Category Archives: Hymns of Faith

“What a Friend We Have in Jesus”–A Hymn

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What a Friend We Have in Jesus is a familiar hymn in many denominations, but it did not come about in one of the more conventional ways. I’ve researched and written about several hymns that were written by song writers who intentionally set out to write a hymn of praise and worship, but this hymn began as a poem meant for private usage and when first publihed, credit was not give to the writer.

What a Friend we have in Jesus, all our sins and griefs to bear!

Joseph Scriven (1819-1886) was born in Dublin, Ireland (in 1819 or 1820, depending on who you ask) and graduated from Trinity College there. When his health did not allow him to enroll in the military, he emigrated to Canada at the age of 25 and became a teacher.

What a privilege to carry, everything to God in prayer!

Scriven faced two different tragedies concerning two different fiancees. The first died in a drowning accident just before they were to be wed in 1844. This seems to have happened (my sources are unclear) while Scriven still lived in Ireland though he would have emigrated shortly afterward. In 1855, while in Ontario, Scriven had a second fiancee who succumbed to an illness before they could be married.

Oh, what peace we often forfeit, oh, what needless pain we bear!

Scriven wrote the words for what became “What a Friend We Have in Jesus” (which he titled “Pray Without Ceasing”) for his mother, grieving in Ireland. He sent them to her as a poem of comfort. How it eventually became published is not known, as Scriven had not intended it for public use. Consequently, it was for some time credited to Doctor Horatius Bonar. It was while Scriven was sick and a friend was visiting that the manuscript was discovered among his things. When asked if he was actually the one who had written the hymn, Scriven replied, “The Lord and I did it between us.”

All because we do not carry everything to God in prayer!

Scriven spent the rest of his life trying to live by the Sermon on the Mount. His neighbors considered him odd because of his work with the poor and physically disabled. Sadly, though he gave and shared all he could, he still suffered greatly from depression. So much so that when he died from drowning in Rice Lake, it was unknown if his death was an accident or suicide.

As with any hymn we include in our worship of God, more important than its beginnings (for the writer is only a tool in God’s hand) is: how true to the Scriptures are the words? If we sing words that don’t honor Him, then we are certainly not worshiping Him in Spirit and in truth, and in fact, may be in danger of blasphemy or of breaking the third commandment.

So, is Jesus our Friend? One we can bring all our sins and griefs? Can we bring everything to Him in prayer and expect Him to care? I believe these two verses answer those questions very well.

“On the day I called, You answered me; And You made me bold and confident with [renewed] strength in my life.” Psalm 138:3 (Amplified Version)

“Therefore, since we have a great high priest who has ascended into heaven, Jesus the Son of God, let us hold firmly to the faith we profess. For we do not have a high priest who is unable to empathize with our weaknesses, but we have one who has been tempted in every way, just as we are–yet he did not sin. Let us then approach God’s throne of grace with confidence, so that we may receive mercy and find grace to help us in our time of need.” Hebrews 4:14-16 (NIV)

One Hundred and One Hymn Stories Carl F. Price; Abingdon-Cokesbury Press; 1923

Near to the Heart of God Robert J. Morgan. Baker Publishing Group

Sankey’s Favorite Hymns and Songs: A Selection and their Stories. (p. 131). White Tree Publishing.

“At Calvary” One Man’s Testimony

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mockingbird

One of my favorite articles of the magazine, Christianity Today, is always at the end and titled simply “Testimony”. The testimonies display God’s amazing grace in how He saved a certain person in some kind of unique way. I know some people who were saved at a young age (such as myself) and spent most of their life in church feel slightly intimidated by powerful testimonies. They believe their testimonies are boring in comparison and feel they don’t have much to share concerning the grace and mercy of God. But we shouldn’t feel that way, and reading these miraculous stories always puts me in awe of God’s love and power and encourages me that He is always working, even in those we might think could never be saved and changed.

Years I spent in vanity and pride

Caring not my Lord was crucified,

Knowing not it was for me He died

On Calvary.

