"THERE'LL BE NO DARK VALLEY"
"For the Lord Himself shall descend from heaven with a shout...and the dead in Christ shall rise first" (1 Thess. 4:16)
INTRO.: A gospel song which looks to Christ and the time when He shall descend from heaven with a shout to raise the dead is "There'll Be No Dark Valley." The text was written by William Orcutt Cushing (1823-1902). A minister with the Disciples of Christ, Cushing produced several other well known songs, such as "I Will Follow Jesus," "Hiding in Thee," "Under His Wings," and "When He Cometh." The arrangement of "There'll Be No Dark Valley" was made and the tune (Dark Valley) was composed both by Ira David Sankey (1840-1908). The song was copyrighted in 1896, and the song became famous after being published in the 1903 edition of Sankey's Sacred Songs and Solos. The copyright was renewed in 1924 by Hope Publishing Co., Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in the 1966 Christian Hymns No. 3 edited by L. O. Sanderson; and the 1978 Hymns of Praise edited by Reuel Lemmons.
The song expresses several Biblical thoughts regarding the second coming of Christ.
I. Stanza 1 says that there will be no dark valley
"There'll be no dark valley when Jesus comes,
There'll be no dark valley when Jesus comes,
But the dead will rally when Jesus comes
To gather His loved ones home."
A. We must all walk through the valley of the shadow of death: Ps. 23:4
B. However, there will be no dark valley when Jesus comes because He will take us to a place where He Himself will be the light: Rev. 22:5
C. Before we are taken to this place of light, the dead will rally or be raised at Christ's coming: 1 Cor. 15:52 ("But the dead will rally" may have been added by L. O. Sanderson; all other books that I have seen simply repeat the first two lines, "There'll be no dark valley," for the third line)
II. Stanza 2 says that there will be no more sorrow
"There'll be no more sorrow when Jesus comes,
There'll be no more sorrow when Jesus comes,
But a glorious morrow when Jesus comes
To gather His loved ones home."
A. We must all experience our share of sorrow in this short life: Ps. 90:10
B. However, there will be no more sorrow when Jesus comes because He will take us to a place where sorrow shall be done away: Rev. 21:4
C. Rather, there will be a glorious morrow because the glory of God will illuminate that place: Rev. 21:23
III. Stanza 3 says that there will be no more weeping
"There'll be no more weeping when Jesus comes,
There'll be no more weeping when Jesus comes,
But a blessed reaping when Jesus comes
To gather His loved ones home."
A. We must all go through our times of weeping while living on this earth: Ps. 30:5
B. However, there will be no more weeping when Jesus comes because He will take us to a place where all that causes weeping will not be allowed: Rev. 21:27
C. Instead, there will be a blessed reaping in which the righteous will shine forth as the sun: Matt. 13:37-43
IV. Stanza 4 says that there will be songs of greeting
"There'll be songs of greeting when Jesus comes,
There'll be songs of greeting when Jesus comes,
And a joyful meeting when Jesus comes
To gather His loved ones home."
A. We must all say goodby to those whom we love in this world because it is appointed for each one to die: Heb. 9:27
B. However, there will be songs of greeting when Jesus comes because He will take us to a place where all who have done God's commandments will have the right to enter: Rev. 22:14
C. Then, we shall join with the angels and the saints of all ages to sing praises to God around the eternal throne: Rev. 7:9-12
CONCL.: The chorus re-emphasizes the fact that Jesus will come to gather His loved ones home
"To gather His loved ones home,
To gather His loved ones home,
There'll be no dark valley when Jesus comes
To gather His loved ones home."
We do not know what the future will bring to our lives here upon this earth. But by faith we can know what the future will bring to the righteous when this life is over. We will have our days of darkness, sorrow, weeping, and sadness in this world. But when Jesus comes again, we are assured that "There'll Be No Dark Valley."
"THERE WILL BE LIGHT AT THE RIVER"
"...A pure river of water of life...the Lord God giveth them light..." (Rev. 22.1-4)
INTRO.: A song that describes heaven as a place where we shall be at the pure river of water of life and God will give us light is "There Will Be Light At The River" (#413 in Sacred Selections for the Church). The text was written by Jennie Wilson (1856-1913). I have been able to locate no further information about her except that she was a blind poetess and her best known hymn is "Hold to God's Unchanging Hand" with words beginning, "Time is filled with swift transition," and music by Franklin L. Eiland. The tune for 'There Will Be Light at the River" was composed by Anthony Johnson Showalter (1858-1924). Best known for the hymn "Leaning on the Everlasting Arms," Showalter copyrighted "There Will Be Light At The River" in either 1894 or 1896.
Among hymnbooks published by members of the Lord's church for use in churches of Christ during the twentieth century, the song was found in the 1925 edition of the 1921 Great Songs of the Church (No. 1), which definitely gives the date of 1894 (but omits the first stanza, probably to fit it with the alphabetical order of first lines in the book), and the 1937 Great Songs of the Church No. 2, which simply says "Used by permission," both edited by E. L. Jorgenson; the 1935 Christian Hymns (No. 1), which though the date is a little smudged seems almost certainly to give it as 1896, the 1948 Christian Hymns No. 2, and the 1966 Christian Hymns No. 3 all edited edited by L. O. Sanderson; and the 1963 Abiding Hymns edited by Robert C. Welch. Today, the song may be found in Sacred Selections. None of the latter four include any copyright information.
The song looks forward to heaven as a place of light.
I. Stanza 1 says that there will be light for the redeemed
"After the life-paths we're treading End up on time's solemn shore,
There will be light at the river While the redeemed ones pass o'er."
A. The life-paths that we are treading are either the broad way that leads to destruction or the narrow way that leads to life: Matt. 7.13-14
B. For everyone except those alive at Christ's return, these life-paths will end up on time's solemn shore in death: Heb. 9.27
C. The light of God's glorious presence will be granted for those who have received redemption through Christ's blood: Eph. 1.7
II. Stanza 2 says that there will be light for the spirits who have experienced shadows
"There will be light for the spirits Who through deep shadows have come--
Fadeless light shining glad welcome Out from the windows of home."
A. The spirit is that part of our existence which survives the death of the body and will be reunited with the resurrected body when Jesus returns: 1 Cor. 15.41-53, Jas. 2.26
B. "Deep shadows" may represent the sorrows and loneliness that often occur in this life: Job 14.1
C. However, just as the light in the window cheers the heart of the weary traveler who is coming home, so the light of God will welcome those who who have served Him in spite of their sufferings: Matt. 25.34
III. Stanza 3 says that there will be light for the weary
"There will be light for the weary Who through sore trials have passed--
Radiant light as they enter, Peace that forever shall last."
A. God's people may sometimes become weary in this life as they seek to serve the Lord: 2 Cor. 11.27
B. One reason for this weariness is the sore trials through which we must pass: Jas. 1.2-3
C. However, God's light will bring peace that forever shall pass as those who die in the Lord can rest from their labors: Rev. 14.13
IV. Stanza 4 says that there will be light for the faithful
"There will be light for the faithful, Whate'er the way they have trod--
Glorious light sent to guide them Safe to the city of God."
A. God wants us to be faithful to Him: 1 Cor. 4.2, Rev. 2.10
B. Furthermore, He wants to welcome the faithful into His eternal joy: Matt. 25.21
C. Therefore, His light is given to guide them safe to that heavenly city: Ps. 119.105, Rev. 21.1-2
CONCL.: The chorus continues to emphasize the importance of this light.
"There will be light at the river, There will be light at the river,
There will be light at the river, While the redeemed ones pass o'er."
In the song, the "river" probably does not necessarily refer to the river
of life in heaven but to the "river of death," saying that as those who have been redeemed and faithful in serving God through the sorrows and trials of this life pass over it, in order to guide them into the holy city "There Will Be Light At The River."
"THERE IS REST FOR THE WEARY"
"Come unto Me, all ye that labour and are heavy laden, and I will give you rest" (Matt. 11.28)
INTRO.: A song which invites those who are lost to come to Jesus for rest is "There Is Rest for the Weary." The text was written by Jessie H. Brown Pounds (1861-1921). The tune (Will You Come?) was composed by James Henry Fillmore (1849-1936). The song was first published in the New Christian Hymn and Tune Book, Part III, of 1887, edited by Fillmore. Mrs. Pounds and Fillmore collaborated on many other songs used in our books, including "Will You Not Tell It Today?" and "We Are Going Down The Valley." Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "There Is Rest for the Weary" appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; and the 1948 Christian Hymns No. 2 edited by L. O. Sanderson.
The song mentions some of the blessings that are available for those who come to Christ for rest.
I. Stanza 1 talks about pardon or salvation for the lost
"There is rest for the weary, if rest they will seek;
There is cheer for the lonely, and strength for the weak.
There is pardon and blessing, and endless reward,
There perfect salvation in Jesus the Lord."
A. Whatever spiritual blessings we receive from the Lord, we must seek them: Acts 17.26-27
B. One of the greatest spiritual blessings that God offers us is pardon from sin for those who will seek it: Isa. 55.6-7
C. But this pardon or salvation is found only in Jesus the Lord because all spiritual blessings, including redemption, are found in Christ: Eph. 1.3-7
II. Stanza 2 talks about sight for the blinded
"There is sight for the blinded and cure for the ill;
There is balm for the wounded--be healed if you will.
There is zest for your labors, and sweetness in rest;
There is all that is purest and dearest and best."
A. Many people are spiritually blinded and need the light of the glorious gospel to shine upon them to help open their eyes: 2 Cor. 4.3-4, Eph. 1.17-18
B. Blindness is a kind of spiritual sickness, so in Christ God offers healing: Mal. 4.2, Matt. 13.14-15
C. The fact is that those who come to the Lord for rest will find zest for their labors, sweetness, and all that is purest and dearest and best because Jesus came that we might have life and have it more abundantly: Jn. 10.10
III. Stanza 3 talks about peace for the troubled
"There is peace for the troubled and freedom for slaves;
There is hope for the hopeless, and light upon graves;
O hear the glad message and heed the sweet call;
There is room and a welcome with Jesus for all."
A. In Christ, God offers us a peace that passes all understanding: Phil 4.6-7, Col. 3.15
B. One thing that troubles so many is slavery to sin, so in Christ God offers freedom: Rom. 6.16-18
C. Those who take advantage of this freedom will find hope that will sustain them: Heb. 6.18-20
CONCL.: The chorus then asks those who need to respond to the invitation of Christ to come.
"Will you come, will you come to the Lord?
Will you come? Will you come?
O ye souls that have seen Him revealed in His word,
Will you come? Will you come?"
Christian Hymns No. 2 reads a little different in the last couple of lines of the chorus:
"Will you, trusting His word, give your all to the Lord?
Will you come? Will you come?"
Both Jorgenson and Sanderson were not above altering songs, so I do not know which reading is the original, if either one. In any event, those who are outside of Christ or who have wandered away from Him need to know that "There Is Rest For The Weary."
