"IS THIS NOT THE LAND OF BEULAH?"
"Call thy land Beulah, for the Lord delighteth in thee" (Isa. 62:4)
INTRO.: A hymn which refers to the relationship which God's people have with Him and through which we hope to live with Him after death as Beulah is "Is This Not the Land of Beulah?" The author is sometimes listed as anonymous or unknown, but the text is often attributed to Mrs. Harriet Warner ReQua. No information seems to be available on this author. Some books identify her as Harriet Warner and put the term "ReQua" afterwards in italics as some kind of title. The composer is also sometimes listed as unknown and the music is simply identified as arranged, but the tune is usually attributed to John William Dadmun, who was born on Dec. 20, 1819, at Cambridge, MA, and was the minister of the Methodist Episcopal Church at South Hadley Falls in Holyoke, MA, in 1845 and 1846. Also, he served as prison chaplain at Deer Isle, off the coast of Maine. His works include The Melodeon: A Collection of Hymn Tunes, Original and Selected Music, Adapted to All Occasions of Social Worship, and Army and Navy Melodies: A Collection of Hymns and Tunes, Religious and Patriotic, both in 1862, and The Masonic Choir in 1864. Perhaps his best known tune is that used with the hymn "Rest for the Weary" with words by Samuel Young Harmer beginning, "In the Christian's home in glory."
Dadmun died in 1890. I have no further information about the song "Is This Not the Land of Beulah?", its date, or its origin of publication. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, a truncated two-stanza version of the song appeared in the 1921 Great Songs of the Church (No. 1), beginning "Is this not the land of Beulah?", and the 1937 Great Songs of the Church No. 2, beginning "I am dwelling on the mountain," both edited by E. L. Jorgenson; and the 1965 Great Christian Hymnal No. 2, which copied from Great Songs No. 2, edited by Tillit S. Teddlie. Four stanzas, but without the chorus, appeared in the 1924 International Melodies edited by Earnest C. Love. The same tune, arranged by O. D. Morrow, is used with a 1973 hymn entitled "The Song of the Saved" by Tom Holland in the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard. The full text of the original hymn may be seen in such books as the 1902 Church and Sunday School Hymnal with Supplement, the 1927 Church Hymnal Mennonite, the 1940 Broadman Hymnal, and the 1983 Old School Hymnal Eleventh Edition.
The song focuses on the spiritual blessings that the God of heaven has made possible for mankind on earth.
I. Stanza 1 talks about dwelling on the mountain
"I am dwelling on the mountain Where the golden sunlight gleams
O'er a land whose wondrous beauty Far exceeds my fondest dreams;
Where the air is pure, ethereal, Laden with the breath of flowers,
They are blooming by the fountain 'Neath the amaranthine bowers."
A. The mountain represents the rule of God in the hearts of His people: Isa. 2:2
B. The golden sunlight refers to the joyful blessings that come down upon us like sunlight from God who is light: 1 Jn. 1:5
C. The ethereal air and the amaranthine bowers symbolize the purity of the relationship that we have with God in Christ: Eph. 5:25-26 (in the noble effort to make songs understandable, some books actually "dumb down" hymns by replacing words which some people are just too lazy to look up; "ethereal" which means heavenly is replaced by "celestial," and "amaranthine" which means "undying" is replaced with "never fading.")
II. Stanza 2 talks about having been led by the Spirit
"I can see far down the mountain Where I wandered weary years,
Often hindered in my journey By the ghosts of doubts and fears;
Broken vows and disappointments Thickly sprinkled all the way,
But the Spirit led unerring To the land I hold today."
A. "Far down the mountain" is where we wandered weary years in sin: Eph. 2:1-3
B. At that time, we were characterized by doubts, fears, broken vows, and disappointments, being without God: Eph. 2:11-12
C. However, the Spirit, through the message of His word, led us to the land where we are today: Eph. 6:17
III. Stanza 3 talks about drinking at the fountain
"I am drinking at the fountain Where I ever would abide,
For I've tasted life's pure river, And my soul is satisfied;
There's no thirsting for life's pleasures, Nor adorning rich and gay,
For I've found a richer treasure, One that fadeth not away."
A. In this Beulah, Jesus offers us the fountain of living water: Jn. 4:10-14
B. Therefore, we no longer thirst for life's pleasures and riches: Lk. 12:15
C. In Christ, we have found treasures which are better because they will never fade away: Matt. 6:19-20
IV. Stanza 4 talks about bearing our burdens
"Tell me not of heavy crosses, Nor the burdens hard to bear,
For I've found this great salvation Makes each burden light appear;
And I love to follow Jesus, Gladly counting all but dross,
Worldly honors all forsaking For the glory of the cross."
A. Jesus does tell us to take up the cross: Matt. 16:24
B. But because of what He has done for us, His burden is light: Matt. 11:28-30
C. Therefore, like Paul, we gladly count all but dross: Phil. 3:7-8
V. Stanza 5 talks about Christ's help in taking up the cross
"Oh, the cross has wondrous glory! Oft I've proved this to be true;
When I'm in the way so narrow, I can see a pathway through.
And how sweetly Jesus whispers, 'Take the cross, thou needest not fear,
For I've trod the way before thee, And the glory lingers near.'"
A. The cross has wondrous glory: Gal. 6:14
B. It enables us to see a pathway through the strait and narrow way: Matt. 7:13-14
C. We can look to Jesus who has trod the way before us: Heb. 12:1-2
CONCL.: The chorus uses the same last four lines of the music.
"Is this not the land of Beulah, Blessed, blessed land of light,
Where the flowers bloom forever, And the sun is always bright?"
This hymn is very similar to Edgar Page Stites's "Beulah Land." Some books that attempt to give explanations for hymns will say that "Beulah" is a term for heaven, but that is really not the case. The word "Beulah" means married and describes the relationship that those who are in the Lord's church have with God now. Notice the present tense: "I AM dwelling on the mountain...IS this not the land of Beulah?" However, it is also true that the spiritual blessings which the redeemed have from the Lord now are just a foretaste of the glory that is to come. Thus, we are motivated to press on toward the eternal goal as we look around us and say, "Is This Not the Land of Beulah?"
“INSIDE THE GATE”
“Blessed are they that do His commandments, that they…may enter through the gates into the city” (Rev. 22:14)
INTRO.: A song which describes both the beauty that is found and the joy that is experienced by those who enter through the gates into the city of heaven is “Inside the Gate (#691 in Hymns for Worship Revised, and #419 in Sacred Selections for the Church). The text was written and the tune was composed both by John Whitefield (J. W.) Vaughan, who was born at Heflin in Cleburne County, AL, on Jan. 22, 1879, to John Wesley and Beady Vaughan. Music was always a part of his life, and when he was seven years old he began studying it, learning shaped notes. His father loved singing, and his mother was considered one of the finest soprano singers in their part of the country. Because young John enjoyed music so much, he often stayed up until after midnight studying harmony and composition. Some of his teachers included B. C. Unseld, Adger M. Pace, S. M. Denson, W. W. Combs, J. M. Bowman, G. H. Riddles, and B. N. Hultsman.
Also John attended the Vaughan School of Music in Lawrenceburg, TN, where he studied under James David (J. D.) Vaughan, with whom he was sometimes confused. A member of the church of Christ, John spent the greater part of his life as a composer and teacher of religious music. In 1904 he began teaching singing normals. In the early part of his life, he taught literary school in the winter and singing schools in the summer. In 1910 he married Annie Mae Wager, and they had three children, Mrs. Christine Beatty of Waynesboro, TN; N. S. Vaughan of Cleveland, TN; and T. D. Vaughan of Chattanooga, TN. In all Vaughan produced about one hundred songs. Probably the most popular of them was “If I Could Hear My Mother Pray Again,” with words by James Rowe beginning “How sweet and happy seem htose days of which I dream,” published in 1922. Loved by millions through the nation, it has been sung over many radio stations and recorded several times.
“Inside the Gates” was written in 1930, copyrighted J. W. and J. D. Vaughan, and published in 1932. Another J. W. Vaughan song, “The Old Country Church” beginning “There’s a place dear to me where I’m longing to be,” written in 1934, is a sentimental song with simple, impressive words which many people have hummed or sung as they went about their daily chores. A couple of other songs by Vaughan include “In the Morning Bright and Fair” beginning “How the glad songs of victory will ring,” and “When Mother Sang Me to Sleep” beginning “I am thinking of those happy days gone by.” In addition to his music, he was engaged in the telephone business, owning telephone properties in Marshall, Lawrence, and Wayne Counties, TN. A stockholder and director of the Alabama Telephone Company, he was also an officer for several years in the Tennessee Independent Telephone Association, serving as its director and vice-president until his death at Waynesboro, TN, on Sept. 21, 1945.
Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, “Inside the Gates” appeared in the 1940 Complete Christian Hymnal edited by Marion Davis. Today it may be found in the 1971 Songs of the Church and the 1990 Songs of the Church 21st C. Ed. both edited by Alton H. Howard; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song suggests several reasons that should motivate us to want to enter the gates into that city.
I. Stanza 1 says that we shall be able to see beloved saved ones in glory
“Loved ones in glory are waiting for me, Just inside the gate;
Some golden morning their faces I’ll see, Just inside the gate.
There will be shouting and singing up there;
Glory forever with them we shall share,
When we shall enter our mansion so fair, Inside the gate.”
A. The Bible promises that Christians have the hope of being reunited with those who have fallen asleep in Jesus: 1 Thess. 4:13-17
B. Thus, we understand that those whom we have loved among the saints will be there to serve Christ: Rev. 22:3
C. This will take place when we enter the mansion so far that Jesus has gone to prepare for His people: Jn. 14:1-3
II. Stanza 2 says that we shall be able to live in a city of gold
“Think of that beautiful city of gold, Just inside the gate,
Where with the ransomed we’ll live, I am told, Just inside the gate;
There our dear Savior and friends we shall meet,
And with the angels we’ll walk down the street,
Beautiful home where our joys are complete, Inside the gate.”
A. Gold is used to symbolize the great beauty and majesty beyond imagination in heaven: Rev. 21:18
B. There we shall be in the very presence of our dear Savior: Rev. 21:22-23
C. It will certainly be a beautiful home in the continuing city which we seek to come: Heb. 13:14
III. Stanza 3 says that we shall be able to join in the wonderful music of the redeemed
“Wonderful music there surely will be, Just inside the gate;
All the sweet singers of heaven we’ll see, Just inside the gate;
We shall rejoice while the ages shall roll,
Joining with angels His name to extol,
There in the beautiful home of the soul, Inside the gate.”
A. Heaven is pictured as a place where the redeemed will make wonderful music by singing eternal praises to God: Rev. 5:8-9
B. All the sweet singers of heaven we shall see because many will come from the east and the west to sit down with Abraham, Isaac, and Jacob in the kingdom of heaven: Matt. 8:11
C. Also, we shall rejoice and join in extolling the name of Christ with the angels who always see the face of the Father in heaven: Matt. 18:10
IV. Stanza 4 says that we shall be able to see Jesus
“We shall see Jesus, O praise His dear name, Just inside the gate;
All through the ages His grace we’ll proclaim, Just inside the gate.
Angels and loved ones are looking this way,
Hoping to greet us some wonderful day,
When we move over to heaven to stay, Inside the gate.”
