Life and Light

LIFE AND LIGHT

 “With Thee is the fountain of life: in Thy light shall we see light” (Psalm 36:9)

     INTRO.:  A hymn which identifies God as the fountain of life in whom we shall see light is “Life and Light,” also known by its first line, “Thou Art, O God, The Life and Light.”  The text was written by Thomas Moore (1779–1852).  It was first published in his Sacred Songs of 1816.  Perhaps most remembered generally for his lyrics to Irish folk songs, such as “The Last Rose Of Summer” and “The Minstrel Boy,” he is likely best known among hymn lovers for “Come, Ye Disconsolate.”

     The traditional tune (Pater Omnium) for “Life and Light” was composed in 1875 by Henry J. E. Holmes (1852–1938).    Cyberhymnal gives an alternate tune (New 113^th) composed by William Hayes (1706–1777).  A new tune was composed for Moore’s poem by Thomas Benjamin Mosley (1872-1927).  It was copyrighted in 1912 by Mrs. Lavinia Wright and appeared in the 1923 Choice Gospel Hymns edited by Mosley with C. M. Pullias and S. P. Pittman for the Gospel Advocate Company of Nashville, TN.

       The song praises God for all the beauty that we find in nature.

I. Stanza 1 says that we can see God in the light of day

Thou art, O God, the life and light

Of all this wondrous world we see;

Its glow by day, its smile by night,

Are but reflections caught from Thee;

Where’er we turn, Thy glories shine,

And all things fair and bright are Thine.

 A. God, through the Word, is the source of both life and light: Jn. 1:1-5

 B. He is the one who created both the day and night in the beginning: Gen. 1:3-5

 C. Therefore, wherever we turn, we see God’s glories: 1 Chron. 29:11-14

II. Stanza 2 says that we can see God in the golden hues of sunset

When day, with farewell beam, delays

Among the opening clouds of even,

And we can almost think we gaze

Through golden vistas into Heaven,

Those hues, that mark the sun’s decline

So soft, so radiant, Lord, are Thine.

 A. We refer to the ending of the day as evening: Ps. 65:8

 B. When we gaze into the evening sky, we are reminded that above the physical heavens is the dwelling place of God: 2 Chron. 20:5-6

 C. Thus, the Lord’s name is to be praised from the rising of the sun to its decline: Ps. 113:3

III. Stanza 3 says that we can see God in the starry shadows of night

When night, with wings of starry gloom,

O’ershadows all the earth and skies,

Like some dark beauteous bird whose plume

Is sparkling with unnumbered eyes—

That sacred gloom, those fires divine,

So grand, so countless, Lord, are Thine.

 A. God made the “lesser light” (moon) to rule the night: Gen. 1:14-19

 B. He also made the stars to sparkle like unnumbered eyes: Gen. 15:5

 C. These heavenly bodies declare the glory of God: Ps. 19:1-4

IV. Stanza 4 says that we can see God in the changing of the seasons

When youthful spring around us breathes,

Thy Spirit warms her fragrant sigh,

And every flower the summer wreathes

Is born beneath Thy kindling eye—

Where’er we turn, Thy glories shine,

And all things fair and bright are Thine.

 A. The spring is seedtime: Gen. 8:22

 B. Summer brings the colorful flowers: Isa. 28:4

 C. The changing of the seasons reminds us that the earth is the Lord’s: Ps. 24:1-2

     CONCL.:  I have no idea how well-known or popular this hymn might have in times past.  A quick look through the hymnbooks in my collection found no other instance of it in any form or fashion.  However, its message is a good one to emphasize in our minds the conclusion of nature that God is the source of all “Life and Light.”

Come, Just as You Are

(Portrait of J. H. Showalter)

COME, JUST AS YOU ARE

“I am not come to call the righteous, but sinners to repentance” (Matthew 9:13)

     INTRO.:  A song which calls sinners to come in repentance is “Come, Just as You Are.”  The text was written by Elisha Albright Hoffman (1839-1929).  The tune was composed by John Henry Showalter, who was born on November 2, 1864, at Cherry Grove, then in Rockingham County, Virginia (now West Virginia), to John A Showalter (1832–1916) and Susannah Miller Showalter (1832–1906), one of seven children including brothers Anthony Johnson Showalter (1858–1924) and Jacob M. Showalter (1867–1951).  Educated in the public schools, he received his first singing lessons from his father, and his first organ lessons from his eldest brother, A. J. Showalter.  Attending sessions of the S. N.M. I. in Virginia, Tennessee, and the home of the principal at Dalton, Georgia, he received his diploma at this last-named session.  Later, he studied voice with D. A. Clippinger and Frederick W. Root in Chicago, Illinois.