"THERE IS A PLACE OF REFUGE"
"Ye have shamed the counsel of the poor, because the Lord is his refuge" (Ps. 14.5)
INTRO.: A song which emphasizes the fact that in both life and death the Lord will be our refuge is "There Is A Place Of Refuge." The text was written by Thomas Obadiah Chisholm (1866-1960). Among his other well-known hymns are "Bring Christ Your Broken Life," "Great Is Thy Faithfulness," "Living For Jesus," "O To Be Like Thee," and "Only In Thee." The tune was composed by George Coles Stebbins (1846-1945). Among his other well-known melodies are those used with the hymns "Have Thine Own Way, Lord," "I've Found a Friend, O Such a Friend," "Jesus Is Tenderly Calling," "Must I Go, and Empty-Handed?", "Jesus, I Come," "Savior, Breathe an Evening Blessing," "Saved By Grace," "Take Time to Be Holy," "Throw Out the Lifeline," "True-Hearted, Whole-Hearted," and "Ye Must Be Born Again," as well as his arrangement of "Though Your Sins Be As Scarlet."
In Christian Hymns (No. 1) "There Is A Place Of Refuge" is noted as copyrighted in 1935 by L. O. Sanderson. However, Christian Hymns No. 3 says that the renewal was done in 1959 by the Gospel Advocate Co. Usually, renewals were done 28 years after the original copyright, which would make it 1931 for this song. It is possible that it was originally copyrighted in 1931 and the copyright transferred the Sanderson in 1935, then renewed in 1959. Yet, Christian Hymnal says that the renewal date was 1963 (28 years after 1935). It is also possible that it was originally copyrighted by Sanderson in 1935, that the copyright became the property of the Gospel Advocate Co. in 1959, and was renewed by them in 1963. There is no copyright notice in my copy of Hymns of Praise. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in the 1935 Christian Hymns (No. 1), the 1948 Christian Hymns No. 2, and the 1966 Christian Hymns No. 3 all edited by L. O. Sanderson; the 1963 Christian Hymnal edited by J. Nelson Slater; and the 1978 Hymns of Praise edited by Reuel Lemmons.
The song points out the refuge that we can have in the Lord and the things from which He protects us.
I. Stanza 1 reminds us that the Lord will give refuge from troubles and tempests
"There is a place of refuge For every troubled soul
Where tempests beat no longer, Where billows cease to roll;
A calm and quiet haven, A harbor safe an blest,
Where storm-tossed barques may anchor, Where weary hearts may rest."
A. The tempests and billows of a storm often represent the troubles and tribulations of life: Ps. 107.23-30
B. However, just a ship seeks a calm and quiet haven, so the Lord offers peace to those who come to Him: Phil. 4.6-7
C. Thus, through Him we have an anchor that will help us find a refuge from troubles and tempests: Heb. 6.18-20
II. Stanza 2 reminds us that the Lord will give refuge from loads and cares
"There, heavy loads are lifted; There mysteries dark grow plain.
There, pain and care forgetting, Sad faces smile again.
There broken lives find healing; There, sorrow's tears are dried.
There, all the soul's deep longings Are fully satisfied."
A. In Christ, heavy loads are lifted because we can cast our cares upon Him and exchange them for His yoke which is easy: Ps. 55.22, Matt. 11.28-30
B. In this way, those who have been sad with pain and care can smile again with joy: Phil. 4.4
C. Thus, in this refuge from loads and cares they can find healing for the broken lives: Mal. 4.2, Matt. 9.12-13
III. Stanza 3 reminds us that the Lord will give refuge from trials and temptations
"There, may we find, in trial And in temptation's hour,
The needed grace and comfort, The overcoming power.
There, foes no more distress us, Nor troubling fears annoy;
There, life is all contentment, And pure and holy joy."
A. All at one time or another will face trial and temptation's hour: Jas. 1.2-3
B. However, the Lord has promised that He will not suffer us to be tempted above what we are able but will provide grace to help in time of need: 1 Cor. 10.13, Heb. 4.14-16
C. Thus, instead of fear we can have contentment as we seek the Lord's refuge from trials and temptations: 2 Tim. 1.7, Heb. 13.5-6
IV. Stanza 4 reminds us that the Lord will give refuge from sin and its woes
"There, One is always with us, The Friend all friends above,
The Christ who died to save us, Whom, though not seen, we love;
O precious, precious refuge! How dark this world would be
If, when its woe's o'ertake us, We could not hide in Thee."
A. Even though we have sinned, Jesus came to be with us because He is our friend: Matt. 28.20, Jn. 14.15
B. He showed His love and concern for us by dying to save us from our sins, and this is why we love Him though we have not seen Him: Rom. 5.8, 1 Pet. 1.8
C. Not only does He offer salvation from sin but also a refuge from its woes that we might be hidden in Him: Col. 3.1-3
CONCL.: Each stanza ends with the refrain, drawn from another familiar hymn:
"Rock of Ages, cleft for me,
Let me hide myself in Thee."
The refuge that the Rock of Ages offers to us from all the problems of this life helps to point our minds to the final refuge from eternal punishment that He will grant to the righteous in heaven, so that both here and in eternity we can know that in Christ Jesus "There Is A Place Of Refuge."
"THERE IS A LAND OF PURE DELIGHT"
"Ye shall go over, and possess that good land" (Deut. 4:22)
INTRO.: A hymn which likens our receiving a home in heaven to the Israelites' receiving their possession in the land of Canaan is "There Is a Land of Pure Delight." The text was written by Isaac Watts (1674-1748). It was first published in his 1707 Hymns and Spiritual Songs. Several tunes have been used with it, but the one (Varina) in our books was composed by George Frederick Root (1820-1895). It is dated variously from 1849 to 1856. Some books give Johann Rink as the composer, and others say "arr. by G. F. Root." It could be that Root arranged an older tune by another composer, or, it is more likely possible that Root used Rink as a pseudonym. Watts's original poem was in six four-line stanzas, but the use of Root's tune makes it three eight-line stanzas. 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 1924 International Melodies edited by Earnest C. Love; the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson; the 1963 Christian Hymnal edited by J. Nelson Slater; and the 1965 Great Christian Hymnal No. 2 edited by Tillit S. Teddlie (the last three with two stanzas only--stanza 1, and the first four lines of stanza 2 combined with the last four lines of stanza 3).
The song looks forward with joy to receiving an eternal home in heaven.
I. Stanza 1 focuses on the heavenly land
"There is a land of pure delight Where saints immortal reign;
Infinite day excludes the night, And pleasures banish pain.
There everlasting spring abides, And never withering flowers;
Death, like a narrow sea, divides This [That] heavenly land from ours."
A. Most of our books change "Where saints immortal reign" to "Where Christ immortal reigns" and then "Pleasures banish pain" to "Pleasures banish pains" to complete the rhyme; exactly why I do not know, except perhaps to avoid the question as to whether saints are currently reigning in heaven or not, although we know that they will be: Rev. 22:5 (and it is possible to think of the righteous dead as currently reigning in the heavenly places)
B. Infinite (some books change this to "eternal" simply because it is easier to say with the meter than "infinite") day excludes the night because the glory of God Himself illuminates it: Rev. 21:23
C. There everlasting spring of the water of life abides to keep the trees ever green and always yielding their fruit: Rev. 22:1-2
II. Stanza 2 focuses on what stands between us and that land
"Sweet fields beyond the swelling flood Stand dressed in living green;
So to the Jews old Jordan stood, While Jordan rolled between.
But timorous mortals start and shrink To cross this narrow sea,
And linger, shivering on the brink, And fear to launch away."
A. As one would desire sweet fields of living green, so heaven is pictured in scripture as a land to be desired: Heb. 11:15-16
B. This is how Canaan looked to the Jews on the other side of Jordan as they made their plans to cross the river: Josh. 3:1-17
C. Jordan separated the Jews from Jordan, and death separates from the rest that we shall have on the other side: Heb. 9:27
III. Stanza 3 focuses on our attitude toward that land
"Oh, could we make our doubts remove, Those gloomy doubts that rise,
And see the Canaan that we love With unbeclouded eyes!--
Could we but climb where Moses stood, And view the landscape o'er,
Nor Jordan's stream nor death's cold flood, Should fright us from the shore."
A. Something that would help to make our doubts remove is to recall that those who die in the Lord will rest from their labors: Rev. 14:13
B. Thus, even though we cannot literally look into heaven, we can see it with the eyes of faith just as Moses went to the top of Pisgah and viewed the promised land: Deut. 34:1
C. The Jews were eager to cross over Jordan into Canaan, but many Christians are frightened of crossing the narrow sea of death, unlike Paul who understood that to do so is to be with Christ: Phil. 1:23
CONCL.: It has been noted that this is a work in which the glories of heaven are suggested rather than described. In addition to Watts's knowledge of scripture, it is suggested that perhaps the scenery near his early home in Southampton, where the estuary lapped the town walls, may have contributed to his picture of the eternal promised land. Also, his frail health no doubt made Watts think of death, but to his mind it should be sufficient in overcoming man's natural aversion to death to remember that awaiting the faithful "There Is a Land of Pure Delight."
"THERE ARE LIGHTS BY THE SHORE"
"...But now are ye light in the Lord: walk as children of light" (Eph. 5.8)
INTRO.: A hymn which indicates that the church is made up people who are lights is "There Are Lights By The Shore" (#412 in Sacred Selections for the Church). The text was written by Josephine Pollard (1834-1892). Some of her other songs which have appeared in our books include "Beyond the Sunset's Radiant Glow" and "Joy Bells Ringing, Children Singing." The tune was composed by E. Roberts. I have been able to find no further information about the composer or the song's background. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson. Today it is found to my knowledge only in Sacred Selections.
The song encourage us to be lights to others even as others have been lights to us.
I. Stanza 1 talks about the need for lights amid perils
"There are lights by the shore of that country,
Where my bark amid perils I steer;
And they ever grow brighter and brighter,
As that glorious haven I near."
A. Some of the lights that shine by the shore of that country are those righteous who are now among that great cloud of witnesses and serve as examples of faith to us: Heb. 12.1, 13.7
B. "That country" toward which we are steering our barks would be the land of everlasting life: Matt. 7.13-14
C. These lights ever grow brighter as we draw nearer and nearer to the haven where our anchor has been cast: Heb. 6.19-20
II. Stanza 2 talks about the need for lights to brighten the way
"There are lights by the shore as we journey,
As we float down the river of time;
All the days of our pilgrimage brighten
With a radiance truly sublime."
A. Some of the lights that shine by the shore as we journey are those faithful saints who are still alive and hold forth the word of life:
Phil. 2.15-16
B. These lights are helpful as we float down the river of time toward the eternal river of the waters of life: Rev. 22.1-2
C. Such lights provide some encouragement to brighten our days as strangers and pilgrims on earth: Heb. 11.13
III. Stanza 3 talks about the need for lights to cheer us
"O they tell of a hope that will cheer us
In the midst of our sorrows and cares,
When the lamp on our vessel burns dimly,
And we watch for the glimmer of theirs."
A. The lights of the saints, both here and in the heavenly realms, tell of hope: Rom. 8.24-25
B. Their message reminds us that we can be of good cheer because Christ has overcome the world: Jn. 16.33
C. Thus, at times when the lamp on our vessel burns dimly, we can look to those who walk after God's rule and follow their example: Phil. 3.16-17
IV. Stanza 4 talks about our need to be lights for others
"Then forget not your light, keep it shining:
O Christian, be earnest and true,
For a soul on life's ocean may perish--
May sink in the waves but for you."