A. Of all blessings in heaven, the best must surely be seeing Jesus Himself: 1 Jn. 3:1-3
B. All through the endless ages we shall proclaim the grace of Him who washed our robes and made them white: Rev. 7:9-15
C. Thus, we certainly look forward to that time when we move over to heaven to stay in that new Jerusalem: Rev. 21:1-4
CONCL.: In Sacred Selections, Ellis J. Crum wanted to make sure that we knew beyond doubt that every Christian will likely have some loved ones who will not be in heaven, so he changed the first line of stanza 1 to “Saved ones in glory,” the fifth line of stanza 2 to “There our dear Savior and saints,” and the fifth line of stanza 4 to “Angels and saved ones.” Apparently all of our other current books copied from him since they contain these changes too. There is a chorus that expresses the hope of the Christian to enter that eternal city, but in many places where I have been located we just did not have the alto singers needed, so there have been times when I have just led the stanzas and omitted the chorus. Surely, there can be no greater joy for the child of God than the thought of dwelling forever with the Savior and the redeemed of all ages “Inside the Gate.”
"IN THY NAME, O LORD, ASSEMBLING"
"For where two or three are gathered together in My name, there am I in the midst of them" (Matt. 18:20)
INTRO.: A hymn which reminds us that where two or three are gathered in the name of Christ, He promises to be in their midst spiritually is "In Thy Name, O Lord, Assembling." The text was written by Thomas Kelly (1769-1854). It was first published in his 1815 Hymns Not Before Published. Kelly is best known as the author of such hymns as "The Head That Once Was Crowned with Thorns," "Look, Ye Saints, the Sight Is Glorious," and "Praise the Savior, Ye Who Know Him." The traditional tune for this hymn (Raphael Hopkins) was composed in 1862 by Edward John Hopkins. However, the only two of our books to include the hymn use a tune composed by Anthony Johnson Showalter (1858-1924). It was copyrighted in 1900 by the Gospel Advocate Co., but no other information about it is available. Showalter is most remembered as the composer of "Leaning on the Everlasting Arms." Among hymnbooks published by members osf the Lord's church during the twentieth century for use in churches of Christ, "In Thy Name, O Lord, Assembling" appeared in the 1927 Sweeter Than All Songs edited by C. M. Pullias; and the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson.
The song mentions several results in the lives of Christians from assembling together.
I. Stanza 1 says that assembling together helps us to draw near to God
"In Thy name, O Lord, assembling, We, Thy people, now draw near;
Teach us to rejoice with trembling. Speak, and let Thy servants hear:
Hear with meekness, hear with meekness; Hear Thy word with godly fear."
A. The Lord wants us to draw near to Him: Jas. 4:8
B. However, in order to do this, we must have the attitude of Samuel, "Speak, Lord, Thy servant heareth": 1 Sam. 3:9
C. One reason we asssemble is to hear the word of the Lord with godly fear: Acts 10:33, Heb. 12:28
II. Stanza 2 says that assembling together encourages us to give our lives to God
"While our days on earth are lengthened, May we give them, Lord, to Thee;
Cheered by hope, and daily strengthened, May we run, nor weary be,
Till Thy glory, till Thy glory, Without clouds in heaven we see."
A. It is not enough just to assemble with the church; we must also take what we gain from when we are assembled and apply it to our hearts so that we give our lives to the Lord by following Him: Matt. 16:24-25
B. Therefore, in addition to our regular assembling for worship, we must look to the Lord daily that the inner man might be strengthened or renewed and we can run the race: 2 Cor. 4:16, Heb. 12:1
C. One thing that motivates us in this is being cheered by hope and looking forward to that time when we see the Lord in heaven: 1 Pet. 1:3-5
III. Stanza 3 says that assembling together focuses our minds on being in heaven with God
"There, in worship purer, sweeter, Thee Thy people shall adore,
Tasting of enjoyment greater Than we could conceive before:
Full enjoyment, full enjoyment, Full, unmixed, and evermore."
A. "There," in heaven, the saints shall be assembled together in worship that is purer and sweeter: Rev. 5:8-14
B. This worship will be an enjoyment greater than ever before because there will be no tears, death, sorrow, crying, or pain: Rev. 21:1-4
C. It will be full enjoyment and unmixed because it will consist of eternal life: 1 Jn. 2:25
CONCL.: At one time it was a common custom in the worship services of many churches to begin with a hymn which reminded those assembled of their reason for coming together. There is certainly nothing in scripture which demands this practice, but neither is there anything which forbids it. Furthermore as one purpose of singing in worship is to teach and admonish one another, it might be thought of as a possible expedient to help prepare the worshipper for the other activities of the service as we also tell the Lord in song that we are "In Thy Name, O Lord, Assembling."
"I"ll LIVE FOR HIM"
"Not...live unto themselves, but unto Him which died for them" (2 Cor. 5:15)
INTRO.: A hymn which stresses the importance of not living for ourselves but for Him who died for us is I'll Live for Him" (#99 in Sacred Selections for the Church). The text was written by Ralph Erskine Hudson (1843-1901). He is perhaps best remembered for composing the tune, with the chorus beginning, "At the cross, at the cross, where I first saw the light," to which we usually sing Isaac Watts's hymn beginning, "Alas, and did my Savior bleed?" The tune (Dunbar) for "I'll Live for Him" was composed by Charles R. Dunbar (19th c.). Nothing else is presently known about this composer, except that he also provided the tune for Mary S. B. Dana Schindler's "There'll Be No Sorrow There." The hymn "I'll Live for Him" was first published in the 1882 Salvation Echoes which Hudson edited in Alliance, OH.
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 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the 1935 Christian Hymns (No. 1), the 1948 Christian Hymns No. 2, and the 1966 Christian Hymns No. 3 all edited by L. O. Sanderson; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found in the 1971 Songs of the Church, the 1990 Songs of the Church 21st C. Ed., and the 1994 Songs of Faith and Praise all edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Sacred Selections and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat. I realize that not every hymnbook can contain every hymn that everyone likes, but I miss this song in Hymns for Worship.
The song expresses the response of one who fully realizes what the death of Jesus means for him.
I. Stanza 1 says that we must be faithful to Jesus
"My life, my love I give to Thee, Thou Lamb of God who died for me;
O may I ever faithful be, My Savior and my God."
A. We should give Jesus our lives and love by loving Him with all our heart, soul, and mind: Matt. 22:37-38
B. The reason is that He is the Lamb of God who redeemed us by His blood: 1 Pet. 1:18-19
C. Therefore, we should be faithful unto Him even until death: Rev. 2:10
II. Stanza 2 says that we must trust in Jesus
"I now believe Thou dost receive, For Thou hast died that I might live;
And how henceforth I'll trust in Thee, My Savior and my God."
A. Christ will receive us, but we must believe in Him: Jn. 8:24
B. One thing that we need to believe is that He died that we might live: 1 Cor. 15:1-3
C. Therefore, for salvation and for our entire lives we must trust Him: Eph. 1:12-13
III. Stanza 3 says that we must consecrate our lives for Jesus
"O Thou who died on Calvary To save my soul and make me free,
I'll consecrate my life to Thee, My Savior and my God."
A. Jesus died on Calvary or Golgotha: Jn. 19:17-18
B. The purpose for which He did this was to save our souls from sin: Matt. 1:21
C. Therefore, we should consecrate our lives to Him by being crucified with Him and then living by faith in Him: Gal. 2:20
CONCL.: The chorus express the desire to live for the one who died for us.
"I'll live for Him who died for me; How happy then my life shall be!
I'll live for Him who died for me, My Savior and my God!"
Notice that while the main thrust of the song is to encourage us to live for Jesus, each stanza specifically mentions that Jesus died for us. Some of our books have only two stanzas, and some denominational books in my collection have no chorus but make the chorus stanza 4. Either way, when I remember all that Jesus did for me by His death on the cross to provide salvation from sin, I'm more and more resolved that "I'll Live for Him."
"I'LL BE LOOKING FOR YOU IN HEAVEN SOME DAY"
"...The dead in Christ will rise first. Then we who are alive and remain shall be caught up together with them in the clouds..." (1 Thess. 4.16-17)
INTRO.: A song which reminds us that we shall see those who have fallen asleep in Jesus again when the Lord returns is "I'll Be Looking for You in Heaven Someday." The text was written and the tune was composed both by Donna M. (Mrs. Fred) Poyet. At the time I knew her, Mrs. Poyet lived with her husband in the Columbus, OH, area, and they were members of the Laurel Canyon Church of Christ. The song was copyrighted in 1983. I first became acquainted with it when we lived in Dayton, OH, from 1987 to 2002, and would visit occasionally in gospel meetings at Laurel Canyon. In fact, I preached in at least three meetings there myself. This song was pasted in the hymnbooks which the congregation used. Donna's husband told me that she had produced several other hymns, some of which he thought were better than this one, and that R. J. Stevens, co-editor of Hymns for Worship, had helped her with some of them, but this is the only one which I have seen and of which I have a copy. Among hymnbooks published by brethren during the twentieth century for use in churches of Christ, it has not appeared and is not found in any to my knowledge.
It emphasizes the need of looking and longing for a home in heaven.
I. Stanza 1 talks about the end of this life
"When this road of life is over, And sorrows come no more,
It will be a glad reunion Over on another shore,
Where our friends and loved ones gather And the Lord will greet us there.
I'll be looking for you in heaven some day."
A. The time when this road of life is over will be death, followed by the judgment: Heb. 9.27
B. When the Lord comes for His people, it will be a glad reunion with the redeemed of all ages: Matt. 8.22
C. Even more importantly, the Lord will greet us there because then we shall see Him as He is: 1 Jn. 3.2
II. Stanza 2 talks about the greatness of the resurrection
"Parting words will not be spoken, Only praises to His name;
We will have a brand new body; Nothing will be left the same.
Jesus saved me from my sins And bore them all away.
I'll be looking for you in heaven some day."
A. No parting words will be spoken in the home that the righteous receive following the resurrection because there will be no sorrow there: Rev. 21.4
B. Rather than frail, physical bodies that are subject to disease, death, and decay, we shall have brand new immortal bodies: 1 Cor.
15.42-44, 50-54
C. All this is possible because Jesus came to save us from our sins and bear them all away: Matt. 26.28
III. Stanza 3 talks about the blessedness of heaven
"When Jesus comes to gather All the saved ones to His breast,
And take them home to heaven, There forever to be blessed,
What a gathering of the loved ones, And I want to see you there.
I'll be looking for you in heaven some day."
A. Someday Jesus will come to gather all the saved ones to His breast: Acts 1.11
B. He will then take them home to be with Him where He is: Jn. 14.1-3
C. It will be a gathering of all who have loved the Lord to sing praises to His name forever: Rev. 5.11-13
CONCL.: The chorus expresses the desire for everyone possible to be among that number in heaven.
"I'll be looking for you in heaven some day.
I'll be looking for you in heaven some day.
Where our friends and loved ones gather And the Lord will greet us ther,
I'll be looking for you in heaven some day."
The only person that each of us can actually insure will go to heaven is himself. However, God wants all people to be saved. Therefore, every Christian should share the gospel message of salvation with others, encourage them to conduct their lives so as to meet God's conditions to receive eternal life, and tell them, "I'll Be Looking for You in Heaven Some Day."
"I'LL BE LISTENING"
"...As He which hath calles you is holy, so be ye holy..." (1 Pet. 1:15)
INTRO.: A song which encourages us to be holy in preparation for the Lord's coming is "I'll Be Listening" (#352 in Sacred Selections for the Church). The text and the tune are both usually identified as an anonymous "American Spiritual" from traditional sources. Sometimes either words or music or both are attributed to Eduardo J. Lango, but it is more likely that he simply adapted the spiritual for some publication. However, I have not been able to locate any further information about him or how he is connected with the song. Several arrangements of the song have appeared through the years. Concerning the single-stanza one beginning "When He Calls Me" in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson, Forrest M. McCann wrote in Hymns and History, "Anonymous American gospel song text. In GS (1937) copyright was credited to C. B. Clark as of 1935. In GS, 1940 printing, arr. credited to E. L. Jorgenson."