      Showalter united with the German Baptist Church in early youth and in 1886 married Emma Brumbaugh (1864–1951).  He is remembered as a, teacher, composer, publisher, and singer.  Especially gifted as singer without a superior in this particular among all the normal teachers of the day, he was one of the larger stockholders in the A. J. Showalter Company.  His works include twenty books, of which  Psalms, Hymns, and Spiritual Songs with George B. Holsinger (1895), Highway to Heaven with A. J. Showalter (1899), The Song Service No.1 with Thomas Benjamin Mosley and S. J. Perry (1900), and Songs of the Blessed Hope (1927) were the most successful.

     “Come, Just as You Are” was copyrighted in 1899 by Showalter, who died on November 29, 1947, at his home in West Milton, Miami County, Ohio, and was buried in Bethel Cemetery at Phillipsburg – Clayton, Montgomery County, Ohio.  Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, “Come, Just as You Are” has not appeared in any to my knowledge.  I first became acquainted with the song when I heard it sung by the Antrim Mennonite Choir on a compact disc entitled Amazing Grace, and I first saw it in the 1902 Church and Sunday School Hymnal edited by J. D. Brunk for the Mennonite Publishing House of Scottdale, PA.

     The song would make a good song of encouragement in extending the invitation.

I. Stanza 1  asks if we should come just as we are

Shall I come just as I am,

Come with all my guilt and sin?

If I open wide my heart,

Will He enter in?

 A. Coming “just as I am” does not preclude the need for repentance: Lk. 13:3

 B. Rather, it means that we come to Jesus humbly acknowledging our guilt because we certainly have sin: Rom. 3:23

 C. Thus, we need to open wide our hearts to let Him enter in: Rev. 3:21

II.  Stanza 2 asks if we should come though vile

Shall I come vile as I am,

And bend low at Jesus’ feet?

Shall I plead His pardoning grace,

And His love entreat?

 A. As sinners, we are vile but Jesus wants us to bow low before Him in submission to His will: Phil. 2:10-11

 B. In so doing, we plead His pardoning grace: Eph. 2:8-9

 C. And we entreat His great love: Jn. 3:16

III. Stanza 3 asks if we should come with all our fears

Shall I come with all my fear,

Lest my sins have been too great?

Shall I break thro’ all my doubts,

To sweet mercy’s gate?

 A. This earthly life has a certain amount of fears, which is why Jesus said “Fear not”: Matt.  18:31

 B. These fears often lead to doubt: Matt. 14:31

 C. The solution is to bring our fears and doubts to Jesus and trust in His mercy: T it. 3:5

IV.  Stanza 4 asks if we should come though far away

Shall I come, though far away

From the loving Shepherd’s fold?

Will He bless me if I firm

To His promise hold?

 A. When in sin, we are far away from God: Eph. 2:13

 B. Where we need to be is in the Shepherd’s fold: Jn. 10:1-5

 C. He will bring us home and bless us if we hold to His precious promises: 2 Pet. 1:3-4

     CONCL.:  The  chorus answers each of the questions posed in the stanzas with a resounding YES.

As you are, just as you are

Come to Jesus, come today;

He will kindly welcome you,

Take your sins away.

If you are a lost sinner, don’t wait to do something about your sin, thinking that you somehow need to make yourself better before seeking salvation from Christ.  Jesus right now invites you to repent and “Come, Just as You Are.” 

Spread, O Spread, Thou Mighty Word

(Portrait of J. F. Bahnmaier)

SPREAD, O SPREAD, THOU MIGHTY WORD

 “…The harvest truly is great, but the laborers are few….” (Luke 10:2)