A. Since we can be encouraged by the lights of others, we must also keep our lights so shining before men: Matt.5.14-16
B. To do so, we need to be earnest and true, because only those who are faithful until death will receive the crown of life: Rev. 2.10
C. Since others may be looking to our lights to keep them from sinking in the waves of life's ocean, we need to look to our own example: 1 Tim. 4.12
CONCL.: The chorus reminds us of the importance of lights, both looking at the lights of others and letting our own lights shine for others:
"O the lights along the shore That never grow dim,
Never, never grow dim,
Are the souls that are aflame With the love of Jesus' name,
And they guide us, yes, they guide us unto Him."
Thanks be to God that we do not have to sail on the perilous ocean of life all by ourselves. We can look to others whose words and lives will encourage us. Therefore, as we journey toward our heavenly home, it is good to know that "There Are Lights By the Shore."
"THE TOUCH OF HIS HAND ON MINE"
"And He said..My grace is sufficient for thee" (2 Cor. 12.9)
INTRO.: A song which suggests that God's grace, love, and care are sufficient for all our needs in that He touches us today through the word is "By the Touch of His Hand on Mine" (#493 in Sacred Selections for the Church). The text was written by Jessie H. Brown Pounds (1861-1921). Mrs. Pounds provided texts for several well-known songs that have been in our books, including "Am I Nearer to Heaven Today?", "Anywhere With Jesus," "Are You Coming to Jesus Tonight?", "Beautiful Isle of Somewhere," "I Know that My Redeemer Liveth," "Soul, A Savior Thou Art Needing," "The Way of the Cross," and "Will You Not Tell It Today?"
The tune was composed by Henry P. Morton (19th-20th century). Nothing is known of this composer. Cyberhymnal credits him with two other melodies, "His Promise to Me" with words by James Rowe, and "The Trumpet Shall Sound." "The Touch of His Hand on Mine" was copyrighted in 1913 by Charles Hutchinson Gabriel, but it was later owned by Edwin Othello Excell. The copyright was renewed in 1941 by Morton but later assigned to the Hope Publishing Co. Judging from the number of older hymnbooks in my collection which included the song, it must have been very popular at one time.
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; and the 1963 Abiding Hymns edited by Robert C. Welch. The only currently published book used among brethren of which I know that carries the song is Sacred Selections.
The song encourage us to looking for the hand of God in our lives to guide and comfort us.
I. Stanza 1 says that God's hand will guide us when the days are dark
"There are days so dark that I seek in vain
For the face of my Friend Divine;
But though darkness hide, He is there to guide
By the touch of His hand on mine."
A. Darkness is often used in scripture to represent sin, but poetically it can also be used to symbolize days of trouble and trial: Job 14.1, Jas. 1.2
B. Things may be so bad that it seems that we cannot see the face of our Friend Divine, indicating that we might be so puzzled that we just do not know what to do: Phil. 1.22
C. However, He has given us something that will pierce the darkness and that is His word as a lamp to our feet and a light to our pathway: Ps. 119.105
II. Stanza 2 says that God's hand will guide us when the times are toilsome
"There are times, when tired of the toilsome road,
That for ways of the world I pine;
But He draws me back to the upward track
By the touch of His hand on mine."
A. There are times when it seems as if our lives are nothing but toil and labor: Ps. 90.10
B. It is at those times when we are most often tempted to pine for the ways of the world: 1 Jn. 2.15-17
C. However, God seeks to draw us back to the upward track by having us store up His word in our hearts that we might not sin against Him: Ps. 119.11
III. Stanza 3 says that God's hand will guide us when the way is dim
"When the way is dim, and I cannot see
Through the mist of His wise design,
How my glad heart yearns and my faith returns
By the touch of His hand on mine."
A. Sometimes the way seems dim because we just do not know what the future holds or what God designs for us: Jer. 10.23
B. However, we should still have a heart that yearns to do God's will no matter what: Ps. 119.136
C. With this attitude, our faith "returns" or can be strengthened by God's word: Rom. 10.17
IV. Stanza 4 says that God's hand will guide us when the last sad hour has come
"In the last sad hour, as I stand alone
Where the powers of death combine,
While the dark waves roll He will guide my soul
By the touch of His hand on mine."
A. The "last sad hour" obviously refers to the end of life, when "the powers of death combine": Heb. 9.27
B. Death is pictured as standing where "the dark waves roll," just as the children of Israel stood by the waters of Jordan before entering the promised land: Josh. 3.14-17
C. However, even in death we should cling to God's word because it alone can give us an inheritance among those who are sanctified: Acts 20.32
CONCL.: The chorus continues to remind us of the grace and power of God's touch through His word in any trying hour:
"O the touch of His hand on mine,
O the touch of His hand on mine!
There is grace and power, in the trying hour,
In the touch of His hand on mine."
When I was growing up and my home congregation purchased Sacred Selections, I asked one of our song leaders if he knew this song. He did not but told me to ask my Grandfather Workman, a gospel preacher, because he should probably know it. I do not now remember if I ever did ask Grandpa about it, but whenever I sing or even see the song, I still always think of him. Aside from that personal memory, it is good to be made aware of God's love and care for me as I follow His word so that I can be led "By the Touch of His Hand on Mine."
"THE STRIFE IS O'ER"
"I am He that liveth, and was dead; and behold, I am alive for evermore..." (Rev. 1.18)
INTRO.: A hymn which praises the Lord for the resurrection of Jesus Christ from the dead is "The Strife Is O'er." The text is an anonymous seventeenth century Latin hymn, "Finita jam sunt praelia" which may actually date back to the twelfth century, taken from the 1695 Koln Symphonia Sirenum Selectorium of Cologne, Germany. The English translation was made by Francis Pott, who was born at Southward in Surrey, near London, England, on Dec. 29, 1832. Graduating from Brasenose College, Oxford, with B. A. and M. A. degrees, he became an Anglican minister in 1856. After working with churches at Bishopsworth in Gloucestershire, Ardingly in Berkshire, and Ticehurst in Sussex, he was minister at Northill in Bedfordshire for 25 years and made important contributions to hymnody thorugh his translations from the Latin, serving as a member of the original committee for Hymns Ancient and Modern in 1861. That same year, he published his own Hymns Fitted to the Order of Common Prayer, which included this translation. Forced to retire from the ministry in 1891 because of deafness, he became active in research and writing, editing The Free Rhythm Psalter in 1898. He died on Oct. 26, 1909, at Speldhurst in Kent, England.
The most common tune (Victory or Palestrina) used with the hymn is an arrangement of a melody by the Renaissance Italian church composer Giovanni Perluigi di Palestrina. However, some books use another tune (Gelobt Sei Gott) attributed to Melchior Vulpius, who was born around 1560 at Wasungen in Thuringia and was a Lutheran musician at Weimar, Germany, for approximately fourteen years. Producing many chorale melodies which were published in Cantiones Sacrae from 1602 to 1604, he is best remembered for his contrapuntal settings of established tunes published in the Kirchengesange und geistliche Lieder of 1604, as well as in Canticum beatissimae in 1605 and Ein schon geistlich Gesangbuch in 1609, the last of which included this tune, possibly of folk origin, set to the chorale "Gelobt Sei Gott." Also, he produced a setting for the Passion according to St. Matthew from 1612 to 1614. He died at Weimar around Aug. 7, 1615. This tune was introduced into English hymnody with "Good Christian Men, Rejoice and Sing" by Cyril Ailington in the 1931 Songs of Praise.
The modern harmonization of the melody was made by Henry George Lay, who was born on Dec. 30, 1887, at Chagford in Devonshire, England. Trained as a chorister at St. George's Chapel in Windsor, he studied music at Uppingham, the Royal College of Music, and Keble College. During his life, he served as Precentor at Radley College, music director at Christ Church Cathedral from 1909 to 1926, Choragus of the University at Oxford, professor of organ at the Royal College of Music in 1919, and organist at Eton College. He died on Aug. 24, 1962, near Ottery in Devonshire, England. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the text appeared with the Palestrina tune in the 1921 Great Songs of the Church (No. 1) edited by E. L. Jorgenson, and with the Vulpius tune in the 1963 Christian Hymnal edited by J. Nelson Slater. Today, the text is found with the Palestrina tune in the 1986 Great Songs Revised edited by Forrest M. McCann.
The song is a paean of praise for the resurrection of Jesus from the dead and what it means to us.
I. Stanza 1 says that Christ won the victory
"The strife is o'er, the battle done; The victory of life is won;
The song of triumph has begun: Alleluia! Alleluia! Alleluia!"
[Different editors must have done some tinkering with this hymn because some books have alternate readings:
"Now is the Victor's triumph won; O let the song of praise be sung."]
A. The song pictures the crucifixion as a contest between Christ and the devil: Matt. 12.29
B. Christ won the victory of life for us and proved who He was by the resurrection: Rom. 1.3-4
C. Therefore, we can join the song of triumph which has begun: Rev. 5.8-10
II. Stanza 2 says that Christ dispersed the powers of death
"The powers of death have done their worst; But Christ their legions hath dispersed;
Let shouts of holy joy outburst: Alleluia! Alleluia! Alleluia!"
[Death's mightiest powers have done their worst....Let shouts of praise and joy outburst"]
A. The powers of death, or gates of Hades, sought to keep Christ from His mission: Matt. 16.18
B. However, Christ dispersed their legions: Col. 2.15
C. Therefore, we can let shouts of holy joy outburst: Phil. 4.4
III. Stanza 3 says that Christ rose from the dead
"The three sad days are quickly sped; He rises glorious from the dead;
All glory to our risen Head! Alleluia! Alleluia! Alleluia!"
["On the third morn He rose again, Glorious in majest to reign;
O let us swell the joyful strain."]
A. Jesus predicted that He would be in the tomb three days: Matt. 20.12-19
B. However, after that time He rose glorious from the dead: Mk. 16.1-9
C. Therefore, we should give all glory to our risen Head: Lk. 24.26
IV. Stanza 4 says that Christ closed hell and opened heaven
"He closed the gates of yawning hell; The bars from heaven's high portals fell;
Let hymns of praise His triumphs tell! Alleluia! Alleluia! Alleluia!"
A. He closed the gates of yawning hell in that He made it possible for us not to perish: Jn. 3.16
B. He opened the gates of heaven in that He made it possible for those who would be barred from heaven by sin to be forgiven and have the hope of going there: Heb. 6.19-20
C. Therefore, we should let hymns of praise tell His triumph so that we be be released from the fear of death: Heb. 2.14-15
V. Stanza 5 says that Christ makes us free
"Lord, by Thy stripes which wounded Thee, From death's dread sting Thy servants free,
That we may live, and sing to Thee: Alleluia! Alleluia! Alleluia!"