Probably the best known arrangement, beginning "When the Savior calls," was made by Virgil Oliver Stamps (1892-1940). It was copyrighted in 1937 by the Stamps-Baxter Music Co. and first appeared in their Harbor Bells No. 6; the copyright was renewed by them in 1965. Several country music stars have recorded it, and different versions have been recorded by gospel choirs. Among other hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the Stamps arrangement appeared in 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 (in the last there are some slight variations in the harmony of the chorus for which the arrangement is credited to Howard); and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Sacred Selections and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song reminds us of the importance of making sure that our lives are right with the Lord now so that we shall be ready for His coming.
I. Stanza 1 says that He will call for us
"When He calls for me I will answer, When He calls for me I will hear,
When He calls for me I will answer, I'll be somewhere listening for my name."
A. The call of this song is evidently referring to the time when all who are in the tombs shall hear His voice and come forth: Jn. 5:28-29
B. While all will come forth, the "hearing" of the song apparently refers to those who will come forth to everlasting life and thus attain to the resurrection from the dead (ones): Phil. 3:11
C. Therefore, we need to be ready in order to give an answer: Matt. 24:44
II. Stanza 2 says that hearts must be right
"If my heart is right when He calls me, If my heart is right I will hear,
If my heart is right when He calls me, I'll be somewhere listening for my name."
A. In order to be ready, we need to make sure that our hearts are right: Acts 8:21
B. And in order for our hearts to be right that we might hear His call to come forth to everlasting life, we must hear Him now: Matt. 17:5
C. In this way we can know that our hearts are right, having been sprinkled from an evil conscience: Heb. 10:22
III. Stanza 3 says that our robes must be white
"If my robe is white when He calls me, If my robe is white I will hear,
If my robe is white when He calls me, I'll be somewhere listening for my name."
A. The redeemed are pictured as having robes washed and made white in the blood of the Lamb: Rev. 7:9-14
B. White is often used in the Bible to symbolize purity, having been cleansed from sin: Isa. 1:18
C. Those whose robes are made white in the blood of the Lamb here can have the hope of being clothed with white with the Lord: Rev. 3:4-5
IV. Stanza 4 exhorts others to be listening (not in the Stamps arrangement)
"When He calls for you will you answer? When He calls for you will you hear?
When He calls for you will you answer? O be somewhere listening for your name."
A. Someday each one of us will have to give an answer before the Lord: Rom. 14:12
B. At that time each one will hear the final judgment of God for him or her: Matt. 25:34, 41
C. Therefore, each one needs to be preparing now by listening to the gospel because it is God's power of salvation and the faith by which we are justified comes by hearing it: Rom. 1:16, 10:17
CONCL.: The chorus repeats and summarizes the basic thought of the stanzas.
"I'll be somewhere listening, I'll be somewhere listening,
I'll be somewhere listening for my name;
I'll be somewhere listening, I'll be somewhere listening,
I'll be somewhere listening for my name."
While the "call" of the song is not necessarily the call of the gospel message to salvation but the final call of Christ when He returns, the song is still often used as an invitation song to remind us of the need to be prepared for Christ's coming. From a personal standpoint, this song just about maxes out my limit for continual repetition, but (and perhaps this is just due to the fact that I grew up hearing it sung) I think that it can still be useful to help me remember that I must always live in such a way as to be ready so that when Jesus does come back and call me to be with Him, "I'll Be Listening."
“I WOULD BE LIKE JESUS”
“We…are changed into the same image from glory to glory” (2 Cor. 3:18)
INTRO.: A song which points out how we are changed into the same image from glory to glory is “I Would Be Like Jesus.” The text was written by James Rowe (1865-1933). A prolific author of gospel song texts, he produced several songs which have appeared in our books, including “After the Shadows,” “God Holds the Future in His Hands,” “He’s My King,” “Home of the Soul,” “I Choose Jesus,” “I Have Been Redeemed,” “I Walk with the King,” “Just Outside the Door,” “Looking to Thee,” “O Come to the Savior,” “Praise the King,” “Ring Out the Message,” “The Friend Divine,” “What Is He Worth to Your Soul?”, “Wonderful City,” “Wonderful Jesus,” “Won’t It Be Wonderful There,” “You Never Mentioned Him to Me,” and perhaps his best known, “Love Lifted Me.” The tune (Spring Hill, Winona Lake, or Be Like Jesus) for “I Would Be Like Jesus” was composed by Bentley DeForest Ackley (1872-1958). Some of his other tunes that have appeared in our books include those for “Light of the Cross,” “What Shall It Be?”, “Sunrise,” “Somebody Else Needs a Blessing,” “I Walk with the King,” and “Just Outside the Door.” Dated 1911, “I Would Be Like Jesus” was first published in the 1912 book Make Christ King edited by William E. Biederwolf and Edwin O. Excell. Later the copyright was purchased by Hope Publishing Co., but the renewal in 1940 was controlled by the Rodeheaver Co. 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 original 1921 Great Songs of the Church (No. 1, though not in the 1925 combined edition), and with the chorus only in the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson. Today the entire song may be found in the 1977 Special Sacred Selections edited by Ellis J. Crum.
The song suggests that the way God wants us to live so that we can please Him is to be like Jesus.
I. Stanza 1 tells us that being like Jesus helps us to reject earthly pleasures
“Earthly pleasures vainly call me, I would be like Jesus;
Nothing worldly shall enthrall me, I would be like Jesus.”
A. As long as we are alive, earthly pleasures will call us: Tit. 3:3
B. However, if it is our desire to be like Jesus, that call will be in vain as it was with Moses: Heb. 11:25
C. While we are still subject to temptation, we must determine that nothing worldly shall enthrall us because we do not love the world: 1 Jn. 2:15-17
II. Stanza 2 tells us that being like Jesus breaks every fetter
“He has broken every fetter, I would be like Jesus,
That my soul may serve Him better, I would be like Jesus.”
A. A fetter is a chain, and here it refers to the chain that binds us to sin, but Jesus has set us free from sin: Rom. 6:17-18
B. His aim is to save the soul which is each person’s most precious possession: Matt. 16:26
C. Those who have thus been freed from sin and saved can serve God: 2 Tim. 1:3
III. Stanza 3 tells us that being like Jesus will take us from earth to glory
“All the way from earth to glory, I would be like Jesus;
Telling o’er and o’er the story, I would be like Jesus.”
A. Those who are Christians, having been saved from sin, are travelling a strait and narrow way: Matt. 7:13-14
B. This pathway, though often involving suffering, takes us from earth to glory: Rom 8:18
C. But while we are on this pathway, we need to be like Jesus in telling the story to others, as did the early Christians: Lk. 19:10, Acts 8:4
IV. Stanza 4 tells us that being like Jesus will bring us joy in heaven
“That in heaven He may meet me, I would be like Jesus;
That His words ‘Well done’ may greet me, I would be like Jesus.”
A. The hope of the Christian is in heaven: Col. 1:5
B. What makes this hope grand is that we both desire and can expect that there Jesus will meet us and we shall see Him as He is: 1 Jn. 3:1-3
C. Thus, we look forward to His words “Well done”: Matt. 25:21
CONCL.: The chorus encourages us to be like Jesus in everything that we do.
“Be like Jesus, this my song, In the home and in the throng;
Be like Jesus, all day long! I would be like Jesus.”
I think that it is very unfortunate that this song has not been in more of our books. Even when I first saw just the chorus in Great Songs No. 2 I thought that it expressed a good idea, and then when I later saw the entire song I was overjoyed with the positive encouragement that it gives. I need to be reminded from time to time that if I intend to be with the Lord in heaven, then my goal here upon this earth must be that “I Would Be Like Jesus.”
"I WASHED MY HANDS THIS MORNING"
"...Who shall stand in His holy place? He that hath clean hands, and a pure heart..." (Ps. 24:3-4)
INTRO.: A song which encourages everyone, including children, to have clean hands and a pure heart that they might stand in God's holy place is "I Washed My Hands This Morning." The text was written by Mrs. Lucinda M. Beal Bateman (1843-????). Under the penname of "Grace Glenn," this author is perhaps best known for the hymn "Savior, Grant Me Rest and Peace." The tune for "I Washed My Hands This Morning" was composed by James Holmes Rosecrans (1844-1926). Rosecrans also provided tunes for such hymns as "O 'Twas Wonderful Love," "One Step at a Time," and "There Is a Habitation." The children's song "I Washed My Hands This Morning" was published in 1886 by the Fillmore Brothers Music House of Cincinnati, OH. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie.
The song reminds us of the need to make sure that all our members are instruments of righteousness.
I. Stanza 1 focuses on the hands
"I washed my hands this morning, O very clean and white,
And lent them both to Jesus To work for Him till night."
A. Washing the hands symbolizes the idea of being holy: 1 Pet. 1:15-16
B. Just as we wash our hands clean and white, so God wants us to keep our souls spotless before Him: 2 Pet. 3:14
C. Then we must lend our hands to work for Jesus and do with our might what our hands find to do: Eccl. 9:10
II. Stanza 2 focuses on the ears
"I told my ears to listen Quite closely all day through
For any act of kindness Such little hands can do."
A. God wants us to use our ears in His service too: Matt. 13:16
B. Therefore, we should use our ears to listen to His will: Matt. 17:5
C. And we should listen for any acts of kindness that our hands can do, even giving a cup of cold water: Matt. 10:42
III. Stanza 3 focuses on the eyes
"My eyes are set to watch them About their work or play,
To keep them out of mischief, For Jesus' sake all day."
A. We must guard our eyes: Prov. 4:25
B. This is important in both work and play because the eye is the light of the body: Matt. 6:22-23
C. Therefore, our eyes need to watch our hands (and feet) so that we do not get into mischief or evil: Prov. 6:16-18
CONCL.: The chorus focuses on the feet.
"Little feet, be careful Where you take me to;
Anything for Jesus Only let me do."
Songs such as this used to be commonly sung during children's Bible classes and vacation Bible schools, and maybe still are in some places. Whether they are appropriate for a public worship service or not will have to be decided by each individual and congregation. One would be hard pressed to say that it would be sinful, but in many instances some might conclude that it would not be expedient. Whatever view I may have of that matter, whether I am young or old it is still good to think about the spiritual ramifications and applications of the time when "I Washed My Hands This Morning."
"I SAY TO ALL MEN FAR AND NEAR"
"He is risen, as He said" (Matt. 28:6)
INTRO.: A hymn which is about the resurrection of Christ, without which the death of Christ, which we remember in the Lord's supper, would be meaningless is "I Say to All Men Far and Near." The text was written by Georg Friedrich Phillipp von Hardenberg, who was born on May 2, 1772, at his father's estate of Ober-Wiederstad near Eisleben, Germany, the son of Baron Heinrich Ulrich Erasmus von Hardenberg who was director of the Saxon Salt Works at Weissenfels. His parents were Moravians, and his early education came from a Moravian minister. In the fall of 1790, Friedrich entered the University of Jena, then went to Leipzig, and finally to Wittenberg. Following the completion of his studies, he went to Tennstadt, near Erfurt, at the end of 1794, to learn administration under Kreisamtmann Just. Then in the fall of 1797, he entered the School of Mines at Freiberg in Saxony. During these years, Hardenberg had begun writing under the psdeudonym of Novalis, which was apparently taken from the name of one of the family estates. His Bluthenstaub was published in the Athenaeum of Brunswick in 1798.