Listening to the words of this hymn made me wonder about the testimony of the person who wrote them. I learned that William Newell had been a young man whose pastor father despaired he would ever turn to Christ. His father wrote to R.A. Torrey, president of Moody Bible Institute, asking him to take his son as a student. He told Torrey that his son’s life was “really messed up” and hoped that going to the Bible Instiute would change his life. Though he sympathized, Torrey responded that Moody was not a reform school, and they couldn’t take his son. The father did not give up. After many letters, pleading his cause, Torrey finally relented and said he would take the boy, but he must agree to visit him every day and to abide by the rules of the institute.

By God’s Word at last my sin I learned

Then I trembled at the law I spurned

Till my guilty soul imploring turned to Calvary.

Newell did abide by the rules and God changed his life. Some years later after acquiring degrees from Wooster College and Princeton and Oberlin Theological Seminary, he became the assistant superintendent at Moody Bible Institute as well as the pastor of Bethesda Congregational Church.

Now I’ve given to Jesus everything

Now I gladly own Him as my king

Now my raptured soul can only sing of Calvary.

In 1895 while Newell was on his way to teach a class, the thoughts of his testimony and how God had saved him became so clear to him, he stopped in an empty classroom and began to jot down the words to this future hymn on the back of an envelope. As he continued on to his class, he ran into Daniel Brink Towner, the director of music at the institute. Newell gave him the words he had just written and asked him to come up with a tune for them. By the time Newell had finished his lecture, Towner had a tune and they sang the song together.

O the love that drew salvation’s plan!

O the grace that brought it down to man!

O the mighty gulf that God did span at Calvary.

(Refrain) Mercy there was great and grace was free

Pardon there was multiplied to me

There my burdened soul found liberty at Calvary.

What a beautiful, yet simple way to share a testimony! As all of us, at one time, he was unaware and did not care that God had died for him. Yet at some point, God’s Word penetrated his heart and brought him to repentance and faith. I hope you will take time to listen to this song again and worship along with the Collingsworth Family.

“Holy, holy, holy”–A Christmas Carol

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Holy, holy, holy! Lord God Almighty! Early in the morning our song shall rise to thee.

A Christmas carol? But aren’t those songs about the baby Jesus? With angels and shepherds, the virgin Mary, a donkey ride and a manger? Yes, of course, all those things are important but none of them would matter without God becoming man. A doctrine we can never take for granted as even some who call themselves “Christians” have doubted the divinity of Christ. And this hymn is very much about the divinity of Jesus Christ.

Holy, holy, holy! Merciful and mighty! God in three Persons, blessed Trinity!

In his teachings, “Christian” priest, Arius (250-336 A.D.) of Constantinople stated a belief in a created finite nature of Christ rather than having equal divine status with God the Father.

Holy, holy, holy! All the saints adore thee, casting down their golden crowns around the glassy sea.

Church leaders met in Nicea, Bithynia (present day Iznik, Turkey) in May 325 to formulate a consensus of belief. Arius was declared a heretic for refusing to sign the formula of faith that stated Christ was of the same divine nature as God the Father.

Cherubim and seraphim falling down before thee, which wert and art and evermore shall be.

Nicene Creed: We believe in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all the world. Light of light, very God of very God, begotten, not made; who for us men and for our salvation came down from heaven and was incarnate by the Holy Spirit of the Virgin Mary and was made man.

Reginald Heber (1783-1826), a rector of a small church in Shrewsbury, England wrote the hymn Holy, holy, holy! Lord God Almighty! to be sung after reciting the Nicene Creed.

Holy, holy, holy! Though the darkness hide thee, though the eye made blind by sin thy glory may not see,

Heber based his hymn on the words from Revelation 4. The Apostle John saw one seated on a throne and around the throne were creatures who “never cease to say, ‘Holy, holy, holy is the LORD God Almighty, who was and is and is to come!'”

Only thou art holy; there is none beside thee, perfect in power, in love and purity.