A. The Lord was wounded by stripes for us: Isa. 53.4-5
B. However, it was by those strips that He has set us free from death's sting: I Cor. 15.54-57
C. Therefore, as we live, we can sing to Him alleluia: Rev. 19.6
CONCL.: Translations of ancient Greek, medieval Latin, and Reformation German hymns became very popular in the middle to late 1800's. Some of these have continued in popularity, but many of them are no longer well known, and very few have appeared in our books. Those in the religious world who no longer accept the truth of God's word often reject a lot of these older hymns. One writer said of this hymn, "It is doubtful if contemporary Christians universally will accept this statement of the function of the Crucifixion or of the ideal of a future life." That may be of some who call themselves "contemporary Christians," but those who truly believe the teachings of the scriptures concerning the death and resurrection of Jesus will be filled with joy and thanksgiving knowing that in Christ "The Strife Is O'er."
"THE SON OF GOD GOES FORTH TO WAR"
"They loved not their lives unto the death" (Rev. 12.11)
INTRO.: A song which pictures the Christian's life as a warfare in following Jesus Christ as our leader even to the point of death is "The Son of God Goes Forth To War." The text was written by Reginald Heber (1783-1826). Produced while he was Anglican archbishop of Calcutta, India, from 1823 to 1826 for St. Stephen's Day, a religious holiday observed by the Anglican Church, it was published posthumously in an 1827 collection of Heber's poems entitled Hymns written and adapted to the Weekly Church Service of the Year. The tune (All Saints New) was composed for this text by Henry Stephen Cutler, who was born Oct. 13, 1825 in Boston, MA. After studying organ with A. U. Hayter in Boston, he went to Europe in 1844 to continue his studies in Frankfurt am Main. While there, he visited many English cathedrals and became familiar with their style of music. Returning to Boston in 1846, he became music director at Grace Episcopal Church.
In 1852, Cutler became music director of the Church of the Advent in Boston, and in 1858, at Trinity Church, New York City, NY, where he served seven years. In 1864 he received the Mus. D. degree from Columbia University. A composer of anthems, service music, and hymn tunes, he published the Trinity Psalter in 1864 and Trinity Anthems in 1865. This particular tune was first published in The Hymnal with Tunes Old and New of 1872. A well-known organist of his day, he later held positions in Brooklyn, NY; Providence, RI; Philadelphia, PA; Troy, NY; and Newark, NJ. After retiring in 1885, he returned to Boston where he died on Dec. 5, 1902. Among hymnbooks published during the twentieth century by members of the Lord's church for use in churches of Christ, the song was used 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 tune is found, with a 1966 hymn entitled "Macedonia" by Anne Ortlund, in the 1977 Special Sacred Selections edited by E. J. Crum.
The song talks about both Him who leads us and those who follow Him in the Christian's warfare.
I. Stanza 1 focuses on the Son of God
"The Son of God goes forth to war, A kingly crown to gain;
His blood-red banner streams afar: Who follows in His train?
Who best can drink His cup of woe, Triumphant over pain,
Who patient bears His cross below, He follows in His train."
A. Some might object to the phrase in the first stanza, "A kingly crown to gain," thinking that it might be premillennial (I seriously doubt that Heber was a premillennialist!) and saying that Christ has already gained His crown. Actually, the song goes back and pictures the scene from time of Christ's earthly life, death, burial, resurrection, and ascension: Dan. 7.13-14. Also, while Christ has already been crowned King, He still seeks for men to crown Him as their own King in their hearts
B. The rest of the song seeks to answer the question, "Who follows in His train?" Two qualifications are set. First, those who follow must be willing to drink His cup of woe: Mk. 10.35-39
C. The second qualification is that they must be willing to bear the cross below: Matt. 16.24
II. Stanza 2 focuses on Stephen, "The martyr first"
"The martyr first, whose eagle eye Could pierce beyond the grave,
Who saw His Master in the sky, And called on Him to save:
Like him, with pardon on his tongue, In midst of mortal pain,
He prayed for them that did the wrong: Who follows in his train?"
A. So far as we know, Stephen was the first individual called upon to die for His faith in Jesus Christ: Acts 6.5, 8.2, 11.19
B. It may be that this is the reason why his eye was allowed to pierce beyond the grave and see the Master in the sky: Acts 7.55-56
C. The song asks, "Who follows in his train?", because he left us an example of praying for those who did him wrong and asking God's pardon for them: Acts 7.59-60
III. Stanza 3 focuses on the twelve apostles
"A glorious band, the chosen few On whom the Spirit came,
Twelve valiant saints, their hope they knew, And mocked the cross and flame:
They met the tyrant's brandished steel, the lion's gory mane;
They bowed their necks the death to feel: Who follows in their train?"
A. It was the apostles who were chosen to receive the baptism of the Holy Spirit to enable them to accomplish their mission of establishing the church and revealing God's word to the world: Acts 2.1-4
B. They were twelve valiant men, the eleven who were left after Judas's death, and Matthias who was chosen to be a witness with them: Acts 1.13, 21-26
C. Because they mocked the cross and flame, met the tyrant's brandished steel and the lion's gory mane, and bowed their necks even to feel the death, it is said that the church is built upon the foundation of the apostles and prophets: Eph. 2.19-20
IV. Stanza 4 focuses on the noble army who came after them
"A noble army, men and boys, The matron and the maid,
Around the Savior's throne rejoice, In robes of light arrayed:
They climbed the steep ascent of heaven Through peril, toil, and pain:
O God, to us may grace be given To follow in their train."
A. Since the church began, a noble army of men, boys, matrons, and maids have all joined in to fight the good fight of the faith: 1 Tim. 6.12
B. Those who have already waged a good warfare and gone beyond are pictured in Revelation around the Savior's throne, in robes of light arrayed: Rev. 7.9-17
C. The song concludes with the request for God to give us grace that as we consider their example we may "note those who so walk, as you have us for a pattern" by "considering the end of their faith": Phil. 3.17, Heb. 13.7
CONCL.: Because this song is not in any books currently published among us, very few members of the Lord's church today are probably familiar with it. However, we do not have to celebrate "St. Stephen's Day" to understand and appreciate the importance of his conviction and how it applies to us. There may be some in the religious world in general who would object to the "military" language of the song. Yet, the New Testament is full of military metaphors in describing the life that God wants His people to live. When properly understood this song is a very stirring call for us to do whatever is necessary to be good soldiers of Jesus Christ because "The Son of God Goes Forth to War."
"THE SOLEMN FEAST"
"...This do in remembrance of me" (1 Cor. 11:24)
INTRO.: A song which encourages us in partaking of the Lord's supper to make sure that we do it in remembrance of Christ is "The Solemn Feast" (#288 in Sacred Selections for the Church). The text was written by Joseph Hart (1712-1768). It first appeared in the 1762 Supplement to his 1759 Hymns Composed on Various Subjects, with the Author's Experience, originally beginning, "That doleful night." Some books have altered it to read, "That solemn night," but most of our books have changed it to "That dreadful night." Other hymns by Hart in our books include "Come, Ye Sinners, Poor and Needy" and "How Good Is the God We Adore." The words to "The Solemn Feast" have been set to various melodies, including one (Avon or Martyrdom) by High Wilson which has been used with several other hymns in our books including a paraphrase of Ps. 143 beginning "When Morning Lights the Eastern Skies;" another (Arlington) by Thomas A. Arne which has also been used with several other hymns in our book but is especially associated with Anna L. Barbauld's "Again the Lord of Light and Life;" and still another (Manoah) attributed to Giaochinno Rossini and arranged by Henry W. Greatorex which is commonly used with Samuel Stennett's "Majestic Sweetness."
For Hart's hymn, the majority of our books use a new tune composed by Lloyd Otis Sanderson (1901-1992). It was copyrighted in 1935. Still another tune (Horsely) that can be used with it was composed by William Horsely, who was born on Nov. 15, 1774, at Mayfair in London, England. After studying music privately, he became an organist in 1794. Assisting Dr. John Wall Callcott, the composer of "Drink to Me Only With Thine Eyes" who encouraged him in Glee-writing, at which he became proficient, as organist at the Asylum for Female Orphans, he married Callcott's daughter. In 1802, he succeeded Callcott and held that post for 52 years until a difference of opinion with the Asylum Committee led to his dismissal. Also in 1838 he became organist of the Charterhouse, where he was given a salary, a room, and a fire "when necessary for his use on those days upon which his duty requires his attendance at the Hospital." This tune is dated either 1830 or 1844 and may have been provided for a hymn "Whatever Dims Thy Sense of Truth" by Mary W. Hale. A founder of the London Philharmonic Society, Horsley was in later years a close friend of Felix Mendelssohn prior to his death at Kensington in London, England, on June 12, 1858.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the text, with Sanderson's tune and usually just two stanzas, appeared in the 1935 Christian Hymns (No. 1, though with all four stanzas), the 1948 Christian Hymns No. 2, and the 1966 Christian Hymns No. 3 all edited by Sanderson; the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both edited by Reuel Lemmons; the 1963 Christian Hymnal edited by J. Nelson Slater; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1975 Supplement to the 1937 Great Songs of the Church No. 2 originally edited by E. L. Jorgenson. It was used with the Wilson tune in the 1938/1944 New Wonderful Songs edited by Thomas Seth Cobb. Today, it may be found in the 1978/1983 Church Gospel Songs and Hymns (with both the Wilson and Sanderson tunes) edited by V. E. Howard; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand (both of the latter with the Sanderson tune); as well as Sacred Selections (with the Wilson tune). The Horsley tune is used with Cecil Alexander's "There Is a Green Hill" in Praise for the Lord.
In these various forms, this hymn has frequently been used to prepare minds for the Lord's supper in worship.
I. Stanza 1 focuses upon the Lamb who ordained the feast
"That dreadful night before His death, the Lamb, for sinners slain,
Did, almost with His dying breath, This solemn feast ordain."
A. It was that same "dreadful" night on which He was betrayed that Jesus instituted the Lord's supper: 1 Cor. 11:23
B. He did so as the Lamb of God who came to take away the sins of the world: Jn. 1:29
C. It was almost with His dying breath that He ordained this solemn feast: Matt. 26:26-29
II. Stanza 2 focuses upon the purpose of the feast
"To keep the feast, Lord, we have met, And to remember Thee;
Help each redeemed one to repeat, 'For me, He died for me.'"
A. In the first century disciples met on the first day of the week to break bread: Acts 20:7
B. The purpose stated by the apostle Paul for this feast is to remember the death of Christ: 1 Cor. 11:25
C. Therefore, at least in our minds, we need to remember that He died for us as sinners: Rom. 5:8
III. Stanza 3 focuses upon the elements of the feast
"Thy sufferings, Lord, each sacred sign To our remembrance brings;
We eat the bread and drink the wine, But think on nobler things."
A. Each sacred sign brings to our remembrance the suffering of Christ: 1 Pet. 3:18
B. The elements of the supper are the bread and wine or cup: 1 Cor. 10:16
C. But while we eat and drink literal elements, we think on nobler things in order to eat worthily and examine ourselves: 1 Cor. 11:27-29
IV. Stanza 4 focuses upon the celebration of the feast
"Oh, tune our tongues, and set in frame Each heart that pants for Thee,
To sing, 'Hosanna to the Lamb, The Lamb that died for me.'"