One of the leaders of the Romantic School which arose in Germany in the last years of the eighteenth century, Hardenbert was a friend of poets and writers Friedrich and August Wilhelm Schlegel, Friedrich de la Motte Fouque, and Johann Ludwig Tieck. Hardenberg's hymns, for which he is best known, arose from the time of deep sorrow following the death of his fiancee, Sophie von Kuhn, which turned his thoughts to the faith of his childhood. The hymns in his Marianlieder were not intended by himself to be published separately but to be inserted into his unfinished romance of Heinrich von Ofterdingen. In 1799 went to Artern, at the foot of the Kyffhauser-Berg to work at the Salt Works there. Shortly afterwards he began spitting blood, and while visiting Dresden the news of the sudden death of a younger brother in November of 1800 brought on a hemorrhage which eliminated any hope of recovery. In January of 1801, he was moved to his parents' home at Weissenfels, Germany, where he died on Mar. 25, 1801. Seven of his hymns had been sent on Jan. 20, 1800, to F. Schlegel for publication in the Athenaeum, but they did not appear until 1802 in the Musenalmanach fur das Jahr published at Tubingen. The rest of them, including "Ich sag' es jedem, dass er lebt" in eight stanzas of four lines each, appeared in his Schriften, published posthumously at Berlin also in 1802.
The usual translation of this hymn into English was made by Catherine Winkworth (1827-1878). It appeared in her Lyra Germanica, second series, of 1858. However, four other translations exist. They are "I say to everyone He lives" by Helen Lowe in 1844; "To everyone I say" by J. F. Hurst in 1869; "I say to each man that He lives" by M. E. Bramston in 1875; and "He lives! He's risen from the dead" by G. Macdonald in 1876. Also the hymn "He lives! He lives! let joy again" by John Bowring of 1837 seems to be based on Hardenberg's poem. Several tunes have been used with "I Say to All Men Everywhere." One that seems appropriate to me is attributed to Ludwig van Beethovan (1770-1827). William D. Jeffcoat used it for his own "Though Hosts of Sin Encamp Around" in the 2007 Sacred Songs of the Church which he edited. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, two stanzas of Hardenberg's text appeared, with a tune (Graffenberg) attributed to Johann Cruger and often associated with Isaac Watts's hymn "This Is the Day the Lord Hath Made," in the 1963 Christian Hymnal edited by J. Nelson Slater.
While this hymn is about the resurrection of Christ, when we remember His death in the Lord's supper we must also think of His
resurrection.
I. Stanza 1 emphasizes the resurrection of Christ
"I say to all men far and near That He is risen today;
That He is with us now and hear, And evermore shall stay.
(Winkworth's orignal translation read:
"That He is risen again....And ever shall remain.")
A. Jesus Christ is risen today because He rose from the dead on the first day of the week: Mk. 16:9
B. Because He is risen, He is with us now and here when we assemble in His name: Matt. 18:20
C. And He shall stay with us evermore unto the end of the age: Matt. 28:20
II. Stanza 2 emphasizes the importance of telling about the resurrection of Christ
"And what I say, let each this morn Go tell it to his friend,
That soon in every place shall dawn His kingdom without end."
A. We should want to tell all our friends about the good news of Christ's resurrection just as Jesus told the healed demoniac to go home and tell His friends what had happened to him: Mk. 5:19
B. The Lord wants the gospel or good news to be preached in every place to every creature: Mk. 16:15
C. The last two lines of the song might sound premillennial to some, but the idea of His kingdom dawning could simply mean that as time passes on different people in different places in different generations would hear the good news and come into the kingdom (His kingdom dawns on them): Acts 14:22
III. Stanza 3 emphasizes the the results of the resurrection of Christ
"The fears of death and of the grave Are whelmed beneath the sea;
And every heart now light and brave May face the things to be."
A. By His death and resurrection, Jesus delivers us from the fear of death and the grave: Heb. 2:14-15
B. These things are whelmed beneath the sea just all our sins can be cast into the depths of the sea: Mic. 7:19
C. As a result, every heart may not be light and brave with the joy of the Lord: Phil. 4:4
IV. Stanza 4 emphasizes the hope that is brought to us by the resurrection of Christ
"The way of darkness that He trod To heaven at last shall come,
And he who hearkens to His word shall reach His Father's home."
A. The way of darkness that He trod simply refers to the condescension and death of Jesus for us: Phil. 2:5-8
B. However, this way led Him to heaven, the Presence behind the veil, which He entered as our forerunner: Heb. 6:19-20
C. And if we follow His strait and narrow way, it shall lead us to the Father's home as well: Matt. 7:13-14
V. Stanza 5 emphasizes the comfort give to us by the resurrection of Christ
"Now let the mourner grieve no more Though his beloved sleep;
A happier meeting shall restore Their light to eyes that weep."
A. Christians may grieve, but not as those who are without hope: 1 Thess. 1:13-17
B. Those who "sleep" refer to those who have died: Jn. 11:11-14
C. However, the righteous have the comfort of looking forward to a happier meeting when the dead are raised: 1 Cor. 15:50-54
VI. Stanza 6 emphasizes the reminder of both the death and resurrection of Christ
"He lives! His presence hath not ceased, Though foes and fears be rife;
And thus we hail in this great feast A world renewed in life!"
(Since this was intended as an "Easter hymn," the original read "in Easter's feast")
A. Because He rose from the dead, Jesus ever lives to make intercession for us: Heb. 7:25
B. As our living Lord, He gave us a feast to remind us of His death: Matt. 26:26-29
C. Yet, as we remember His death, we also hail a world renewed to life because we look forward to His coming again: 1 Cor. 11:23-26
CONCL.: John Julian said of Hardenberg, "His hymns, 15 in all, are distinguished by beauty of rhythm and lyric grace. While some have been included in recent German hymn-books...thorough the influence of F. Schleiermacher, yet for Church use they are too subjective, and in some cases even too sentimental. They must be regarded as beautiful and deeply spiritual poems, rather than as hymns suited for public worship." This is the only one of his hymns which I have ever seen in a hymnbook. However, I do need to remember that when I partake of the Lord's supper there is something about the death and resurrection of Christ that "I Say to All Men Far and Near."
“I NEED THE PRAYERS OF THOSE I LOVE”
“…And pray for one another….The effectual fervent prayer of a righteous man availeth much” (Jas. 5:16)
INTRO.: A hymn which reminds us that we should pray for one another because the effectual fervent prayers of the righteous avail much is “I Need the Prayers of Those I Love.” The text was written and the tune was composed both by James David Vaughan (1864-1941). Older books say that the song was copyrighted by Vaughan in 1908. Newer books say that the copyright was renewed in 1936. The newest books say, “Copyright 1936…Renewed 1964.” Vaughan also composed tunes for “God Holds the Future in His Hands” and “He’s My King,” both with words by James Rowe.
Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, “I Need the Prayers of Those I Love” appeared in the 1965 Christian Hymnsongs and the 1973 Great Inspirational Songs both edited by Albert E. Brumley. Today it may be found in the 1977 Special Sacred Selections edited by Ellis J. Crum; and the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; in addition to the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song is obviously designed to encourage Christians to pray for one another.
I. Stanza 1 tells us that we need prayers in travelling over life’s rugged way
“I need the prayers of those I love,
While traveling o’er life’s rugged way,
That I may true and faithful be,
And live for Jesus every day.”
A. Travelling over life’s rugged way is compared to running a race: Heb. 12:1-2
B. In running this race, God wants us to be true and faithful to Him: Rev. 2:10
C. To do this, we can ask others to pray for us that we might live for Jesus every day by faith: Rom. 1:17
II. Stanza 2 tells us that we need prayers in times of trial and temptation
“I need the prayers of those I love
To help me in each trying hour,
To bear my tempted soul to Him,
That He may keep me by His power.”
A. As we travel over life’s rugged way we shall often find ourselves being tried: Jas. 1:12
B. We can ask others to pray that God will not allow us to be tempted above what we are able: 1 Cor. 10:13
C. In this way, He will keep us by His power: 1 Pet. 1:5
III. Stanza 3 tells us that we need prayers in walking by faith in the narrow way
“I want my friends to pray for me
To hold me up on wings of faith,
That I may walk the narrow way,
Kept by our Father’s glorious grace.”
A. We can ask others to hold us up in prayer as Aaron and Hur held up the hands of Moses: Exo. 17:11-12
B. This will help us to walk the narrow way: Matt. 7:13-14
C. As we walk the narrow way, God’s grace will be sufficient for us: 2 Cor. 12:9
CONCL.: The chorus then states that we want our friends to pray for us.
“I want my friends to pray for me,
To bear my tempted soul above,
And intercede with God for me;
I need the prayers of those I love.”
Most of the hymns I have seen by James D. Vaughan have been words by others that he set to music. This is the only one, at least well known, of which I am aware where he also provided the text. It helps me to understand that “I Need the Prayers of Those I Love.”
"I KNOW GOD'S PROMISE IS TRUE"
"And this is the promise that He hath promised us, even eternal life" (1 Jn. 2.25)
INTRO.: A song which stresses the promise that God has made to us is "I Know God's Promise Is True" (#432 in Hymns for Worship Revised, and #479 in Sacred Selections for the Church). The text was written and the tune was composed both by Lelia Naylor (Mrs. Charles H.) Morris (1862-1929). It was copyrighted in 1899, assigned to the Nazarene Publishing Co., and renewed in 1927 by the Lillenas Publishing Co. I have not been able to locate its origin of publication. Some of Mrs. Morris's other well-known hymns that have appeared in many of our books include "Nearer, Still Nearer," "Let Jesus Come Into Your Heart," "Sweet Will Of God," and "Sweeter As The Years Go By."
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "I Know God's Promise Is True" appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson; the 1940 Complete Christian Hymnal edited by Marion Davis; the 1938/1944 New Wonderful Songs edited by Thomas S. Cobb; the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; and the 1966 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie. Today, it can be found in the 1971 Songs of the Church and the 1990 Songs of the Church 21st C. Ed. both edited by Alton H. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand, in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song reminds us of the blessings that are available to us because of God's promise.
I. Stanza 1 mentions the gift of God's Son for our sin
"For God so loved this sinful world, His Son He freely gave,
That whosoever would believe, Eternal life should have."
A. The song begins with the fact that promise of God is based on His love that sent Jesus Christ to die for our sins: Rom. 5.8
B. In Sacred Selections, and several of our books since then, "would believe" has been changed to "would obey," evidently due to the thinking that someone might misunderstand and think "faith only" (interestingly enough, the Complete Christian Hymnal, which was one of the first books among brethren to make changes in hymns for "soundness," did not change this one). However, the statement in the song is obviously based on a specific passage of scripture, and if it is scriptural to read, "That whosoever believeth in Him should not perish but have everlasting life," then it should not be unscriptural to sing it: Jn. 3.16 (or should we cross out "whosoever beliveth" and write in "whosoever obeyeth" in our Bibles?)
C. The result of the fact that God loves us and sent Christ to die for us is that we can have the hope of eternal life: Tit. 1.2
II. Stanza 2 mentions the gospel call to come to Christ
"I was a wayward wandering child, A slave to sin and fear,
Until the blessed promise fell Like music on my ear."
A. Peter says that at one time we were all wayward like straying sheep: 1 Pet. 2.25
B. In such a condition, we were slaves of sin: Rom. 6.16
C. However, we are called to come out of sin by the gospel, which reveals God's blessed promise: 2 Thes. 2.14
III. Stanza 3 mentions the freedom from sin that is in Christ
"The 'whosoever' of the Lord, I trusted was for me;
I took Him at His gracious word, From sin He set me free."