Some might try to argue that the one on the throne to whom these “holies” are being sung could only be God the Father and this all has nothing to do with Christmas at all, never mind the divinity of Christ. But the Apostle John made clear in the beginning of his Revelation that he saw the Lamb, the risen Christ. “When I saw him, I fell at his feet as though dead. But he laid his right hand on me, saying, ‘Fear not. I am the first and the last, and the living one. I died, and behold I am alive forevermore.'” (Revelation 1:17-18a)

Holy, holy, holy! Lord God Almighty! All thy works shall praise thy name, in earth, and sky, and sea;

To further the argument that the life of Jesus did not begin in Bethlehem, some 700 years before his birth, the prophet Isaiah also had a vision and heard those words, “Holy, holy, holy”. In the Hebrew language, repetition is used as a superlative, something of the highest quality or degree. But only here in Isaiah is a quality raised to the power of three “as if to say that the divine holiness is so far beyond anything the human mind can grasp that a ‘super-superlative’ has to be invented to express it and, furthermore, that this transcendent holiness is the total truth about God.” (J. Alec Motyer in Isaiah, Tyndale Old Testament Commentaries).

Holy, holy, holy! Merciful and mighty! God in three persons, blessed Trinity!

But who did Isaiah see? According to the same John the Apostle who had the vision in Revelation, Isaiah saw Jesus. “Isaiah said these things because he saw his glory and spoke of him.” (John 12:41) 

“The prophet, standing outside the temple, sees the Divine Presence seated on the mercy-seat, raised over the ark of the covenant, between the cherubim and the seraphim, and the Divine glory filled the whole temple. This vision is explained, John 12:41, that Isaiah now saw Christ’s glory, and spake of Him, which is a full proof that our Saviour is God.” (Matthew Henry in Matthew Henry’s Concise Commentary on the Bible).

MERRY CHRISTMAS!

 

Frances Ridley Havergal Her Death

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Like a river glorious, is God’s perfect peace; Over all victorious, in its bright increase.

In a previous post, I wrote of the accomplishments of Frances Havergal and the way she sought to glorify the Lord in all she did. Now, I will recount some of the account concerning her death. Havergal suffered ill health for much of her life. At the age of 42, she went on holiday with her family to South Wales. While there, she developed a very severe cold which soon led to an inflammation of the lungs.

Perfect yet it floweth, Fuller every day, Perfect yet it groweth Deeper all the way.

When Havergal was told that her life was in danger, her response was: “If I am really going, it is too good to be true!” Should that not be the response of all Christians–no matter, their age, their goals, their plans? To learn that we may soon be with the One we claim to love? For this was Havergal’s ultimate desire–to be with the One for whom she wrote her poems and hymns.

Hidden in the hollow of his blessed hand–never foe can follow, never traitor stand.

Later she said, “Splendid! To be so near the gates of heaven.” Closer to the end, her sister reported that she sang one of her hymns, “Jesus, I will trust Thee, Trust Thee with my Soul.” Though she was weak and her voice faint, the words were clear to all.

Not a surge of worry, Not a shade of care, Not a blast of hurry, Touch the spirit there.

“She looked up steadfastly, as if she saw the Lord; and surely nothing less heavenly could have reflected such a glorious radiance upon her face. For ten minutes we watched that almost visible meeting with her king, and her countenance was so glad, as if she were already talking to Him! Then she tried to sing; but after one sweet high note, her voice failed, and as her brother commended her soul into the Redeemer’s hand, she passed away.”

Stayed upon Jehovah, Hearts are fully blest, finding as He promised, Perfect peace and rest.

“I should have liked my death to be like Samson’s doing more for God’s glory than by my life; but He wills it otherwise.” Though Havergal could not see it, I believe her death did give glory to God, not only to those who were with her as she went home, but also for those of us who continue to read her words years later.

 

Quotes taken from Memorials of Frances Ridley Havergal by her sister, M. V. G. H. (Maria V. G. Havergal), April 1880

Frances Ridley Havergal–Her Life

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I enjoy learning about the hymn writers of my favorite hymns because it makes them more meaningful and puts a face and a life to the words. It’s easy just to sing the words of a familiar song and forget that someone wrote them because of a particular event in their life or because of the way the Lord had been dealing in their life at the time.

Take my life and let it be–Consecrated, Lord, to thee. Take my moments and my days; Let them flow in ceaseless praise.