A. The Lord's supper is like a sermon in which we tune our tongues and frame our hearts to proclaim the Lord's death till He comes: 1 Cor. 11:26
B. Thus, in it we are, like the people who followed Him into Jerusalem, singing "Hosanna": Matt. 21:9
C. And we are remembering that He is the Lamb who died for us: 1 Pet. 1:19
CONCL.: Some people have objected to the use of the word "wine," as in stanza 3 of this song, for communion hymns because it is never used in scripture to refer to the cup or fruit of the vine used in the Lord's supper, and perhaps they are afraid that people might think that we should use "real wine" (i.e., fermented) in the communion, whereas the fact that all things that had been leavened were to be eliminated during the Passover week would seem to preclude fermented grape juice since it has undergone a leavening process. However, we often point out in preaching and teaching about social drinking that the word "wine," in Hebrew, Greek, and English, can identify grape juice in general and does not necessarily have to refer to a beverage that is capable of intoxication. Therefore, it may be used to indicate the fresh fruit of the vine. While we should want to make sure that we are truthful and use only scriptural terminology in our songs, we also need to beware of striving about words to no profit. Instead, it should be our aim to think seriously and soberly about the real meaning of "The Solemn Feast."
"THE SILVER STAR"
"We have seen His star in the east, and are come to worship Him" (Matt. 2.2)
INTRO.: A song which mentions the importance of the star which guided the wise men in relation to the Christ is "The Silver Star." The text was written by an author whose initials are D. K. En. I have been able to find no further information about the identity of this author, when the words were penned, or where they were first published. The tune was composed by Horatio Richmond Palmer (1834-1907). I have no further information about its source of publication, but the song is dated 1895. Palmer is best known for his hymn "Yield Not to Temptation" and the melody for "Peace, Be Still." Among hymnbooks published during the twentieth century by members of the Lord's church for use in churches of Christ, the song appeared in the 1948 Christian Hymns No. 2 and the 1966 Christian Hymns No. 3 both edited by L. O. Sanderson. The only other hymnbook in which I have ever seen the song is the 1987 Zion's Praises edited by Aaron Z. Weaver and published by Weaver Music Co. of Pittsgrove, NY, a Mennonite publisher.
The song makes application of the story of the wise men who came to see Jesus after His birth.
I. Stanza 1 emphasizes the wise men
"On the brow of night there shines a silver star,
On the brow of night there shines a silver star,
And the wise men gaze on its heavenly rays,
Till they find the King, whose throne they sought afar,
In the Babe of Bethlehem."
A. The wise men followed a star which guided them to Bethlehem where the young Child was: Matt. 2.9
B. The wise men rejoiced to gaze on it heavenly rays: Matt. 2.10
C. It led them to where He who would become King lay: Jn. 18.36-37
II. Stanza 2 emphasizes the star
"'Tis the lamp of God high hanging in the air,
'Tis the lamp of God high hanging in the air,
And it guides our feet through the royal street;
There is sweet soul-rest for those who seek it there,
From the Babe of Bethlehem."
A. Just as God sent a star to guide the wise men, He has given us a lamp to our feet to guide our pathway: Ps. 119.105
B. Just as God guided them through the street to where Jesus was, so He wants to guide us: Ps. 32.8
C. Those who thus follow His guidance will find sweet soul-rest in Christ: Matt. 11.28-30
III. Stanza 3 emphasizes the gifts
"Bring your gifts of gold, of frankincense, and myrrh,
Bring your gifts of gold, of frankincense, and myrrh,
For the King we own is on David's throne;
Let the holy Child your best affections stir.
'Tis the Babe of Bethlehem."
A. The wise men offered Christ gifts of gold, frankincense, and myrrh: Matt. 2.11
B. Just as they adored Him, we also own Him as King on David's throne: Acts 2.30-36
C. That holy Child who was born in Bethlehem should our best affections stir because He grew up to die for us, was raised again, was exalted, and was given a name to which every knee should bow and which every tongue should confess: Phil. 2.5-11
CONCL.: The chorus calls upon God to continue guiding us as He did the wise men on their way to Bethlehem.
"Silver star, holy light, shine afar, o'er the night,
Till the world shall come where the young Child lay,
And enter the gates of the new born day."
(Christian Hymns changed this to read:
"Till the world shall come from its sin-stained way,
And enter the gates of a newborn day.")
In a recent discussion on an e-mail list on how far New Testament Christians can go in observing certain traditions of the Christmas season, someone remarked that one disadvantage of the fact that the religious world celebrates Christmas as the birth of Christ is that some otherwise good hymns are heard only at that time of year. I have known of Bible class teachers of young children who said that whenever their classes study about the birth of Christ (summer, fall, winter, or spring), they have them sing some of these songs to impress the facts upon their minds. I myself have preached lessons about the birth of Christ and even the coming of the wise men at different times during the year and such songs would also be appropriate for those occasions. The account of the wise men is a Biblical event, and it will do us good at all times to give some consideration to the meaning of "The Silver Star."
"THE SHEPHERD'S VOICE"
"My sheep hear My voice, and I know them, and they follow Me" (Jn. 10:27)
INTRO.: A song which talks about how the sheep hear the Shepherd's voice and follow Him is "The Shepherd's Voice." The text was written and the tune was composed both by Robert Clifton Welch, who was born on Nov. 5, 1916, at Railton near Glasgow, KY. In 1963, he compiled, edited, and published a hymnbook, Abiding Hymns, which for many years was quite popular, especially among "conservative" churches of Christ, in the 1960s and 1970s. Perhaps the best known of his own hymns is "O Father, Guide Me Here Below." His hymn for the Lord's supper, "The Lord Came to Earth" also achieved some use. All of Robert's published hymns were copyrighted in 1963 with his hymnbook. His death occurred in Indianapolis, IN, on June 18, 2003. Among other hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, none of his hymns have, unfortunately, appeared nor are any of them found today.
The song reminds us that Jesus is the good Shepherd who came to bring His sheep back to the fold of safety.
I. Stanza 1 identifies the need
"The sheep were all in the fold that night,
As the twilight came o'er the fields of light;
The Shepherd had counted ninety-nine,
But He said, 'I must find this lamb of Mine."
A. The fold or flock represents the Lord's church: Jn. 10:16
B. The ninety-nine represent the faithful who remain in the fold: Lk. 15:4
C. However, the need is that one has gone astray, so the Shepherd seeks to find it: Matt. 18:12
II. Stanza 2 identifies the Shepherd's efforts
"He went through the mountains wild and bare,
Hoping soon to find the lamb wandering there;
His voice pierced the night in tones so clear
That the lamb might know of the Shepherd near."
A. The Shepherd's going through the mountains wild and bare represent the lengths to which Jesus Christ went in fulfilling His mission: Phil. 2:5-7
B. The Shepherd's aim in everything that He did was to find the wandering lambs, or in other words, to seek and save the lost: Lk. 19:10
C. Just as the shepherd's voice would pierce the night, so the words of Jesus speak through His gospel to call us to come to Him: 2 Thess. 2:14
III. Stanza 3 identifies the lost lamb's response
"At last he was found in depths of sin,
Steeped in evil ways, honest heart within;
He heard the voice call and answered then,
For he yearned to be in the field again."
A. In the parable, the Shepherd found the lost lamb: Lk. 15:5
B. The fact that the lamb was lost represents the fact that all responsible human beings at one time or another in their lives are lost
in sin: Rom. 3:23
C. In order to hear the voice of the Savior and be in the field again, we must an honest and good heart: Lk. 8:15
IV. Stanza 4 identifies the results
"He took the lost lamb and washed him white
Of the sin that stained, healed his wounds that night;
Poor sinner, the Lord seeks through the cold.
Will you heed the call, shelter in His fold?"
A. Again in the parable, because the lamb was willing, the Shepherd brought him home: Lk. 15:6
B. This represents the fact that Jesus Christ came to save sinners: 1 Tim. 1:15
C. However, in order for Him to bring us home, we must heed His call to come to Him: Matt. 11:28-30
CONCL.: The chorus reiterates that the Shepherd is calling us and we must come to Him.
"The Shepherd's voice is calling;
The tones so sweet are falling.
He calls for sheep who've gone astray;
He seeks for thee, O come today."
The prophet Isaiah emphasized that all we like sheep have gone astray. However, God did not want anyone to perish so He sent His only Son to be a Shepherd who would make it possible by His death on the cross for anyone to be saved who wants to do so. However, the Lord has left the choice up to each individual. Therefore, every one of us should listen to "The Shepherd's Voice."
"THE RICHES OF LOVE"
"May be able to comprehend...what is the...depths, and height; and to know the love of Christ" (Eph. 3:18-19)
INTRO.: A song which encourages us to comprehend what is the depths and height of the love of Christ is "The Riches of Love" (#447 in Sacred Selections for the Church). The text was written by Henry Burns Hartzler, an American minister in the Evangelical Association (predecessor to the United Methodist Church). He served as Chief Editor of The Evangelical Messenger, the official English-language periodical of his denomination, with offices in Cleveland, OH, under Bishop Wesley Matthias Stanford. Afterwards Hartzler became one of Mr. D. L. Moody's co-workers in the great training schools at Northfield, MA, and 1894 wrote a book, Moody in Chicago, Or, The World's Fair Gospel Campaign: An Account of Six Month's Evangelistic Work in the City of Chicago and Vicinity During the Time...by Dwight L. Moody and His Associates. In 1902 Hartzler also became a Bishop of the Evangelical Association. Other works by him include a book of Poems and the introduction to Hints on Bible Marking which he co-wrote with Joseph Berg Esenwein.
Another of Hartzler's hymns, "My Precious Bible," beginning, "Like a star of the morning in its beauty," with music by Edmund Simons Lorenz, has been used in many of our books. The tune (Treasures) for "Riches of Love" is credited to N. B. Sargent. I have been able to find no further information concerning this composer. An arrangement of the song for male quartet was copyrighted by Hope Publishing Co. in 1912, so the song itself must have existed before that time. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the male quartet version appeared in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson. Today this same version may be found in the 1971 Songs of the Church and the 1990 Songs of the Church 21st C. Ed. both edited by Alton H. Howard; and the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; in addition, Sacred Selections contains an arrangement for full four part harmony by the editor Ellis J. Crum.
The song reminds us that the riches of love are greater than all the wealth of this world.
I. Stanza 1 tells us that we can have riches of love more valuable than the treasures of earth
"The treasures of earth are not mine; I hold not its silver or gold.
But a treasure far greater is mine; I have riches of value untold."
A. In a very real sense, the treasures of earth do not belong to us but, like the cattle on a thousand hills, to God: Ps. 50:7-10
B. Many times, like Peter, we may not have silver or gold: Acts 3:6
C. However, whether we have a lot or a little of this world's goods, we can have the riches of love: Rom. 11:33
II. Stanza 2 tells us that the riches of love will outlast the treasures of earth
"The treasures of earth must all fail, Its riches and honor decay;
But the riches of love that are mine, Even death cannot take them away."