A. The call of the gospel is "Whosoever will may come": Rev. 22.17
B. Of course, the means by which we take the Lord at His gracious word is to obey Him: Rom. 5.8-9
C. When we do this, He makes us free from sin: Jn. 8.32-36
IV. Stanza 4 mentions the hope of eternal life that we can have
"Eternal life, begun below, Now fills my heart and soul;
I'll sing His praise forever more, Who has redeemed my soul."
A. Again, in Sacred Selections and many of our books since then, "begun below" has been changed to "promised below" (Hymns for Worship has "the promise below"). It is true that eternal life is not something that we have now as a present possession, but something that we shall receive in the life that is to come: Mk. 10.30
B. However, it might be said that eternal life is begun below in that it is in this life that we meet the conditions upon which God will give us eternal life so that we do have it now as a promise and a hope; this is the sense in which Jesus says that a person "has eternal life": Jn. 6.54
C. Therefore, because Jesus came to offer us eternal life, we should sing praises to Him in whom we have redemption through His blood: Eph. 1.7
CONCL.: The chorus emphasizes the fact that we can place absolute confidence in God's promise.
"'Tis true, O yes, 'tis true, God's wonderful promise is true,
For I've trusted, and tested, and tried it, And I know God's promise is true."
I will most likely face times of fear and doubt in my life. However, as I see in the scriptures all the promises that God has made and how wonderfully He has kept them, then "I Know God's Promise Is True."
“I HOLD HIS HAND”
“He leadeth me beside the still waters. He restoreth my soul” (Ps. 23:2-3)
INTRO.: A song which emphasizes how the Lord leads us besides the still waters and restores our soul while we hold to His hand is “I Hold His Hand” (#667 in Hymns for Worship Revised, and #148 in Sacred Selections for the Church). The text was written by Jessie Randolph Baxter, Jr. (1887-1960). He and Virgil O. Stamps were the founders of the Stamps-Baxter Music and Printing Co. The tune was composed by W. Allan Sims, who was born in Navarro County, TX, on June 8, 1900. A bass singer, he sang with several professional groups as they travelled around the country, and also taught singing schools for about 25 years. It was during his teaching career that he married Lucy Phillips of Nocona, TX, also a singer and lover of music. His life's work was teaching music, leading singing in worship services and gospel meetings, and songwriting. This song was the first of hundreds of hymns that he produced, and was copyrighted in 1929 by Stamps and Sims. The copyright was renewed (assigned?) in 1941 by the Stamps-Baxter Music Co. (although some newer books say “copyright 1941, renewed 1969”). After moving to Clovis, NM, he and his wife, who were members of the Church of Christ, travelled to many parts of the country to carry on his work.
The last song that Sims penned was entitled “We’ll Move Up Yonder By and By,” which he left in a manuscript when he died of a heart attack at his home in Clovis on Oct. 28, 1955. Later, his wife had it published. The title of “I Hold His Hand” and a portion of the music are engraved on his tombstone. Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, this song appeared in the 1938/1944 New Wonderful Songs edited by Thomas S. Cobb; and the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; and was chosen as the representative song for Sims in the 1980 Our Garden of Song by Gene C. Finley. 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 1992 Praise for the Lord edited by John P. Wiegand; and the 1999 Into Our Hands: Hymns for the Church edited by Leland R. Fleming; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song encourages us to look for the blessings that come with holding to our Savior’s hand.
I. Stanza 1 says that He shields us from evil
“I hold to the hand of my Savior and Friend;
He shields me from evil till dangers all end.
He’ll take me to heaven where voices now blend;
I hold to the hand of my Lord.”
A. Jesus Christ came to be our Savior and Friend: Lk. 2:11, Jn. 15:13-15
B. He will shield us from evil by providing us a way of escape from every temptation: 1 Cor. 10:13
C. In this way, His power will keep us to the salvation ready to be revealed at the last time in heaven: 1 Pet. 1:3-5
II. Stanza 2 says that He rolls back the shadows
“I hold to His hand when the storm clouds arise;
He speaks and the shadows roll back from the skies.
‘Tis wonderful glory for our human eyes;
I hold to the hand of my Lord.”
A. The rising of storm clouds is often used to symbolize the trials and tribulations of life: Ps. 107:25-28
B. But Jesus is able to roll back the shadows from the skies just as He was able to still the tempest on Galilee: Matt. 23-27
C. As we experience His power in our lives as revealed by His life as recorded in His word, we get a glimpse of His glory: Jn. 1:14
III. Stanza 3 says that He is a secure foundation
“I hold to the hand that is steadfast and sure;
No other foundation is ever secure.
I look for the home that will ever endure;
I hold to the hand of my Lord.”
A. His hand is steadfast and sure so the hope that He gives us is like an anchor to the soul: Heb. 6:19
B. No other foundation that can be laid is ever secure: 1 Cor. 3:11
C. Based upon this foundation of assurance, we can look for the home that will ever endure: Heb. 13:14
CONCL.: The chorus says that He will lead us to heaven.
“I hold to the hand of my Savior and King,
Till safe in that city where angels now sing;
He leads me so gently where still waters flow,
And tells me of heaven where I long to go.”
Obviously, I cannot literally place my hand in the hand of Jesus, but the idea symbolizes my obedience to His will by living according to His teachings. Therefore, having a desire to please my Savior and King in this life and eventually to live with Him forever in heaven, “I Hold His Hand.”
"I HAVE BEEN REDEEMED"
"Blessed be the Lord God of Israel; for He hath visited and redeemed His people..." (Lk. 1:68)
INTRO.: A song which praises the Lord God for having visited and redeemed us is "I Have Been Redeemed" (or just "Redeemed" in some books; #362 in Hymns for Worship Revised, and #253 in Sacred Selections for the Church). The text was written by James Rowe (1865-1933). Rowe's best-known hymn is probably "Love Lifted Me" with music by Howard E. Smith, but a lot of his other songs have appeared in our books, including "After the Shadows," "God Holds the Future in His Hands," "He's My King," "Home of the Soul," "I Choose Jesus," "I Walk with the King," "I Would Be Like Jesus," "Just Outside the Door," "Looking to Thee," "O Come to the Savior," "Praise The King," "Ring Out the Message," "The Friend Divine," "What Is He Worth to Your Soul?", "Wonderful City," "Wonderful Jesus," "Won't It Be Wonderful There?", and "You Never Mentioned Him to Me," among others. The tune (I'm Redeemed) for "I Have Been Redeemed" was composed by Stancel A. Ganus (1889-1960). I have been unable to locate any further information about him. The song was copyrighted in 1916. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in 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; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song expresses the outpouring of a heart overflowing with gratitude to God for salvation.
I. Stanza 1 talks about singing
"Sweet is the song I am singing today;
I'm redeemed! I'm redeemed!
Trouble and sorrow have vanished away;
(I have been) I have been redeemed!"
A. One thing that a cheerful heart does is to sing: Jas. 5:13
B. Yes, a certain amount of trouble and sorrow must enter every life: Job 14:1
C. However, those who are redeemed find comfort in their troubles from the Lord so that they do not sorrow as others who have no hope: 2 Cor. 1:3-4, 1 Thess. 4:13
II. Stanza 2 talks about joy and praise
"Great is my joy now as onward I go;
I'm redeemed! I'm redeemed!
All the way homeward my praises shall flow;
(I have been) I have been redeemed!"
A. Those who are in Christ can rejoice always: Phil. 4:4
B. This joy can be demonstrated as we press onward, running the race set before us: Phil. 3:14, Heb. 12:1-2
C. The means by which we express our joy is praise to God: Heb. 13:15
III. Stanza 3 talks about the Savior
"Precious indeed is my Savior to me;
I'm redeemed! I'm redeemed!
Happy in glory some day I shall be;
(I have been) I have been redeemed!"
A. Everything about redemption in Christ should be precious to the Christian: 1 Pet. 1:18-19
B. Especially precious to us is the Savior who died for us: 1 Jn. 4:14
C. Because of Him, we can have the hope of being happy in glory with Him: 1 Tim. 3:16
CONCL.: The chorus reminds us that the reason for all this singing, joy, and praise is that we do have redemption in Christ.
"I'm redeemed by love divine;
Glory, glory Christ is mine, Christ is mine.
All to Him I now resign;
(I have been) I have been redeemed."
Like John Newton, "I once was lost, but now am found." Even though I sinned against God, He loved me enough to send His Son to die for my sins and to make it possible for me to have forgiveness so that I can go to heaven. Therefore, my heart should be filled with joy that "I Have Been Redeemed."
"I DO BELIEVE"
"There shall be a fountain opened...for sin and for uncleanness" (Zech. 13:1)
INTRO.: A hymn which reminds us of what Jesus did in order for a fountain to be opened for sin and uncleanness is "I Do Believe." It appears in many of our books as a single stanza attributed to Charles Wesley (1707-1788). The tune (Campmeeting) is from an unknown source. Some books list it as an early English melody, while others identify it as a traditional American melody (and both could be true, since many early American melodies had English roots). It was especially popular in the nineteenth-century campmeetings of Methodists, where it was often sung with texts by Wesley, such as "Forever here my rest shall be" (used here), "Father, I stretch my hand to Thee," and "Come, let us who in Christ believe." Other books have used it with John Fawcett's "How precious is the book divine," Bernard Barton's "Walk in the light, so thou shalt know," Richard Burnham's "Jesus, Thou art the sinner's Friend," and most recently James Montgomery's "Prayer is the soul's sincere desire." It almost always included the chorus, "I do believe, I now believe, That Jesus died for me, And through His blood, His precious blood, I can from sin be free."
This chorus has traditionally been attached to Wesley's hymn "Forever here my rest shall be," which I have chosen to use here, and it is generally believed that Wesley may have penned it, but the attachment may also be simply due to the custom of its use with other hymns by him. In Hymns and History, Forrest M. McCann wrote, "I have been unable to find full original poem." The modern arrangement of the music was made by Robert Guy McCutchan, who was born at Mt. Ayr, IA, on Sept. 13, 1877, the son of Erastus Gilmore and Margaret Edie McCutchan. Educated at Park College in Parkville, MO, and Simpson College in Indianola, IA, he later studied in Berlin, Germany, and Paris, France. In 1904 he married Carrie Burns Sharp and became a teacher at Baker University in Baldwin, KS. Two years later he was appointed head of the newly established music department there. Then in 1911, he was named dean of the school of music at DePauw University in Greencastle, IN. From 1924 to 1928 he was a member of the Commission on Church Music in the Methodist Episcopal Church.
Already the author of Better Music in Our Churches in 1925 and Music in Worship in 1927, McCutchan edited the American Junior Church and Church School Hymnal in 1928, and Standard Hymns and Gospel Songs in 1929. From 1928 to 1935, he was a member of the Joint Commission for the Revision of the Methodist Hymnal, and in 1935 was editor of the Methodist Hymnal, from which his harmonization of this tune is taken. Also he wrote Our Hymnody, the handbook to the Methodist Hymnal, in 1937, the year of his retirement. After that, he moved to Claremont, CA, remaining active as a lecturer on hymnology and conducting church music conferences. For a number of years he served on the General Conference Committee on Music of the Methodist Church. His wife died in 1941, and in 1944 he married Helen Laura Cowles. Another book of his, Hymns in the Lives of Men, was published in 1945. In 1954 and 1955 he was visiting professor at the Perkins School of Theology with the Southern Methodist University in Dallas, TX, for eighteen months. His final work, Hymn Tune Names, was produced in 1957, and he died at Claremont, CA, on May 15, 1958.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the chorus "I Do Believe" appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; and the 1963 Abiding Hymns edited by Robert C. Welch. The tune was used with Montgomery's "Prayer Is the Soul's Sincere Desire" in the 1963 Christian Hymnal edited by J. Nelson Slater, and today this is found in Hymns for Worship Revised (not in the original edition). Because "I Do Believe" and "Forever here my rest shall be" both do refer to the death of Christ and the blessings that we can have through His bleeding side, the hymn as given here might be thought of as an appropriate one to use before the Lord's supper.