Several months ago I heard a pastor speak about the life of Frances Ridley Havergal (1836-1879) before we sang, “Like a River Glorious.” Intrigued, I began to read more about her, as well as listen to more of her hymns and read some of her poetry. I was impressed in both the way she lived and the way she died. In this post, I will discuss how she lived, and I’ll have a follow up post on how she died.

Take my hands and let them move–At the impulse of thy love, Take my feet and let them be–Swift and beautiful for thee.

Born at the rectory in Astley, Worcestershire (England) where her father was the rector, Havergal accomplished much in her short life. From the time she was a young child, she always sought to serve and lift up Jesus. She was writing poetry at the age of seven and had verses published while still a teen in “Good Words.”

Take my voice and let me sing,–Always, only for my King, Take my lips and let them be–Filled with messages for Thee.

Receiving her education at both English and German boarding schools, she proved herself a natural linguist learning Latin, German, Italian, French, Hebrew, and Greek. She also played the piano and was said to be a beautiful singer.

Take my silver and my gold; Not a mite would I withhold; Take my intellect and use–Every power as Thou shalt choose.

Four years after writing the words: “take my silver and my gold,” she packed up and shipped a box of valuable jewelry to a church missionary house. Of the few pieces she kept: “I retain only a brooch or two for daily wear, which are memorials of my dear parents; also a locket with the only portrait I have of my niece, who is in heaven. But these I redeem that the whole value goes to the Church Missionary Society.”

Take my will and make it thine; It shall be no longer mine. Take my heart, it is thine own; It shall be thy royal throne.

Havergal told the story behind the writing of the hymn “Take My Life and Let It Be” in Memorials of Frances Ridley Havergal. “I went for a little visit of five days (to Areley House). There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. He gave me the prayer ‘Lord, give me all in the house.’ And He just did. Before I left the house every one had got a blessing. The last night of my visit, after I had retired, the governess asked me to go to the two daughters. They were crying. Then and there both of them trusted and rejoiced. It was midnight. I was too happy to sleep and passed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves and chimed in my heart one after another, till they finished with ‘Ever, only, all for Thee.”

Take my love, my Lord, I pour–At thy feet its treasure store.Take myself, and I will be–Ever, only, all for Thee.

 

 

Praise is the Highway

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“I feel sure that the great majority of people do like singing. It helps to build up an audience–even if you preach a dry sermon. If you have singing that reaches the heart, it will fill the church every time. There is more said in the Bible about praise than prayer, and music and song have not only accompanied all scriptural revivals, but are essential in deepening spiritual life. Singing does at least as much as preaching to impress the Word of God upon people’s minds. Ever since God first called me, the importance of praise expressed in song has grown upon me.” D. L. Moody

“Man of Sorrows! What a Name”

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“Man of Sorrows! What a Name,” a hymn also known by its repeating refrain “Hallelujah! What a Savior!” was written in 1875. The author, Philip P. Bliss, took his title from Isaiah 53.

Who has believed what he has heard from us? And to whom has the arm of the LORD been revealed? For he grew up before him like a young plant, and like a root from a dry ground; he had no form or majesty that we should look at him, and no beauty that we should desire him. He was despised and rejected by men; a man of sorrows, and acquainted with grief, and as one from whom men hide their faces, he was despised and we esteemed him not.

Knowing Bliss wrote several of his hymns based on sermons he heard preached, it is possible that a sermon from Isaiah 53 also inspired him or perhaps it was his own personal reading of this moving and prophetic chapter that gave him the inspiration to write this hymn.

The first stanza introduces the Savior and his purpose for coming here: “Ruined sinners to reclaim.”

The second stanza paints a vivid picture of the sacrifice Christ gave for us. “Bearing shame and scoffing rude, in my place condemned he stood.”

The third illustrates the contrast between us “guilty, vile and helpless we” and our Savior, “Spotless Lamb of God was He.”

The fourth proclaims both his death and triumphant finish and the fifth proclaims His return when we’ll sing forever, “Hallelujah! What a Savior!”