A. The treasures of earth must all fail because they will be destroyed when the Lord returns: 2 Pet. 3:10
B. Even before them, the riches and honor of this world are subject to decay: Matt. 6:19-20
C. However, the riches of love cannot be taken away because if we are rich toward God we are storing up a good foundation for the time to come that we might lay hold on eternal life: 1 Tim. 6:17-19
III. Stanza 3 tells us that the treasures of earth are but dross compared to the riches of love
"Compared with the riches of love, The wealth of the world is but dross;
I will seek but Christ Jesus to win, And for Him I count all things but loss."
A. The wealth of the world is but dross because not all the gold and silver on earth can redeem us: 1 Pet. 1:18-19
B. Therefore, we must seek Christ Jesus to win because only through Him can we come to the Father: Jn. 14:6
C. But to do so, we must count all things of this earth as loss: Phil. 3:4-9
IV. Stanza 4 tells us that we need to take of the riches of love rather than the treasures of earth
"Come, take of the riches of Christ; Exhaustless and free is the store.
Of its wonderful fullness receive, Till you hunger and thirst nevermore."
A. The riches of Christ are a free gift: Rom. 5:15-17
B. Therefore, we must come to Him to receive of its wonderful fullness: Jn. 1:14-16
C. When we do this, hungering and thirsting after righteousness, we shall be filled: Matt. 5:6
CONCL.: The chorus continues to emphasize the importance of the riches of Christ Jesus over the gold and weath of this world.
"Oh, the depth of the riches of love, The riches of love in Christ Jesus!
Far better than gold or wealth untold Are the riches of love in Christ Jesus."
It seems as if one of the devil's greatest tools to corrupt the minds of mankind through the years has been the love of money. How much simpler and better our lives would be if we could make sure that we understand the superiority to all the things in this world of the "Riches Of Love."
"THE REALMS OF SOMEWHERE"
"Thou shalt guide me with Thy counsel, and afterward receive me to glory" (Ps. 73:24)
INTRO.: A song which points our minds to the beautiful home that we shall obtain when the Lord receives us to glory is "The Realms of Somewhere." The text was written and the tune was composed both by Addie Louisa McFadden Sharp Albaugh, who was born on Aug. 28, 1908, at Sycamore Valley in Bethel Twp., Monroe Co., OH, the daughter of James Wesley and Mary Evalyn Morrison McFadden. Her father, who lived from 1873 to 1933, was also a hymn writer, and one of his songs "Beautiful Home" appeared in several of the books compiled by S. H. and Flavil Hall and published by F. L. Rowe, editor of the Christian Leader. Addie married Homer Adrian Sharp. In a letter written to me around a year before her death, she told me the following. "In 1932 I composed the song at the age of 24. My father put the notes as I sang it to him. Bro. Flavil Hall wrote the harmony. He was a regular visitor in our home whenever he came to the North to preach. My father was an elder in the church at Bethel in Guernsey Co. area. Bro. Hall would stay with us. I am now 87 years old and appreciate it very much to have my song used."
"The Realms of Somewhere" was published by the Halls as well. After the death of her first husband, Addie married Turlow Willis Albaugh. They lived in Newark, OH, where she died in 1996. My first acquaintance with this song was the result of visiting during gospel meetings during the early 1990s with the church assembling on Cemetary Rd. in Hilliard, OH, where Addie's nephew, James R. McFadden, was a member and would lead singing. When I was asking him about his grandfather's song, "Beautiful Home," which was pasted in the back of their songbooks, he also told me about his aunt's song. I later obtained a copy of the 1927 revised and enlarged edition of The Cross and Resurrection in Song edited by Samuel H. and Flavil Hall which contained the song. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, this is the only one that I know of in which the song appeared. However, if it was written in 1932, it must have been inserted in later editions of the book
The song talks about some of the reasons that make heaven so glorious and motivate us to want to go there.
I. Stanza 1 says that we shall share it with Christ and His saints
"There's a beautiful home called Heaven That Christ and His saints shall share;
'Tis a glorious land of beauty, Sweet home in the realms of somewhere."
A. The Bible continually refers to the eternal dwelling place of God and His people as heaven: 1 Pet. 1:3-5
B. One of the things that will make heaven so blessed is that Christ Himself will be there: Rev. 21:22-23
C. But the fact that the saints of all ages will be there will add to the wonder of heaven: 1 Thess. 4:16-17
II. Stanza 2 says that the angels will be there
"O the sunshine of angels' presence, With pleasures and joys untold!
There we'll ever be free from sorrow, And Christ and His glory behold."
A. It will also be grand to join with the angels who surround the throne: Rev. 5:11-12
B. Heaven will be a place where we shall ever be free from all sorrow: Rev. 21:4
C. But, again, what will be the best privilege will be to see Christ as He is: 1 Jn. 3:1-2
III. Stanza 3 says that it is a bright haven
"When we anchor in that bright haven, We'll walk through the street of gold,
And we'll drink at the crystal fountain With Jesus and martyrs of old."
A. Even now, we can cast our anchor into that bright haven: Heb. 6:18-20
B. Then when we get there, we can walk through the street of gold: Rev. 21:21
C. Also, we can drink at the crystal fountain to which Jesus leads His
people: Rev. 7:17
IV. Stanza 4 says that it is a city of peace and glory
"In that city of peace and glory, Life's river for aye shall flow;
And life's tree, in its beauty blooming, Shall banish all sickness and woe."
A. It will be a city of peace because those who are there will be resting from their labors: Rev. 14:13
B. The river of life will be flowing there: Rev. 22:1
C. And the tree of life will be there for the healing of the nations: Rev. 22:2
CONCL.: The chorus reminds us of the blessing of being with Jesus forever.
"Beautiful home in glory, Beautiful home up there--
We'll live forever with Jesus In the far away realms of somewhere."
As I have said before, through the years, many good brethren have written songs which have been used for a while and then forgotten. This seems to be undoubtedly quite normal because, as time passes by, new songs are written and many older ones naturally fall into disuse. However, it is good from time to time to go back, find out what brethren were singing in times past, and see if we can learn anything from those older songs. It is certainly good to have our minds pointed to "The Realms of Somewhere."
"THE PRODIGAL'S RETURN"
"And he arose, and came to his father..." (Lk. 15.20)
INTRO.: A song which likens the parable of the prodigal son who, after leaving home and wasting his substance in riotous living, came to himself, arose, and returned to his father to the lost sinner who returns to Jesus is "The Prodigal's Return." The text was written and the tune was composed both by Herbert Henry Howard Booth, who was born on Aug. 26, 1862, at Penzance in Cornwall, England, the fifth child of Salvation Army founders William and Catherine Booth. After attending Allesley Park College and the Congregational Institute in Nottingham, England, he became active in Salvation Army work in France in the early 1880's. Some of his earliest songs were produced in French. In 1883, he helped establish the Salvation Army musical department at Clapton and became a well known singer, editing Songs of Peace and War in 1890 and The Salvation Soldier's Song Book in 1897. In all, he is credited with some 22 songs and a couple of tunes. "The Prodigal's Return" was first published in Salvation Army Songs. Afterwards, he went on to direct Salvation Army work in England, from 1888 to 1892, Canada, from 1892 to 1895, and Australia, from 1895 to 1901. Beginning in 1902, he went on extensive lecture tours in America, South Africa, Australia, and New Zealand. He died on Sept. 25, 1926, at Yonkers, NY. 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; but not the combined 1925 edition) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson.
The song would probably make a good invitation song encouraging the prodigal to return.
I. Stanza 1 talks about the recognition of sin
"Savior, hear me, while before Thy feet I the record of my sins repeat,
Stained with guilt, myself abhoring, Filled with grief, my soul outpouring.
Canst Thou still in mercy think of me, Stoop to set my shackled spirit free,
Raise my sinking heart, and bid me be Thy child once more?"
A. The Bible does not teach that a "confession of sin" is a requirement for one outside of Christ to be saved, but certainly a recognition of sin in one's life is a necessary prerequisite for repentance which is a requirement: Acts 2.38, 17.30-31; and for an erring Christian who wants to return to God, there is a requirement for confession of sins: 1 Jn. 1.9
B. When one does recognize His sin and come to the Savior for pardon, the Lord will extend mercy: Tit. 3.5
C. The result is that the spirit that has been shackled by sin can be made free: Rom. 6.17-18
II. Stanza 2 talks about the guilt of sin
"Back with all the guilt my spirit bears, Past the haunting memories of years,
Self and shame and fear despising, Foes and tauting fiends surprising,
Savior, to Thy cross I press my way, And a broken heart before it lay;
Ere I leave, O let me hear Thee say, It shall be Thine."
A. When one comes to recognize that he has sinned, then he begins to feel the guilt: Rom. 3.19
B. However, God by His mercy makes it possible for us to come to the cross, which coming represents our acceptace of the gospel plan of salvation: 1 Cor. 1.18
C. The laying of a broken heart or spirit at the cross represents the attitude of humility and repentance, such as David expressed for his sin: Ps. 51.17
III. Stanza 3 talks about grace for sin
"All the rivers of Thy grace I claim, Over every promise write my name;
As I am I come believing. As Thou art Thou does, receiving,
Bid me rise a freed and pardoned slave, Master o'er my sin, the world, the grave,
Charging me to preach Thy power to save, To sin-bound souls."
A. We are saved from the guilt of sin by the grace of God through faith or believing His word: Eph. 2.809
B. Again, the result of accepting God's grace is that one rises to walk in newness of life, a freed and pardoned slave of righteousness: Rom. 6.3-14
C. Then, those who have been freed from sin must take the message of salvation to other sin-bound souls:
CONCL.: The chorus reminds us of what God did to make it possible for the prodigal to return to Him:
"Grace there is, my every debt to pay; Blood to wash my every sin away;
Power to keep me sinless day by day, For me, for me!"
All responsible beings have sinned, and thus, are like prodigal sons. However, if we recognize our sins, we can bring our guilt to a gracious God who has mercy to forgive us. Therefore, it is important that we ourselves understand and then proclaim to a lost and dying world about "The Prodigal's Return."
"THE PRIZE IS SET BEFORE US"
"I press toward the mark for the prize of the high calling of God in Christ Jesus" (Phil. 3:14)
INTRO.: A gospel song which encourages us to press toward the mark for the prize of the high calling of God in Christ Jesus is "The Prize Is Set Before Us." The text was written by Christopher Ruby (or Rubey) Blackall, who was born on Sept. 18, 1830, in Albany, NY. After serving as a doctor in the American Civil War, he became secretary for The American Baptist Publication Society for the North-West for over eight years beginning in 1867, and was also chairman of the auxiliary board at Harper's Weekly. The author of over 100 Sunday school songs, he compiled Gems for the Little Ones in 1879 for B. Griffith of Philadelphia, PA. Other songs by Blackall include "Labor On" beginning, "In the harvest field there is work to do," with a tune by William H. Doane, that has been used in some of our books; "Let Us Stand on the Rock, Firmly Stand" beginning, "Firmly stand for God in the world;" and "The Church Bell."