The song emphasizes the benefits that come to us through the sacrifice of Christ for us.
I. Stanza 1 mentions hope
"Forever here my rest shall be Close to Thy bleeding side;
This all my hope, and all my plea, For me the Savior died."
A. The scriptures teach that when Jesus hung on the cross, blood and water poured forth from His side when the soldier pierced Him with the spear: Jn. 19:34
B. As a result of what Jesus did for us, we can have hope: Col. 1:27
C. This hope is based squarely on the fact that He died for our sins according to the scriptures: 1 Cor. 15:1-3
II. Stanza 2 mentions cleansing
"My dying Savior, and my God, Fountain for guilt and sin,
Sprinkle me ever in Thy blood, And cleanse, and keep me clean."
A. To open the fountain for guilt and sin, Jesus tasted death for everyone: Heb. 2:9
B. Therefore, he has made it possible for us to be sprinkled with His blood: Heb. 10:22, 12:24
C. In this way, we can have cleansing from our sins: 1 Jn. 1:7-9
III. Stanza 3 mentions washing
"Wash me, and make me thus Thine own, Wash me, and mine Thou art;
Wash me, but not my feet alone, My hands, my head, my heart."
A. Jesus has made possible the washing of water by the word for our regeneration: Eph. 5:26, Tit. 3:5
B. He washes away our sins when we arise and are baptized: Acts 22:16
C. Thus, He washes not our feet alone, but our hands, heads, and hearts figuratively just as Peter requested when Jesus washed the disciples' feet: Jn. 13:1-9
IV. Stanza 4 mentions atonement
"Th'atonement of Thy blood apply, Till faith to sight improve,
Till hope shall in fruition die, And all my soul be love."
A. Jesus came to make atonement or reconciliation for our sins: Rom. 5:11
B. This He did by His blood: Matt. 26:28
C. We have need of this and should remember what it took until faith improves to sight, hope dies in its fruition, and all our souls are but love, which refers to when the Lord comes again: 1 Cor. 11:26
V. Stanza 5 mentions peace
"Jesus, Thou art my Righteousness, For all my sins were Thine;
Thy death hath bought of God my peace, Thy life hath made Him mine."
A. Jesus is our Righteousness: 1 Cor. 1:30
B. The reason is that He took our sins upon Himself: 1 Pet. 2:24
C. Because of this, He has made it possible for us to be at peace with God: Eph. 2:16-18
VI. Stanza 6 mentions salvation
"Spotless and just in Thee I am; I feel my sins forgiven.
I taste salvation in Thy name, And antedate my heaven."
A. As a result of what Jesus has done for us, we can be spotless: 2 Pet. 3:14
B. This is because He has made it possible for us to have our sins forgiven: Eph. 1:7
C. Therefore, we can taste salvation here and have a foretaste of what awaits us in heaven: 1 Pet. 1:5-9
CONCL.: The final two stanzas here were the original first two stanzas in Wesley's poem, but a lot of books, if they use them at all, put them at the end and make the stanza beginning "Forever here my rest shall be" as the first.
The second most often used Wesley hymn with this tune and chorus is as follows:
1. "Father, I stretch my hands to Thee, No other help I know;
If Thou withdraw Thyself from me, Ah! whither shall I go?"
2. "What did Thine only Son endure, Before I drew my breath!
What pain, what labor, to secure My soul from endless death!"
3. "O Jesus, could I this believe, I now should feel Thy power;
Now my poor soul Thou wouldst retrieve, Nor let me wait one hour."
4. "Surely Thou canst not let me die; O speak, and I shall live;
And here I will unwearied lie, Till Thou Thy Spirit give."
5. "Author of faith! to Thee I lift My weary, longing eyes:
O let me now receive that gift! My soul without it dies."
6. "The worst of sinners would rejoice, Could they but see Thy face:
O, let me hear Thy quickening voice, And taste Thy pardoning grace."
The chorus emphasizes the fact that we must believe that Jesus died for us to be made free from sin.
"I do believe, I now believe, That Jesus died for me;
And through His blood, His precious blood, I shall from sin be free."
Of course, I must confess my faith in the death of Christ at all times, but especially when I partake of the Lord's supper, I am saying with reference to His sacrifice for my sins that "I Do Believe."
"HUNGRY, AND FAINT, AND POOR"
"For He satisfieth the longing soul, and filleth the hungry soul with goodness" (Ps. 107:9)
INTRO.: A hymn which encourages us to look to God that He might satisfy our longing souls and fill our hungry souls with goodness is "Hungry and Faint and Poor." The text was written by John Newton (1725-1807). Best remembered as the author of "Amazing Grace," he first published "Hungry, and Faint, and Poor" as a song to be sung "before Sermon" in his 1779 Olney Hymns, which he compiled with poet William Cowper. All of our books which have the hymn use a tune (Boylston) composed by Lowell Mason which is more commonly associated with Charles Wesley's "A Charge to Keep I Have." However, the words fit perfectly with another tune (Ozrem) composed by Isaac Baker Woodbury (1819-1858). It is dated 1850. In some of our books, this tune has been used with Phoebe Cary's "One Sweetly Solemn Thought," for which Philip Phillips composed another lovely tune.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the Newton's text appeared with the Mason tune 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. Today it may be found in the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; and the 1992 Praise for the Lord edited by John P. Wiegand. The tune appeared with the Cary text in Great Songs No. 2; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found in the 1971 Songs of the Church, the 1990 Songs of the Church 21st C., and the 1990 Songs of Faith and Praise all edited by Alton H. Howard; and Praise for the Lord; as well as the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song is a reminder of our need for spiritual sustenance just as we need physical food.
I. Stanza 1 refers to our condition
"Hungry, and faint, and poor, Behold us, Lord, again
Assembled at Thy mercy's door, Thy bounty to obtain."
A. God wants us to recognize that we have a spiritual hunger just as the prodigal son recognize that he was perishing with physical hunger: Lk. 15:17
B. One way that He has provided for us to be filled is for us to assemble with the saints: Heb. 10:25
C. When we hunger and thirst after righteousness, God has promised that we shall obtain His bounty and be filled: Matt. 5:6
II. Stanza 2 refers to God's invitation
"Thy word invites us nigh, Or we would starve indeed;
For we no money have to buy, Nor righteousness to plead."
A. God's word invites us to come to Him:
B. He invites us to come free, for we have no money with which to buy what He has for us: Isa. 55:1
C. Nor do we have any righteousness of our own to deserve God's good things: Isa. 64:6
III. Stanza 3 refers to our seeking God's food
"The food our spirits want, Thy hand alone can give;
O hear the prayer of faith, and grant That we may eat and live."
A. There is a food that our spirits want because it does not perish: Jn. 6:27
B. Only the hand of Jesus can give it to us because He is the bread of life: Jn. 6:35
C. And only when we eat the bread that He gives can we live: Jn. 6:50
CONCL.: One "holy desire" that all people, and especially those who claim to be Christians, should have is that hunger for the bread of life that Christ provides for us in His word. It will bring salvation to the lost soul and spiritual growth to the saved. But before we can feel it, we must recognize that we are "Hungry, and Faint, and Poor."
"HOW SHALL A YOUNG MAN CLEANSE HIS WAY?"
"Wherewithal shall a young man cleanse his way? by taking heed thereto according to thy word" (Ps. 119.9)
INTRO.: A hymn which tells young people to look to God's word to guide their ways is "How Shall a Young Man Cleanse His Way?" (#555 in Hymns for Worship Revised). The text, based on Psalm 119:9-16, is taken from The Book of Psalms for Singing, published by the Board of Education and Publication of the Reformed Presbyterian Church of North America, Pittsburgh, PA. The adaptation of the text was done by Edward Fudge, who was born on July 13, 1944, in Lester, AL, the son of Benjamin Lee and Sybil Fudge, and grew up in the Athens, AL, area. After receiving an A. A. from Florida College in Temple Terrace, FL, and both a B. A. and an M. A. from Abilene Christian University, he began preaching at Kirkwood, MO, in 1968 and continued there through 1972. His wife is the former Sara Faye Locke, and they have two children, Melanie and Jeremy. In 1972, he returned to Athens, where he worked with the Holland's Gin church of Christ and with the C. E. I. Publishing Co. which had bought the Gospel Guardian. His Selected Psalms for Church Singing, from which this work was taken, was published in 1974.
Then in 1982 Edward moved to Houston, TX, where he received the J. D. degree from the University of Houston, became an attorney-at-law in civil litigation practice, and identified with the Bering Dr. church of Christ. Originally, Fudge adapted the words of the metrical Psalm to go with a tune (Maryton) by Henry Percy Smith which in our books is usually associated with Washington Gladden's hymn "O Master, Let Me Walk with Thee." In the original Hymns for Worship, the text was printed without music but with an indication for it to be sung to a tun (Hursley) by Peter Ritter which in our books is usually associated with John Keble's "Sun of My Soul." A new tune was composed by R. J. Stevens (b. 1927; see #233). The song with this melody was first published in 1994 in the revised edition of Hymns for Worship, and to my knowledge among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it is found only in Hymns for Worship. Another tune (Louvan) that can be used with the hymn was composed in 1850 by Virgil Corydon Taylor (1817-1891).
The song encourages those who are young to find direction in God's revelation to mankind.
I. Stanza 1 emphasizes the need to cleanse one's way
"How shall a young man cleanse his way?
Let him with care Thy word observe.
With all my heart I have Thee sought;
From Thy commands let me not swerve."
A. God is certainly concerned with young people cleansing their ways by remembering Him as their Creator in the days of their youth: Eccl. 12.1
B. The means by which young people and everyone else can cleanse their ways is by observing God's word: Eph. 5.26
C. And we all must determine that we will not swerve to either the right had or the left in keeping God's commandments: Josh. 1.7
II. Stanza 2 emphasizes the need to learn God's statutes
"Thy word I've treasured in my heart,
That I give no offence to Thee.
Thou, O Jehovah, blessed art;
Thy statutes teach Thou unto me."
A. We need to learn God's word so that we can let it dwell in us richly: Col. 3.16
B. One important reason for having God's word in our hearts is that we might not sin against Him: 1 Jn. 2.1
C. Therefore, we should desire to be taught of God: Jn. 6.44-45
III. Stanza 3 emphasizes the need to declare God's judgments
"I with my lips have oft declared
The judgments which Thy mouth hath shown.
More joy Thy testimonies gave
Than all the riches I have known."
A. It is important not only to know God's will but also to declare His judgments by preaching the word to others: Acts 8.4
B. When we do this, we can truly rejoice in the Lord: Phil. 4.4
C. And, like Moses, we will find that keeping God's testimonies is better than all the treasures of this earth: Heb. 11.24-26
IV. Stanza 4 emphasizes the need to meditate on God's precepts
"I'll on Thy precepts meditate,
And have respect to all Thy ways.
I in Thy statutes will delight,
Thy word remember all my days."