Ira D. Sankey, a singer for D. L. Moody’s evangelistic meetings–who also wrote hymns and compiled a book of hymns with Bliss–wrote of the hymn “Man of Sorrows” in his autobiography. “When Mr. Moody and I were in Paris, . . . I frequently sang this hymn as a solo, asking the congregation to join in the single phrase, “Hallelujah, what a Savior,” which they did with splendid effect.

“It is said that the word ‘Hallelujah’ is the same in all languages. It seems as though God had prepared it for the great jubilee of heaven, when all his children had been gathered home to sing ‘Hallelujah to the Lamb!'”

(Is there any other word that is recognized in all languages? In both Italian and Irish–hallelujah; in Spanish–aleluya; in Slovak–aleluja; in Swahili–Haleluya. ‘Hallelujah, what a Savior’ will surely be heard in heaven.)

Bliss discovered his love of music at a young age and studied when he could, eventually becomin an itinerant music teacher. When he was 26, he and his wife moved to Chicago where he conducted musical institutes and was soon known for both his teaching and singing. One night in 1869, he passed a revival meeting where D. L. Moody was preaching. Apparently, the singing was “rather weak” that night, and Bliss offered his help. After a quick interview, Moody accepted his offer and later urged him to give up his business and become a singing evangelist.

In 1873, Bliss did decide to give up everything (musical conventions, writing secular songs, business position, and work at the church) in order to go full-time into singing music for evangelism.

On November 24, 1876, Bliss sang at a minister’s meeting led by D. L. Moody in Chicago. Over 1,000 preachers were there to hear Bliss introduce a song he had just written the music for: It is Well with My Soul. He had only a month left to live.

 

Again, from Sankey’s autobiography: “This was the last hymn I heard Mr. Bliss sing. It was at a meeting in Farwell Hall in Chicago, conducted by Henry Moorehouse. A few weeks before his death Mr. Bliss visited the State prison at Jackson, Michigan, where, after a very touching address on ‘The Man of Sorrows,’ he sang this hymn with great effect. Many of the prisoners dated their conversion from that day.”

Bliss and his wife and children spent Christmas that year with his mother and sister in Pennsylvania, planning to return to Chicago in January to work with Mr. Moody. He received a telegram asking him to come sooner, so he and his wife obtained train tickets, deciding to leave their children with his mother. On December 29, 1876, the Pacific Express was three hours late due to a blinding snowstorm. Crossing a river over a trestle bridge, the first engine reached the other side but the rest fell 75 feet into the ravine of icy water.

Mr. Bliss managed to free himself, crawling through a window. However, his wife was trapped and he returned to try and help her. A fire broke out and soon the wooden coaches were ablaze aided by the fierce winds. The Blisses, along with at least 92 others, did not survive.

As Mr. Bliss’s trunk was sent ahead on another train, it reached Chicago safely. Inside were several songs, Mr. Bliss was working on. One hymn, “He Knows,” by Mary G. Brainard (Bliss wrote the music and chorus) began with the words: “I know not what awaits me. God kindly veils my eyes . . .”

Mourning the loss of Mr. Bliss, D.L. Moody had this to say about his friend: “In my estimate, he was the most highly honored of God, of any man of his time, as a writer and singer of Gospel Songs, and with all his gifts he was the most humble man I ever knew. I loved him as a brother, and shall cherish his memory . . .”

Though the life of Mr. Bliss was tragically cut short, he left a legacy of music that continues to lead us to worship the Man of Sorrows who became our glorious King.

 

Bibliography:

https://www.wholesomewords.org/biography/biobliss.html

My Life and the Story of the Gospel Hymns: and of Sacred Songs and Solos Ira D. Sankey

http://www.christianity.com/church/church-history/timeline/1801-1900/train-wreck-killed-hymn-writer-bliss-and-wife-11630582.html

 

How Firm a Foundation

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April is National Poetry Month and though I don’t read as much poetry as I would like–between studying the Psalms and some hymns, I have been reading more poetry than usual.

