind,
But one I found, so tender, kind, When Jesus came and lifted me.”
A. Sometimes we feel as if there is no one who can help us: Ps. 142:4
B. This is especially true when we have deep spiritual wounds that need binding: Ps. 147:3
C. But Jesus is a helper who is tender and kind because He is the friend of sinners: Matt. 11:19
III. Stanza 3 says that Christ will walk beside us to cheer us on our way
“He walks beside me day by day To cheer me on my earthly way;
In Him I find my strength and stay, Who heard my prayer and lifted me.”
A. After we have turned back to Christ, He will abide with us as we love Him and keep His word: Jn. 14:23
B. When we thus walk with Him, He will cheer us on our earthly way: Jn. 16:33
C. And in Him we can find the strength we need: Eph. 6:10
CONCL.: The chorus points out that no matter how bad things seem, Jesus Christ is there to lift us up if we only put our trust in Him.
“From sin’s dark night He lifted me, When I was in despair;
To plains of light He lifted me, And walks beside me there.”
Every Christian was once a lost sinner whom Jesus lifted out of guilt and shame. And even though we may try to live righteous lives, we still stumble and fall from time to time. Therefore, as I look back over my life, I am so thankful for those times when “Jesus Lifted Me.”
"JESUS HAS LOVED ME"
"...Yea, I have loved thee with an everlasting love..." (Jer. 31:3)
INTRO.: A hymn which points out how much the Lord has loved us andthe results of that love is "Jesus Has Loved Me." The text was written by Jacob Wakefield MacGill, who was born in 1829 at Glasgow, Scotland. Becoming a home mission worker, he studied at the University of Glasgow. For a time he worked with Dr. Barnardo among the orphans in London, England. A major portion of his life was spent on mission work in the center of Manchester, England, where he managed to build 24 meeting houses for churches to assemble from 1884 to 1900. Also, he authored a book, The Omnipotence of Loving-Kindness, a Narrative in 1861. The date for "Jesus Has Loved Me" is not known. Besides it, Wakefield is credited with a few other hymns, including "Coming, Coming, Yes They Are," "Hear the Wail," and "Send Them, O Lord." Evidently he returned to Glasgow either for a visit or for his retirement because he died there in 1902.
The tune (Glory to Jesus) for "Jesus Has Loved Me" was composed by a French musician Antoine Edouard Batiste, who was born in Paris, France, on Mar. 28, 1820. He was an organist who served as professor at the Paris Conservtoire. Again, the date for the music is not known. It is said to have been arranged from Batiste by C. W. and E. M. I have been able to find no further information about either the text or the tune. Batiste died in Paris on Nov. 9, 1876. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson. The only other book in which I have seen it is the 1972 Living Hymns edited by Alfred B. Smith and published by Encore Publications Inc.
The song talks about what Jesus has done for us in the past and the promises the He makes to us now.
I. Stanza 1 says that He has loved us
"Jesus has loved me--wonderful Savior!
Jesus has loved me, I cannot tell why.
He came to rescue sinners unworthy;
My heart He conquered--for Him I would die."
A. There is no question that Jesus has loved us: Eph. 5:2, 1 Jn. 3:16
B. There is a sense in which we do not know why He loved us, because even while we were yet unworthy sinners He died for us: Rom. 5:8
C. However, those who receive the benefits of His love are those who allow Him to conquer their hearts by loving Him in turn with all their hearts: Matt. 22:37
II. Stanza 2 says that He has saved us
"Jesus has saved me--wonderful Savior!
Jesus has saved me, I cannot tell how
He should first love me, paying my ransom,
Dying on Calvary with thorns on His brow."
A. Because Jesus loved us, He came to seek and save the lost from their sins: Matt. 1:21, Lk. 19:10
B. There is a sense in whihc we cannot tell how He first loved us and decided to pay our ransom: Matt. 20:28
C. However, we do know that He died for us on Calvary having had a crown of thorns placed on His brow: Matt. 27:27-31
III. Stanza 3 says that He will lead us
"Jesus will lead me--wonderful Savior!
Jesus will lead I cannot tell where:
So I will follow, through joy or sorrow,
Sunshine or tempest, since He leads me there."
A. The Bible promises that just as a shepherd leads his flock, so Jesus will lead His people: Rev. 7:17
B. There is a sense that while we know the ultimate destination we do not know exactly where Jesus will lead us on the way because we do not know what will happen tomorrow: Jas. 4:14
C. However, because He is our Savior, we must follow Him regardless: Matt. 16:24
IV. Stanza 4 says that He will crown us
"Jesus will crown me--wonderful Savior!
Jesus will crown me, I cannot tell when.
White throne of splendor, hail I with gladness,
Crowned 'mid the plaudits of angels and men."
A. We know that Jesus will crown us because it is said that when His servants come to the pure river of water of life wher the tree of life exists, they shall reign forever and ever: Rev. 22:1-5
B. There is a sense in which we do not know when this will occur because we do not know the time of His coming: Matt. 24:36
C. However, we do know that when He comes, He will grant us to sit with Him on His throne: Rev. 3:21
CONCL.: The chorus gives praise and honor to Jesus Christ for what He has done and continues to do for us.
"Glory to Jesus--wonderful Savior!
Glory to Jesus, the One I adore.
Glory to Jesus--wonderful Savior!
Glory to Jesus, and praise evermore."
According to some internet research that I did, it seems that this song was once very popular especially among "youth groups" in various denominations. Only one of our books of which I am aware has included this song, and that book has probably not been used in over fifty years. However, it is not a bad song, and it is good to be reminded often that "Jesus Has Loved Me."