A. God wants us to meditate on His law day and night: Ps. 1.1-2
B. Genuine meditation on God's law will lead to our having respect for it by keeping His commandments: 1 Jn. 5.3
C. And continued meditation will help us remember it so that God's goodness will follow us all the days of our lives: Ps. 23.6
CONCL.: For many years following the Reformation in England, metrical versions of the Psalms were almost exclusively used for the singing in English speaking churches. As the various Anglo-Genevan and Scottish Psalters went through different editions and successive editors tinkered with the Psalm versions, these Psalms began to have a rather stilted and pedantic sound to them which led to the development of hymns of human composure. However, it would be a shame to throw the baby out with the bathwater. While it has not been our practice to sing only Psalms, there is much in the Psalms that is worth singing about. Certainly, the Psalms will help those who are growing and developing to find an answer to the question, "How Shall A Young Man Cleanse His Way?"
"HOW BRIGHT APPEARS THE MORNING STAR"
"...For we have seen His star in the east, and are come to worship Him" (Matt. 2:2)
INTRO.: An old hymn which praises Christ whose birth was announced by the star is "How Bright Appears the Morning Star." The text was written and the tune (Wie Schon Leuchtet, Morgenstern, or Frankfort) was composed both by Philip Nicolai (1556-1608). This German text, beginning "Wie herrlich strahlt der Morgenstern," in seven stanzas based on Psalm 45, is dated 1597 and was first published in the appendix to Nicolai's 1599 Frewden-Spiegel dess ewigen Lebens under the heading, "A spiritual and bridal song of the believing soul concerning Jesus Christ, her heavenly Bridegroom, founded on the 45th Psalm of the prophet David." The melody may be Nicolai's reconstruction of the setting for Psalm 100, "Jauchzet dem Herren, alle Lande," from Wolff Kophel's 1538 Strasbourg Psalter, which in turn may have been based on the fourteenth century song "Resonet in laudibus." Nicolai was a Lutheran minister at Unna, Germany, when the bubonic plague was terrorizing Europe and 1300 died in seven months. After seeing thirty graves dug in one day, he felt compelled to pen these words.
It is said that Nicolai was "one morning in great distress and tribulation in his quiet study. He rose in spirit from the distress and death which surrounded him to his Redeemer and Saviour, and while He clasped HIm in ardent love there welled forth from the inmost depths of his heart this precious hymn of the Saviour's love and of the joys of Heaven. He was so entirely absorbed in his holy exaltation that he forgot all around him, even his midday meal, and allowed nothing to disturb him in his poetical labors till the hymn was completed--three hours after midday." In 1769 the text was radically rewritten, with a new first line beginning, "Wie schon leuchtet der Morgenstern" by Johann Adolph Schlegel (1721-1793). Many English translations have been made. The first, beginning either "How bright appears the morning star" or "How brightly shines the morning star," was made in 1859 by William Mercer (1811-1863). One source attributes this same translation to John Morrison Sloan in 1865. Another, beginning "O Morning Star, How Fair and Bright," was made by Catherine Winkworth (1827-1878). It was published in her 1863 Chorale Book for England. In fact, one person said, "Winkworth made several translations [from Schlegel's revision] which vary considerably from each other." Another person wrote, "The German of this hymn was altered seventy years after being written, and the two English translations have been altered almost beyond recognition." This explains why there are so many versions of it around!
Some books today use a translation beginning "How Brightly Beams the Morning Star" by the Commission on the Liturgy and Hymnal for the 1955 Lutheran Service Book and Hymnal, while others use a newer one by the Inter-Lutheran Commission on Worship for the 1978 Lutheran Book of Worship. Also a few "composite" translations are available, such as "How Lovely Shines the Morning Star." The standard harmonization of the tune was done by Johann Sebastian Bach (1685-1750). It appeared in his cantata Schwingt freudig euch empor (Soar joyfully on high), from around 1730 or 1731. 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 of Mercer's translation, in the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found, with three stanzas of the 1955 Lutheran Service Book and Hymnal translation, in the 1986 Great Songs Revised edited by Forrest M. McCann. For this study, I shall use three stanzas from Mercer and three from a composite translation.
The song points to Jesus Christ, sent by God, as our Comforter and Guide from earth to heaven.
I. Stanza 1 calls Christ the Morning Star
"How bright appears the Morning Star, With mercy beaming from afar;
The host of heaven rejoices.
O Righteous Branch, O Jesse's Rod! Thou Son of Man and Son of God!
We, too, will lift our voices.
Jesus, Jesus, Holy, Holy, yet most lowly,
Draw Thou near us; Great Emmanuel, come and hear us."
A. Jesus referred Himself to as the bright and morning star: Rev. 22:16
B. He was prophesied to be the Branch, the rod from the stem of Jesse: Isa. 11:1
C. He is Emmanuel, which means God with us: Matt. 1:23
II. Stanza 2 calls Christ creation's Head and Lord
"Though circled by the hosts on high, He deigned to cast a pitying eye
Upon His helpless creature.
The whole creation's Head and Lord, By highest seraphim adored,
Assumed our very nature.
Jesus, grant us, Through Thy merit, to inherit
Thy salvation; Hear, O hear our supplication."
A. Jesus is creation's Head and Lord, for by Him all things were create through Him: Col. 1:16
B. He was made so much better than the angels and adored by them: Heb. 1:4-6
C. Yet, He assumed our very nature by emptying Himself and coming in the likenss of men: Phil. 2:5-7
III. Stanza 3 calls Christ the great Conqueor
"Rejoice, ye heavens; thou earth, reply! With praise, ye sinners, fill the sky,
For this, His incarnation!
Incarnate God, put forth Thy power; Ride on, ride on, great Conqueror,
Till all know Thy salvation.
Amen, Amen, Alleluia, Alleluia,
Praise be given Evermore by earth and heaven."
A. Jesus is praised for His incarnation, which simply means "becoming flesh": Jn. 1:14
B. As both perfect man and perfect God, He is the great conqueror: Rev. 6:1-2
C. He came to bring salvation to all mankind: Matt. 1:21
IV. Stanza 4 calls Christ our God
"Now richly to my waiting heart, O Thou, my God, deign to impart
The grace of love undying.
In Thy blest body let me be, E'en as the branch is in the tree,
Thy life my life supplying.
Sighing, crying, For the savor of Thy favor;
Resting never Till I rest in Thee forever."
A. Thomas, who examined the evidence, called Christ "my Lord and my God": Jn. 20:28
B. As God, Jesus loved us enough to lay down His life for us: 1 Jn. 3:16
C. Therefore, He makes it possible for us to be in His body, sanctified and cleansed with the washing of water by the word: Eph. 5:23-27
V. Stanza 5 calls Christ the Son
"Thou mighty Father, in Thy Son, Didst love me ere Thou hadst begun
This ancient world's foundation.
Thy Son hath made a friend of me, And when in spirit Him I see,
I joy in tribulation.
What bliss is this! He that liveth to me giveth
Life forever; Nothing me from Him can sever."
A. We must believe that Jesus Christ is the Son of God: Jn. 20:30-31
B. God determined His plan to save us by His love through the Son even before the foundation of the world: 1 Pet. 1:18-20
C. The Son calls His disciples His friends: Jn. 15:13-15
VI. Stanza 6 calls Christ the First and Last
"O joy to know that Thou, my Friend, Art Lord, Beginning without end,
The First and Last, eternal!
And Thou at length--O glorious grace!--Wilt take me to that holy place,
The home of joys supernal.
Amen, amen! Come and meet me! Quickly greet me!
With deep yearning, Lord, I look for Thy returning."
A. Jesus again referred to Himself as the First and the Last: Rev. 22:13
B. He has promised to come again and take us to be with Him: Jn. 14:1-3
C. Therefore, with deep yearning, we look for His returning: 1 Thess. 1:9-10
CONCL.: Someone might be interested to compare Catherine Winkworth's translation of the first stanza.
"O Morning Star, how fair and bright! Thou beamest forth in truth and light,
O Sovereign meek and lowly!
Thou Root of Jesse, David's Son, My Lord and Master, Thou has won
My heasrt to serve Thee solely.
Thou art holy, Fair and glorious, all victorious,
Rich in blessing, Rule and might o'er all possessing."
The Lutheran Worship Hymnal Companion notes, "Upon close examination one cannot but agree with the churchman who stated that nearly every word of the text is taken from Holy Scripture." Nicolai's "Sleepers Awake" ("Wake, awake, for night is flying") is often called the "king of chorales," and this one the "queen of chorales." Like so many other German chorales, it is not well known among us, but because we face an unknown future on this earth, it is a blessing to know that we can look forward to a certain eternity and see "How Bright Appears the Morning Star."
"HOME OF THE SOUL"
"And before the throne there was a sea of glass like unto crystal" (Rev. 4:6)
INTRO.: A song which talks about the spiritual place where the saints will dwell eternally before the throne of God is "Home of the Soul (#258 in Hymns for Worship Revised, and #365 in Sacred Selections for the Church). The text was written by James Rowe (1865-1933). A prolific hymn poem author, he is perhaps best known for "Love Lifted Me," although many other hymns by him appear in our books. The tune for "Home of the Soul" was composed by Samuel W. Beazley (1873-1944). It is dated 1911. The copyright was renewed in 1939 by the Stamps-Baxter Music and Printing Co. Among hymnbooks published by members of the Lord's church during the twentieth century, it appeared in the 1952 Hymns of Praise and Devotion edited by Will W. Slater; 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; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song envisions heaven as a wonderful goal toward which God's children are striving.
I. Stanza 1 calls heaven a prize
"If for the prize we have striven, After our labors are o'er,
Rest to our souls will be given On the eternal shore."
A. Paul talks about pressing on toward the mark or goal for the prize: Phil. 3:13-14
B. This will occur after our labors are over, which will take place following death: Rev. 14:13
C. This prize will be given on the eternal shore because then we shall have eternal life: Mk. 10:30
II. Stanza 2 calls heaven a rest
"Yes, a sweet rest is remaining For the true children of God,
Where there will be no complaining, Never a chastening rod."
A. Just as Joshua gave the Israelites rest in Canaan, there yet remains a rest for the people of God: Heb. 4:9
B. This rest will be for the true children of God because it is they who have the hope of seeing Him as He is: 1 Jn. 3:1-2
C. In that place of rest, there will be nothing to cause complaining or bring the need of a chastening rod: Rev. 21:1-4
III. Stanza 3 calls heaven a homeland
"Soon, the bright homeland adorning, We shall behold the glad dawn.
Lean on the Lord till the morning; Trust till the night has gone."
A. The patriarchs of old looked upon heaven as their homeland: Heb. 11:13-16
B. The reception of a reward in this homeland is often pictured as the coming of a glad dawn or morning: Ps. 30:5
C. In order to receive the reward of this homeland, we must lean on the Lord and trust in Him: Prov. 3:5
CONCL.: The chorus reminds us of the blessedness of the eternal home that God has prepared for His people.
"Home of the soul, blessed kingdom of light,
Free from all care, and where falleth no night!
Oft in the storm, we are sighing for thee,
Beautiful home of the ransomed, beside the crystal sea."
Yes, we have responsibilities in our lives here below, but ultimately God's purpose is for us to go to heaven, so as we go about our daily activities on earth, we must ever keep our affections on that "Home of the Soul."
"HOLY SPIRIT, TRUTH DIVINE"
"...And so also is the Holy Ghost, whom God hath given to them that obey Him" (Acts 5:32)
INTRO.: A hymn which points out that the Holy Spirit has a definite work to accomplish in the lives of those who obey God is "Holy Spirit, Truth Divine." The text was written by Samuel Longfellow (1819-1892). It was first published under the heading "Prayer for Inspiration" in the 1864 Hymns of the Spirit which Longfellow, a brother to poet William Wadsworth Longfellow, edited with fellow Unitarian minister Samuel Johnson. Samuel Longfellow is best known among us as the author of "Love for All," and one stanza of his hymn "One Holy Church" was used to make a gospel song by Tillit S. Teddlie. "Holy Spirit, Truth Divine" has been set to several tunes, including one (Mercy) adapted from music by Louis Moreau Gottschalk and usually used with the hymn "Cast Thy Burden on the Lord;" and another (Vienna) by Justin Heinrich Knecht. All of our books that include Longfellow's song have a tune (Orientus Partibus), a French melody, c. 1200, attributed to Pierre de Corbeil and in other books of ours used with Handley Moule's "Lord and Savior."