We don’t often think of hymns as poetry, but when we take the time to read  and hear the words, we often find beautiful phrases with some deep theology woven in. Leland Ryken, a literary editor of the ESV Bible and a professor of English at Wheaton College for almost fifty years, writes in 40 Favorite Hymns on the Christian Life: “Much of the beauty that we experience when we sing hymns is the beauty of the music. Experiencing hymns as poems puts the focus on the verbal beauty of the words and phrases. The great hymns of Christian tradition are an untapped source of devotional poetry, just waiting to be made available for the pleasure and edification of Christians.”

In my familarity with hymns, I have too often sung through the words, not appreciating their depth of feeling and theology. I would like to challenge you to read through some of your favorite hymns and consider the words and what the writer may have been going through or trying to convey.

For today, I want to look at the hymn, “How Firm a Foundation.” The opening stanza contains words of comfort and assurance. A reminder that since God has given us His Word to live our lives by, how could we have a more firm foundation?

“How firm a foundation, ye saints of the Lord, Is laid for your faith in his excellent Word! What more can he say than to you he hath said, To you who for refuge to Jesus have fled?”

What more can He say? Nothing–though, of course, we need to read His Word to know what He has said. The next four stanzas are written as if God were speaking, reminding us of the promises from His Word.

In the second stanza: “Fear not, I am with thee, O be not dismayed. . . . I’ll strengthen thee, help thee, and cause thee to stand.” (Isaiah 41:10)

Third stanza: “When through the deep waters I call thee to go,” I will be with thee. (Isaiah 43:2)

Fourth stanza: “When through fiery trials they pathway shall lie”–His grace is sufficient. (2 Co 12:9; 1 Peter 4:12-13)

Fifth stanza: “The soul that on Jesus hath leaned for repose”–He will never forsake. No, Never! (Deuteronomy 31:6)

Though written in 1787, the words are no less true or relevant for our lives. Enjoy and worship this hymn written with the ancient truths of God’s Word.

 

Hymns–Lost in Translation

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My last few blogs have been about some favorite hymns and their history. A few more such tales shall be forthcoming, but first I wanted to take a look at some hymns that will not be found in today’s hymn books because, well, times and language change. What might have been sung in all seriousness at one time would have us either giggling or horrified today.

My first selection was written by Jame Rowe (1865-1933). Rowe wrote this hymn to encourage temperance and in 1920 the song was included in the hymnal, “New Perfect Praise for Sunday Schools, Singing-Schools, Revivals, Conventions, and General Use in Christian Work and Work.” (Number 80 if you have this book lying around).  The title of the hymn: “Good-bye, old Booze, Good-bye.” The first line: “We’ve closed your door for evermore.” And the refrain begins: “Good-bye, old Booze, good-bye, We’re glad to see you go.” Try singing that around a campfire some night with your youth group.

Before we leave Mr. Rowe, let me add that he wrote more than 9,000 hymns, poems, recitations, and other works. Probably his most famous and one still included in many hymn books is “Love Lifted Me” which Rowe based on the Biblical story of Peter stepping out of the boat and into thestormy waters.

E. M. Bartlett (1883-1941) also wrote many hymns, co-founded Hartford Music Company and was the founder of the Hartford Music Institute in 1921. One of his hymns only made it into two hymnals and will probably not be added to any in the twenty-first century. Titled: “If Men Go to Hell, Who Cares?” is a good example where punctuation and emphasis on certain words can make such a difference in meaning. The first line begins: “While the world rushes on in its folly and sin,” and the refrain begins, “Who cares, who cares?” Let us assume that Mr. Bartlett wanted to provoke people into caring about the destination of people’s souls, but I don’t think a refrain of “Who cares? Who cares?” would get that message across very well today.

Mr. Bartlett suffered a stroke in 1939 leaving him partially paralyzed and unable to do the traveling and singing he had been doing. It was during this time that he wrote a hymn that he is better remembered for and is still being sung today: “Victory in Jesus.” Mr. Bartlett was inducted into the Gospel Music Hall of Fame in Nashville in 1973.