The tune (By and By) for "The Prize Is Set Before Us" was composed by Horatio Richmond Palmer (1834-1907). The song was originally produced in 1874 for the Sunday school of the Second Baptist Church in Chicago, IL, and first appeared that year in Songs of Love for the Bible School edited by Palmer. From there, it passed into numerous collections, including Ira D. Sankey's 1878/1881 Sacred Songs and Solos. Palmer is perhaps best known as the author and composer of "Yield Not to Temptation." Blackall died on Jan. 25, 1924. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "The Prize Is Set Before Us" appeared in the 1935 Christian Hymns (No. 1) edited by L. O. Sanderson. The chorus only
was used in the 1937 Great Songs of the Church No. 2 edited by E. L. Jorgenson.
The song holds out the prize of eternal life with God in heaven as a motivating factor to press on.
I. Stanza 1 emphasizes the call of Jesus
"The prize is set before us; To win, His words implore us;
The eye of God is o'er us From on high.
His loving tones are falling; While sin is dark, appalling,
'Tis Jesus gently calling; He is nigh."
A. The prize is set before us, and to win we must run the race: Heb. 12:1
B. It is sin, dark and appalling, that will keep us from reaching our goal: Rom. 6:23
C. Therefore, Jesus calls us from on high through the gospel: 2 Thess. 2:14
II. Stanza 2 emphasizes the need to follow Jesus
"We'll follow where He leadeth; We'll pasture where He feedeth;
We'll yield to Him who pleadeth From on high.
Then naught from Him shall sever; Our hope shall brighten ever,
And faith shall fail us never; He is nigh."
A. Jesus wants us to follow Him: Matt. 16:24
B. Following Jesus means that we must yield to Him in obedience to His will: Heb. 5:8-9
C. When we do this, nothing shall be able to separate us from Him and His love: Rom. 8:38-39
III. Stanza 3 emphasizes the home that Jesus has prepared
"Our home is bright above us, No trials dark to move us,
But Jesus dear to love us There on high.
We'll give Him best endeavor, And praise His name forever;
His precious words can never, Never die."
A. Jesus promised to prepare a home for His followers on high: Jn. 14:1-3
B. He is even there now making intercession for us: Heb. 7:25
C. We can come to Him and receive His reward if we continually do what His words, which can never, never die, tell us to do: Matt. 24:35
CONCL.: The chorus reminds us of the great blessing of meeting and greeting Jesus in the by and by.
"By and by we shall meet Him, By and by we shall greet Him,
And with Jesus live in glory By and by;
By and by we shall meet Him, By and by we shall greet Him,
And with Jesus live in glory By and by."
This song is likely not well known among brethren today because it was included in only two of our hymnbooks of the last century, and each of those is over seventy years old! However, I have always liked it. Yes, I know that we must live in the here and now and serve God on this earth as long as we are alive. But one thing that helps to keep us faithful in this life is to remember that "The Prize Is Set Before Us."
"THE PEARLY WHITE CITY"
"...I John saw the holy city, new Jerusalem, coming down from God..." (Rev. 21:2)
INTRO.: A song which uses the language of Revelation to create a desire for the holy city, new Jerusalem, which John saw coming down from God is "The Pearly White City" (#382 in Sacred Selections for the Church). The text was written and the tune was composed both by Arthur F. Ingler, who was born in May of 1873 (some sources give the date of 1875) in the state of Pennsylvania. The 1900 Census listed Ingler as a "vocalist" living in Denver, CO. Obviously a musician, he copyrighted "The Pearly White City" in 1902. Also, he edited a couple of hymnbooks, Songs of the Blood-Washed in 1909 and Canaan Melodies in 1914. The 1920 Census shows Ingler as a preacher for the Nazarene Church at Tillamook, OR. The copyright for "The Pearly White City" was renewed in 1930 (some books give the date as 1929) and was later assigned to the Lillenas Publishing House. Ingler's death occurred in 1935. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, the song appeared in the 1963 Christian Hymnal (chorus only) edited by J. Nelson Slater; and the 1973 Great Inspirational Songs (in a 1960 arrangement by the editor) edited by Albert E. Brumley. 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; the 1983 Church Gospel Songs and Hymns edited by V. E. Howard (not in original 1978 edition); 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 pictures heaven as a wonderful city for which the people of God long.
I. Stanza 1 describes the beauty of the city
"There's a holy and beautiful city, Whose builder and ruler is God;
John saw it descending from heaven, When Patmos, in exile, he trod.
Its high, massive wall is of jasper; The city itself is pure gold,
And when my frail tent here is folded, Mine eyes shall its glory behold."
A. Not only in the book of Revelation but in other Bible passages heaven is called a city: Heb. 11:16, 13:14 (the large print edition of Sacred Selections, and the Church Gospel Songs and Hymns which copies from it, both erroneously begin the song, "There's a happy and beautiful city")
B. The apostle John was given a vision of this city when he was in exile on the isle of Patmos: Rev. 1:9
C. In this vision, the city had walls of jasper and was made of gold: Rev. 21:18
II. Stanza 2 describes what is absent from the city
"No sin is allowed in that city, And nothing defiling or mean;
Nor pain and no sickness can enter, No crape on the doorknob is seen.
Earth's sorrows and cares are forgotten; No tempter is there to annoy.
No parting words ever are spoken; There's nothing to hurt and destroy."
A. No sin and nothing defiling or mean will be there: Rev. 22:15
B. There will be no pain or sickness: Rev. 21:4 ("crape on the doorknob" was an old custom of former times to signify a house where a death had taken place)
C. No parting words will ever be spoken either, because it is the place of eternal life: Mk. 10:30
III. Stanza 3 describes the inhabitants of the city
"No heartaches are known in that city; No tears ever moisten the eye.
There's no disappointment in heaven, No envy and strife in the sky.
The saints are all sanctified wholly; They live in sweet harmony there.
My heart is now set on that city, And some day its blessing I'll share."
A. Heartaches, tears, disappointment, and strife are all the result of sin, and such things will not be in heaven because those who do that which causes them will have their part in the lake which burns with fire and brimstone: Rev. 21:8
B. Rather, those who inhabit the heavenly city will be the saints, those who have done His commandments: Rev. 22:14
C. They will live in sweet harmony there, ever singing praises to the Lamb: Rev. 5:8-10
IV. Stanza 4 describes the hope of the city
"My loved ones are gathering yonder; My friends, too, are passing away.,
And soon I shall join their bright number And dwell in eternity's day.
They're safe now in glory with Jesus; Their trials and battles are past.
They overcame sin and the tempter; They've reached that fair city at last."
A. All of our books omit this stanza, probably because they copied from Sacred Selections, and editor Ellis J. Crum could not have a song which implied that any loved ones or friends were in heaven (and I suspect that Lillenas would not let him change "loved ones" to "saved ones" as he did in other songs, so he just removed the offending stanza), but all Christians have "loved ones," either relatives or brethren, who are saved and look forward to being reunited with them: 1 Thess. 4:16-17
B. Therefore, when we ourselves have died in the Lord, we have the hope of resting from our labors with them: Rev. 14:13
C. And God has promised us that those who serve Him can join together around His throne, see His face, and reign forever and ever: Rev. 22:3-5
CONCL.: The chorus emphasizes the desire that each child of God should have for a home in that city.
"In that bright city, pearly white city,
I have a mansion, a harp, and a crown;
Now I am watching, waiting, and longing
For the white city John saw coming down."
Ellis Crum in Sacred Selections made some changes in the chorus too. In the phrase "a mansion, a harp, and a crown," he replaced the word "harp" with "robe," as he eliminated all references to harps in various songs. However, the book of Revelation definitely mentions harps; if we can understand the figurative nature of the term in the book, we should be able to do the same thing in songs. Also, the original last line read, "For the white city that's soon coming down." This is one of Crum's changes that I think is beneficial, because the fact is that we do not know when these things will appear, whether soon or far off in the future. The coming down does not necessarily mean that heaven will literally come down to earth, but that in the vision the Lord brought it down for John to see and write about it. Understanding the figurative nature of his description in Revelation, we can still see that what John says, and what the song says based upon it, is intended to make us long for "The Pearly White City."
"THE ONLY WAY"
"I am the way, the truth, and the life; no man cometh unto the Father, but by Me" (Jn. 14:6)
INTRO.: A song which emphasizes that Jesus is the way, the truth, and the life, and that no one can come to the Father except through Him is "The Only Way" (#336 in Hymns for Worship Revised, and #541 in Sacred Selections for the Church). The text was written by Thomas Obadiah Chisholm (1866-1960). A prolific author of hymn texts, he produced such well known songs as "Great Is Thy Faithfulness," "Living For Jesus," "O to Be Like Thee," and "Only in Thee," as well as with Lloyd Otis Sanderson for the Gospel Advocate Co., "All Things Work Together for Good," "Be with Me, Lord," "Bring Christ Your Broken Life," and "A New Creature" (or "Buried with Christ").
The tune for "The Only Way" was composed by Samuel William Beazley (1873-1944). Other songs with his melodies include "After the Midnight," "Home of the Soul," "I Choose Jesus," "The Love of God" (beginning "Since the love of God has shed"), and "Ring Out the Message," in addition to many of the country-music gospel-convention type special selections that have appeared in some of our more recent books ("Jesus Paid It All," "Our King Emmanuel," "Go into the Field," "Matchless Love," "The Great Redeemer" and "Walking in the Light"). "The Only Way" is dated 1915, and the copyright was later owned by the Stamps-Baxter Music Co.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in the 1940 Complete Christian Hymnal edited by Marion Davis; and the 1952 Hymns of Praise and Devotion edited by Will W. Slater. Today, it may be found in Hymns for Worship and Sacred Selections, in addition to the 2007 Sacred Songs of the Church edited by William D. Jeffcoat.
The song identifies several items for which Jesus is the only means for us to receive them.
I. Stanza 1 mentions freedom
"Would you be freed from your burden of sin?
Hear the sweet whisper of pardon within?
Would you this moment a new life begin?
This is the only way."
A. Every responsible human being at one time or another has a burden of guilt to bear because all have sinned: Rom. 3:23
B. However, God offers pardon: Isa. 55:7
C. With this freedom from sin, we can begin a new life: Rom. 6:3-4
II. Stanza 2 mentions light
"Would you have light that no clouds can obscure?
Would you have joys that are fadeless and pure?
Would you have help that is mighty and sure?
This is the only way."
A. We need something to be a lamp to our feet and light our pathway: Ps. 119:105
B. Darkness is often used poetically to indicate sorrow, so light brings joy that we also need: Phil. 4:4
C. The light and joy provide help that is mighty and sure: Ps. 121:1-2
III. Stanza 3 mentions peace
"Would you have peace never broken by fears?
Would you have hope that can smile through its tears?
Friendship unchanging through earth's changing years?
This is the only way."
A. Everyone seems to be looking for peace of mind in this troubled world: Phil. 4:6-7
B. When a person finds true peace, he also finds hope that can smile even through tears: Rom. 8:24-25
C. Such peace and hope are made possible by a friendship that is unchanging through earth's changing years: Jn. 15:13-15
IV. Stanza 4 mentions rest
"Would you find rest in a blessed retreat,
Rest undisturbed by the tempests that beat?
Would you be ready the judgment to meet?
This is the only way."