Many modern books use a tune (Canterbury or Song Thirteen) composed by Orlando Gibbons, who was born at Oxford, England, around Dec. 25, 1583. His father William was a musican at Oxford, and his brother William played the organ at Exeter. After being a choirboy at King's College, Cambridge, from age twelve, he enrolled at King's College in 1599, then became an organist at the king's chapel in 1604, virginalist or harpsichordist at the royal court in 1619, and organist at Westminster Abbey in 1623. One of the leading English composers and keyboard performers of the late Renaissance, Gibbons was known especially for his madrigals, harpsichord pieces, chamber works, and Anglican church music. His volume of madrigals was published in 1612, and several of his harpsichord pieces were included that same year in Parthenia, the first printed book of harsichord music. This particular tune appeared with a paraphrase of Song of Solomon chapter 4 in the 1623 Hymns and Songs of the Church compiled by George Wither, which contained the complete output of sixteen hymn tunes by Gibbons.
Wither's work is noteworthy because it is one of only a few collections for congregational singing published between 1551 and 1700 that was a book of songs rather than a Psalter. Two years later, Gibbons died of apoplexy on June 5, 1625, at Canterbury, England, after having conducted the funeral music for King James I earlier that same year. The modern arrangement of this tune was made in 1906 for The English Hymnal by editor Ralph Vaughan Williams (1872-1958). Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "Holy Spirit, Truth Divine" appeared in the 1963 Christian Hymnal edited by J. Nelson Slater. Today it may be found in the 1992 Praise for the Lord edited by John P. Wiegand; and the 1994 Songs of Faith and Praise edited by Alton H. Howard. All of these used the Corbeil tune.
The song reminds us of the important part that the Holy Spirit plays in the lives of God's people.
I. In stanza 1 He is called Truth
"Holy Spirit, Truth divine, Dawn upon this soul of mine;
Word of God and inward Light, Wake my spirit, clear my sight."
A. The Holy Spirit is called the Spirit of truth and was sent to guide the apostles into all truth: Jn. 16:13
B. This truth is revealed to us in the written word which is the sword or instrument that the Spirit uses to do His work: Jn. 17:17, Eph. 6:18
C. It is by our knowledge of this word revealed by the Spirit that our eyes can be enlightened, our spirit awakened, and our sight cleared: Eph. 1:17-19
II. In stanza 2 He is called Love
"Holy Spirit, Love divine, Glow within this heart of mine.
Kindle every high desire; Perish self in Thy pure fire."
A. Through the word that He inspired, the Spirit reveals the love of God to us: 1 Jn. 4:7-11
B. This love will kindle every high desire because if we love Christ we will keep His commandments: Jn. 15:13
C. In this way, our faith will be tested and purified as by fire: 1 Pet. 1:7
III. In stanza 3 He is called Power
"Holy Spirit, Power divine, Fill and nerve this will of mine;
By Thee may I strongly live, Bravely bear, and nobly strive."
A. The gospel, which the Spirit revealed from God through Christ to mankind, is the power of God: Rom. 1:16
B. It is by faith in the gospel that we can live in a way pleasing to God: 2 Cor. 5:7 (modern hymnbook editors who feel it incumbent upon them to "update" the language of classic hymns change the third line to "Grant that I may strongly live")
C. The power of the gospel will enable us to strive nobly by taking up the cross and bearing our own load: Matt. 16:24, Gal. 6:5
IV. In stanza 4 He is called Right
"Holy Spirit, Right divine, King within my conscience reign;
Be my Law, and I shall be Firmly found, forever free."
A. "Right" here means the knowledge of what is right, which the Holy Spirit provides by the law that He reveals and that is intended to work on our consciences: Rom. 2:14-15
B. Therefore, realizing that we cannot be justified merely by law, we must understand that just as an inventor cannot get anywhere by going against natural law, so we cannot please God without abiding in the law that He has made known by His Spirit to us: ROm. 8:2
C. Obedience to this law is the only way to be truly free:Rom. 6:18-19
V. In stanza 5 He is called Peace
"Holy Spirit, Peace divine, Still this restless heart of mine;
Speak to calm this tossing sea, Stayed in Thy tranquility."
A. The Holy Spirit brings peace to our lives, because peace is the result of a right relationship with God which is based upon obedience to the word which the Spirit revealed: Phil. 4:6-7
B. Thus, when our hearts are restless and we feel a tossing sea in our souls, we can look to that word for the peace of God to rule in our hearts: Col. 3:15
C. In this way, God, through the word of the Spirit, will enable us to have peace and tranquility: Jn. 14:27, 16:33 (again, the "updaters" change the last line to "Grant me Your tranquility")
VI. In stanza 6 He is called Joy
"Holy Spirit, Joy divine, Gladden Thou this heart of mine;
In the desert ways I sing, 'Spring, O Well, forever spring.'"
A. It is the revealed word of the Spirit that allows us to have joy, as well as righteousness and peace: Rom. 14:17
B. Therefore, we look to the Holy Spirit to provide spiritual water for us, like Israel travelling in the desert and being given water by God: Num. 21:16-17
C. And Jesus identified the Spirit as the source of living water in our lives: Jn. 7:37-39 ("updating" strikes again, with the second line
changed to "Gladden NOW this heart of mine," and the fourth line, inexplicably, to "Spring, O Living Water, spring")
CONCL.: While Longfellow was a Unitarian, one writer noted, "A good Trinitarian would not discover anything wrong with this Unitarian hymn" (I use the word "Trinitarian" simply to mean those of us who believe that there are three separate persons who make up the Godhead). Most books say that the song was originally published in six stanzas, but Net Hymnal lists a seventh.
"Now incline me to repent; Let me now my sins lament.
Now my foul revolt deplore; Weep, believe, and sin no more."
Many brethren may have a tendency to shy away from songs about the Holy Spirit because of all the wild claims made about the Spirit in the religious world. However, the Bible has a lot to say about the Holy Spirit and His work, so should we refrain from singing truth on this subject just because it might be misunderstood by others? Also, some brethren believe that it is wrong to sing songs addressed to the Holy Spirit, considering this the same as praying to the Spirit. Each will have to reach his own conclusion on this matter, but others would argue that praying and singing are separate acts of worship so that there is no scriptural principle violated by calling upon the Holy Spirit in song to do that which the scriptures teach that He has promised to do. In any event, we certainly need to search the scriptures diligently so that we can understand and appreciate the "Holy Spirit, Truth Divine."
“HOLY, HOLY, HOLY IS THE LORD”
“You shall be holy, for I the Lord your God am holy” (Lev. 19:2)
INTRO.: A hymn which identifies the Lord our God as being truly holy is “Holy, Holy, Holy Is the Lord” (#669 in Hymns for Worship Revised). The text is usually identified as a traditional American Folk Hymn based on Isa. 6:3 and taken from the ancient Sanctus. The tune (Sanctus) was composed by Franz Peter Schubert, who was born on Jan. 31, 1797, at Lichtental, Austria, a small village north of Vienna, the son of the head of the local school. His father and brothers taught him to play the piano, violin, and viola, and he played viola in the family string quartet. At seven he joined the village choir. Four years later he won a place in the Vienna court choir and imperial preparatory school, where he also became first violinist in the school orchestra. When he was about thirteen, he began to compose regularly. A prolific musician who is considered to be the creator of the modern German lied, he produced art songs, operas, church music, chamber works, and symphonies, all noted for beautiful melodies set down at great speed. This music is taken from his "Songs for the Celebration of the Holy Offering of the Mass," also known as the Deutsch Messe in F Major, D, 827, published in Vienna around 1826 or 1827 (perhaps completed in 1826 and printed in 1827).
This remarkably expressive and singable setting of a vernacular text was intended to be sung in four-part harmony by the congregation. Nearsighted, quite short of stature, and always poor, Schubert lived to be only 31 years old and died of typhus in Vienna, on Nov. 19, 1828. Sometimes Schubert is given credit for both lyrics and music. Schubert’s original words as translated into English go something like this:
“Holy, holy, holy Lord, God of power and might (repeated once).
Heaven and earth are full of Your glory, Hosanna in the highest.
Blessed is He who comes in the name of the Lord, Hosanna in the highest.”
Most books today have a single stanza:
“Holy, holy, holy, Holy is the Lord.
Holy, holy, holy, Holy is the Lord.
Holy is the Father, Holy is the Son,
Holy is the Spirit, Blessed Three in One.”
Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, this single stanza may be found in the 1992 Praise for the Lord edited by John P. Wiegand; and the 1994 Songs of Faith and Praise edited by Alton H. Howard; as well as Hymns for Worship Revised (not in original editions). A second stanza was added in the 1998 Hymn Supplement of the Columbia Hymn Association:
“Glory, glory, glory, Glory to the Lord.
Glory, glory, glory, Glory to the Lord.
Glory to the Father, Glory to the Son,
Glory to the Spirit, Blessed Three in One.”
Then a third stanza (made #2) was added in the Sing to the Lord Song Supplement 2002 published by Guardian of Truth Foundation:
“Worthy, worthy, worthy, Worthy is the Lord.
Worthy, worthy, worthy, Worthy is the Lord.
Worthy is the Father, Worthy is the Son,
Worthy is the Spirit, Blessed Three in One.”
I have taken the liberty to make a few changes to the text to eliminate what some might consider the excessive repetitiveness of the song and give it a little more substance.
The song refers to the Lord as holy, worthy, and to be given glory.
I. Stanza 1 calls Him holy
“Holy, holy, holy, Holy is the Lord;
Holy, holy, holy, Holy is His word.
Holy is the Father, Holy is the Son,
Holy is the Spirit, Blessed Three in One.”
A. God is holy: Isa. 6:3
B. He is holy because He is the Lord: Acts 17:24
C. Because God Himself is holy, His word, the inspired scriptures, is holy as well: 2 Tim. 3:15
II. Stanza 2 says that He is worthy
“Worthy, worthy, worthy, Worthy is the Lamb;
Worthy, worthy, worthy, He’s the great I AM.
Worthy is the Father, Worthy is the Son,
Worthy is the Spirit, Blessed Three in One.”
A. To be worthy means to have value or merit and thus deserving of praise: 2 Sam. 22:4, Rev. 4:11
B. One member of the Godhead who is worthy is the Lamb who was slain for us: Rev. 5:8-12
C. The reason that He is worthy is because by His nature He is to be identified with the great I AM: Jn. 8:58
III. Stanza 3 gives Him glory
“Glory, glory, glory, Glory to our King;
Glory, glory, glory, Praises now we sing.
Glory to the Father, Glory to the Son,
Glory to the Spirit, Blessed Three in One.”
A. To give someone glory is to express honor, worship, and adoration: Ps. 29:1-2
B. The reason that we should give glory to God is that He is King: Ps. 10:16
C. Therefore, we should sing praises to Him: Ps. 92:1
CONCL.: This is one of those songs which, even though the melody has been around for some time, seemed to pop up out of nowhere in recent years and has become extremely popular. Several arrangements of the music have been made, but it is a fairly simple tune that is easy to sing and the words, while somewhat repetitive, do express honor, worship, and adoration to our God. Certainly it is important for everyone, especially those who claim to be Christians, to acknowledge openly that “Holy, Holy, Holy Is the Lord.”