My final selection for hymns lost in translation is by the prolific writer Isaac Watts. Watts deserves a post or two to himself, but for now, it is the hymn, “Charity to the Poor” also known as “Pity to the Afflicted” (1719) which will be highlighted here. The title is harmless enough. It’s the first line which only made it into print for a couple of hymnals before it was changed: “Blest is the man whose bowels move.” For you readers of the King James, you will probably see nothing wrong with this as you are certainly familiar with Paul’s directive to put on “bowels of mercies” (Colossians 3:12). Others, however, (even a couple of hundred years ago) prefer singing about one’s heart rather than one’s bowels, and, consequently, this line was soon changed.

Though I’m enjoying exploring hymns from the past, I also love many of the songs that are written and sung every year. As Robert Morgan says in one of his books about hymn writers (Near to the Heart of God), “When the Bible tells us to sing ‘a new song’ to the Lord, it’s telling us that every generation needs to write its own music. If a time ever comes when the young generation isn’t writing praises to the Lord, Christianity is dead.”

Many times songs can be both old and new. How many versions have you heard of “Amazing Grace”? The lyrics never grow old even as the music may be changed or other verses added, as in “Amazing Grace (My Chains Are Gone).”

I want to leave you with an old hymn which is new to me. Our choir sang it a few weeks ago and before that first practice, I don’t think I’d ever heard it before though it was written in 1890 by Samuel Trevor Francis and has been published in forty-six different hymnals.

Doxology and the Power of Praise

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A few weeks ago, I was visiting a church on a Sunday evening, and we closed the service by singing the doxology. I began singing, almost without thinking, but then I wondered, “When did I learn the doxology, and how did this short song become known as ‘the doxology’?”

I mostly grew up in Baptist churches, graduated from a Methodist college, and frequently visit a nearby Reformed Presbyterian church. In all of these, I have sung the doxology, usually either to begin or end a service. I don’t remember learning it, and assume I picked it up through repetition.

So, who wrote the doxology, where did it come from, and why do so many different denominations include it as a matter of course? And what does doxology mean anyway?

The word doxology comes from the Greek word doxologia meaning a short hymn of praise to God. Different religions have their own doxology hymns, so my search will focus on the doxology I’m familiar with which was written by the Anglican priest, Thomas Ken.

Thomas Ken was ordained in 1662 after obtaining degrees from Oxford. He would eventually serve as chaplain to Princess Mary of York, then royal chaplain to King Charles II before serving James II (who would lock Ken and six other bishops in the Tower of London for refusing to publish the king’s Declaration of Indulgences). Before his royal commissions, however, he spent ten years at Winchester College.

Ken felt it was important for his students to spend time in private worship, so in 1674 he published A Manual of Prayers For the Use of the Scholars of Winchester College. This pamphlet included two long hymns: “Awake, My Soul and with the Sun” and “Glory to Thee, My God, This Night.”  Both these hymns ended with what we now sing as the doxology as their final stanza. The manual remained in private circulation as the hymns could not be sung publicly for fear of “adding to the Word.” In fact, hymns were not officially approved by the Church of England until 1820. Apparently, Ken disagreed with the thought that hymns could be dangerous as he instructed his students to “be sure to sing the Morning and Evening Hymn in your chamber devoutly.”

Skipping ahead almost two hundred years, a story from across the ocean demonstrates the power of praise through the doxology. At Libby Prison in Richmond, Virginia, (a Confederate prison during the Civil War), a group of new prisoners was marched to the door about ten o’clock one night then left outside until arrangments could be made for them. In the company, was “a young Baptist minister, whose heart almost fainted when he looked on those cold walls and thought of the suffering inside. Tired and weary, he sat down, put his face in his hands, and wept. Just then a lone voice sang out from an upper window. ‘Praise God, from whom all blessings flow’; a dozen joined in the second line, more than a score in the third line, and the words, ‘Praise Father, Son, and Holy Ghost,’ were sung by nearly all the prisoners. As the song died away on the still night, the young man arose and sang, ‘Prisons would palaces prove, If Jesus dwell with me there.'” (From One Hundred and One Hymn Stories by Carl F. Price)

That the words written by the Englishman Thomas Ken for his students in 1674 ended up on the lips of a group of Americans in the middle of a war in the nineteenth century and are now sung in countless congregations across the world amazes me. How even more remarkable is it that lines which could originally only be sung in private are now known and sung in different denominations throughout the world in public worship and praise.