A. Those who are weary seek rest: Matt. 11:228-30
B. The tempests that beat symbolize the trials and tribulations of life which make us weary: Jas. 1:2-3
C. This rest is necessary to help us be ready to meet the judgment: Jn. 12:48
CONCL.: Each stanza asks several questions and ends by saying, "This is the only way." The chorus then explains what that way is:
"Come to the cross of the Son of God,
Trust in the power of His saving blood,
Walk in the path where His feet have trod--
This is the only way."
Hymns for Worship places this hymn in the section of invitation songs, and it can well be used for that purpose, because it does encourage the sinner to come to the cross of the Son of God. But it also can be used to exhort Christians to bring their burdens to the cross as well and to remind us that in order to receive a home in heaven Jesus Christ is "The Only Way."
"THE NINETY AND NINE"
"Doth He not leave the ninety and nine, and goeth into the mountains and seeketh that which is gone astray?" (Matt. 18:12)
INTRO.: A hymn which reminds us of the effort to which the Great Shepherd has gone to seek His lost sheep is "The Ninety and Nine" (#123 in Hymns for Worship Revised, and #560 in Sacred Selections for the Church). The text was written by Elizabeth Cecelia Douglas Clephane, who was born at Edinburgh, Scotland, on June 18, 1830, the daughter of Andrew Clephane, the county sheriff of Fife and a member of the Scottish Free Church. After being orphaned by the death of their father, she and her two sisters settled at Melrose near Abbotsford, the home of author Walter Scott. From her youth up, Elizabeth was in frail health, but to the limit of her ability, she served the poor and sick in Melrose. Though poor, the sisters gave to charity what was not needed for family maintenance, even to selling the horse and carriage. She was known to the townspeople as "The Sunbeam."
Miss Clephane produced at least eight hymns. It is believed that the words for "The Ninety and Nine," which were especially for children, date from 1868, shortly before her early death at Melrose on Feb. 19, 1868. These poems were published posthumously from 1872 to 1878 under the title "Breathings from the Border" in The Family Magazine, a Scottish Presbyterian magazine edited by William Arnot, a Free Church minister. Her best known hymn, "Beneath the Cross of Jesus," was the first, and "The Ninety and Nine" was the last. The latter was also printed in a magazine called The Children's Hour in 1872. About a year later, in 1873, revival evangelist Dwight L. Moody was in Scotland for campaigns with his song director Ira David Sankey (1840-1908). After completing a meeting in Glasgow, they prepared to board a train for Edingburgh where Moody was to conduct a service at the Free Assembly Hall.
Just before stepping on the train, Sankey stopped to purchase a newspaper. While Moody prepared his sermon, Sankey scanned the paper and was about to toss it aside when he discovered this poem about the Shepherd seeking the lost sheep, cut it out, and placed it in his pocket. In Edinburgh, Moody's subject was "The Good Shepherd." FInishing the message, he turned to Sankey and asked him to lead some fitting song. Sankey had not expected the sermon and had no appropriate number. Since he could think of nothing else suitable, he recalled the little poem that he had put into his vest pocket. So he pulled it out and began ato sing. Note by note the tune (Ninety and Nine) came to him as he sang, and this is perhaps the only case where a hymn melody was composed while the composer sang it publicly for the first time. It has remained unchanged to the present day. The hymn was made famous by Sankey and Moody during their crusades throughout Great Britain in 1873 and 1874. It was first published in Sankey's Sacred Songs and Solos of 1874.
Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, it appeared in 1935 Christian Hymns (No. 1) edited by L. O. Sanderson (as arranged by the editor); the 1940 Complete Christian Hymnal edited by Marion Davis; and the 1959 Majestic Hymnal No. 2 and the 1978 Hymns of Praise both 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 recounts how the Good Shepherd went to find the lost lamb.
I. According to stanza 1, a sheep is away from the fold.
"There were ninety and nine that safely lay
In the shelter of the fold,
But one was out on the hills away,
Far off from the gates of gold;
Away on the mountains, wild and bare,
Away from the tender Shepherd's care."
A. The "fold" represents a place of safety, which for Christ's sheep is the church: Jn. 10:1
B. The Bible teaches that all have been out on the hills away because have sinned: Rom. 3:23
C. Therefore, each one of us was at one time or another like the sheep who went astray and was away on the mountains: 1 Pet. 2:25
II. According to stanza 2, the Shepherd goes out to look for the sheep so that He can plead with it to return.
"Lord, Thou hast here Thy ninety and nine;
Are they not enough for Thee?
But the Shepherd made answer: 'This of Mine
Has wandered away from Me,
And although the road be rough and steep,
I go to the desert to find My sheep.'"
A. The ninety and nine are not enough for the Shepherd because God wants all men to be saved: 1 Tim. 2:3-4
B. Therefore, the Shepherd is concerned about the one who has wandered away, so He came to seek and save the lost: Lk. 19:10
C. God has always pleaded with His people, when they stray from Him, to return; Isa. 55:6-7
III. According to stanza 3, the Shepherd crossed the deep waters in the dark of night so that He could call the sinner to repentance.
"But none of the ransomed ever knew
How deep were the waters crossed,
Nor how dark was the night that the Lord passed through
Ere He found His sheep that was lost.
Far out in the desert He heard its cry;
'Twas sick and helpless and ready to die."
A. Jesus left the glories of heaven and came to this "low land of suffering and sin": Phil. 3:5-8
B. He passed through even the dark night of death on the cross: Heb. 2:9
C. The Good Shepherd did this for His sheep that was sick and helpless and ready to die in order that He might bring them back to the fold: Mk. 2:17
IV. According to stanza 4, the Shepherd even shed His blood to bring back the sheep.
"'Lord, whence are those blood-drops all the way
That mark out the mountain's track?'
'They were shed for the one who had gone astray
Ere the Shepherd could bring him back.'
'Lord, whence are Thy hands so rent and torn?'
'They're pierced tonight by many a thorn.'"
A. God had decreed that without the shedding of blood there could be no remission of sin: Heb. 9:22
B. Therefore, Jesus shed His blood for the remission of our sins: Matt. 26:28
C. The Shepherd was willing to go to these lengths to save the lost sheep because God is not willing that any should perish: 2 Pet. 3:9
V. According to stanza 5, there will be rejoicing even in heaven over the lost lamb that is restored.
"But all through the mountains, thunder-riven,
And up from the rocky steep,
There arose a glad cry to the gate of heaven,
'Rejoice, I have found My sheep.'
And the angels echoed around the throne,
'Rejoice, for the Lord brings back His own.'"
A. The mountains and the rocky steep represent the depths of sin to which we had sunk and in which the Shepherd had to seek us: Eph. 2:1-13
B. However, saving the sheep was part of the joy that was set before Him, for which Jesus endured the shame of the cross: Heb. 12:1-2
C. And yes, even the angels of heaven rejoice over just one sinner who comes to repentance: Lk. 15:5-7
CONCL.: It is said that when Moody and Sankey visited Melrose, Elizabeth's two sisters were in the audience to hear Moody speak and heard their departed sister's song sung. Certainly, we should be thankful that God loved us enough to send His Son to seek and save us even when we were lost and indifferent. And if Jesus went to these lengths to save us, we should obey Him that we might be saved and then accept the challenge to assist Him in seeking those who have strayed from "The Ninety and Nine."
"THE NAME OF JESUS"
"Far above...every name that is named..." (Eph. 1.21)
INTRO.: A hymn which praises the name of Jesus Christ as the one which is far above every name that is named is "The Name of Jesus" (#137 in Sacred Selections for the Church). The text was written by William Clark Martin who was born on Dec. 25, 1864, at Hightstown, NJ, and became a Baptist minister. After working with the Noank Baptist Church in Noank, CN, from 1894 to 1900, he served with the East Albany First Baptist Church in Albany, NY, and later in Boston, MA. The tune was composed by Edmund Simon Lorenz (1854-1942). The song was apparently produced in 1901 and was first published in the 1902 Joyful Praise edited by Charles H. Gabriel for the Lorenz Music Co. Other relatively well-known songs (though not among us) by Martin include "I Remember Calvary" with music by James M. Black; "My Anchor Holds" with music by Daniel B. Towner; "Still Sweeter Every Day" with music by C. Austin Miles; and "Land of the Unsetting Sun" with music by Gabriel. Cyberhymnal credits Martin with some 32 different songs. In 1912 he moved to labor at the First Baptist Church in Ft. Myers, FL, and remained there until his death on Aug. 30, 1914, at Rialto, FL. Among hymnbooks published by members of the Lord's church during the twentieth century for use in churches of Christ, "The Name of Jesus" 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) and the 1966 Christian Hymns No. 3 both edited by L. O. Sanderson; the 1963 Christian Hymnal edited by J. Nelson Slater; and the 1963 Abiding Hymns edited by Robert C. Welch. Today it may be found to my knowledge only in Sacred Selections.
The song identifies several blessings which come to us in the name of Jesus Christ.
I. Stanza 1 says that His name brings joy
"The name of Jesus is so sweet, I love its music to repeat;
It makes my joys full and complete, The precious name of Jesus!"
A. The name of Jesus is important because salvation is found in no other: Acts 4.12
B. We should love its music to repeat as we sing with grace in our hearts to the Lord: Col. 3.16
C. The reason that we can rejoice always in the Lord: Phil. 4.4
II. Stanza 2 says that His name brings comfort
"I love the name of Him whose heart Knows all my griefs and bears a part,
Who bids all anxious fears depart--I love the name of Jesus!"
A. Jesus knows our griefs because He share in flesh and blood and was made in all things like us, so having suffered, he is able to aid those who suffer: Heb. 2.14-18
B. Thus, He bears a part because we can cast all our cares on Him: 1 Pet. 5.7
C. As a result, He comforts us by bidding all anxious fears depart: 2 Tim. 1.7, 1 Jn. 4.118
III. Stanza 3 says that His name brings cheer
"That name I fondly love to hear, It never fails my heart to cheer;
Its music dries the falling tear: Exalt the name of Jesus!"
A. Christians should love to hear the name of Jesus because at the name of Jesus every knee should bow and every tongue should confess: Phil. 2.9-10
B. Because of what He has done for us, He brings us good cheer: Jn. 16.33
C. This cheer will dry the falling tears: Ps. 116.8
IV. Stanza 4 says that His name brings sweetness
"No word of man can ever tell How sweet the name I love so well;
Oh, let its praises ever swell, O praise the name of Jesus!"
A. No word of man can ever tell the fulness of the blessings that we have in Christ because God's gift is unspeakable: 2 Cor. 9.15, 1 Pet. 1.8
B. The name of Jesus is like the word of God, sweeter than honey and the honeycomb: Ps. 19.10
C. Therefore, we should always offer up the sacrifice of praise to Him: Heb. 13.15
CONCL.: The chorus reminds us how worthy of praise the name of Jesus really is.
"'Jesus,' Oh, how sweet the name! 'Jesus,' every day the same;
'Jesus,' let all saints proclaim Its worthy praise forever."
In the Bible names are important because the name of someone or something usually represented what that person or thing actually stands for. We should always be praising the name of our Savior because we can have salvation and all other spiritual blessings only in "The Name of Jesus."