     INTRO.:  A hymn which exhorts to spread the word because the harvest is plentiful and the workers are few is “Spread, O Spread, Thou Mighty Word..“ The text was written by a German Protestant theologian and hymn writer, Jonathan (or Johann) Friedrich Bahnmaier (sometimes spelled Bahnmeier), who was born on July 12, 1774, at Oberstenfeld in Württemberg, German, the son of a minister, J. G. Bahnmaier, Town Preacher at Oberstenfeld, near Bottwar.   Bahnmeier first  attended monastery schools in Maulbronn and Denkendorf, then studied at Tübingen, and in 1798 was appointed vicar or assistant to his father.  He became Diaconus at Marbach am Neckar in 1806, and at Ludwigsburg in 1810, where he held teaching courses for teachers and for a time headed a wealthy young ladies’ school. In 1815, he was appointed Professor of Theology, Education, and Homiletics at Tübingen. His most urgent concern was to promote music education for young theologians and academic youth at the Evangelical Monastery and the university. That’s why he asked the then Minister of Education, Karl August Freiherr von Wangenheim, to set up a position as music director at the university. The first director of the newly created position was Friedrich Silcher , who worked there from 1817 to 1859. Bahnmaier was also concerned about the pietistic students who met regularly in a devotional meeting (“Pia”).  This included, among others, Ludwig Hofacker and Christian Gottlob Barth .

     However, in the troublesome times that followed the murder of the diplomat and playwright August von Kotzebue by the student Karl Ludwig Sand,, Bahnmaier had to resign his post due to his innocent close relationship to a German students’ association formed for political purposes.  In 1819, he was appointed Decan or dean and Town Preacher by King Wilhelm I at Kircheim unter Teck, where he served 21 years.  This hymn, “Spread, O Spread, Thou Mighty Word” (Walte, fürder, nah und fern), was written with seven stanzas and published privately in 1827.  The following year it appeared in Kern des Deutschen Liederschatzes.  Bahnmaier was a distinguished preacher, greatly interested in the causes of education, missions, and Bible societies. Also he was a leader on the committee which compiled the Württemberg Gesangbuch. He preached his last sermon at Kircheim on August 15, 1841. Two days later he held a visitation at Owen. While inspecting the school at the adjacent village of Brucker, he had a probable stroke, and was taken back to Owen, where he died a few days after on August 18, 1841.

     The original translation of Bahnmaier’s hymn from German to English was made by Catherine Winkworth (1827–1878).  It first appeared in her Lyra Germanica, second series, of 1858.  It was altered to its present form by Alfred W. Farlander and Winfred Douglas in 1938 for The Hymnal 1940 of the Protestant Episcopal Church.  The tune (Gott sei dank, also known as Luebeck or Berlin) is taken from the Neues geistreiches Gesangbuch edited at Halle, Germany, in 1704, by minister-musician Johann A. Freylinghausen (1670–1739).  Sometimes it has been attributed to Freylinghausen.  Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, the song has not appeared in any to my knowledge.  I first saw it in the 1964 Christian Praise published by Broadman Press of Nashville, TN. 

     It has been called one of the best and most useful of hymns for foreign missions.

I. Stanza 1 says that the Word should be spread because it is mighty

Spread, O spread, thou mighty Word,

Spread the kingdom of the Lord,

That to earth’s remotest bound

Men may heed the joyful sound.

 A. The Word of God is mighty or powerful: Heb. 4:12

 B. Spreading the Word will spread the kingdom because the seed of the kingdom is the word: Lk. 8:11

 C. It is the Lord’s desire that it be spread to earth’s remotest bound: Acts 1:8

II. Stanza 2 says that the word reveals the Father’s will

Word of how the Father’s will

Made the world, and keeps it still,

How His only Son He gave,

Man from sin and death to save.

 A. We must know the Father’s will before we can do it: Matt. 7:21

 B. The Word tells how the Father made the world: Exo. 20:11

 C. It also tells how He gave His only Son to save mankind: Jn. 3:16

III. Stanza 3 says that the Word demonstrates the Savior’s love

Word of how the Savior’s love

Earth’s sore burden doth remove;

How, forever in its need.

Through His death the world is freed.

 A. The Savior’s love led Him to die for us: 1 Jn. 3:16

 B. As a result, earth’s sore burden of sin can be removed or remitted: Heb. 10:17-18

 C.  Thus, through His death we can be free from sin: Rom. 6:17-18

IV. Stanza 4 says that the Word was given by the Spirit

Mighty word God’s Spirit gave,

Man for heavenly life to save; 

Word through whose all holy might

Man can will and do the right.

 A. The Spirit guided the apostles into all truth: Jn. 16:13

 B. One purpose was to reveal the plan of salvation: Jas. 1:21

 C. Another purpose is to show us how to live right: 2 Tim. 3:16-17

V. Stanza 5 says that the Word should b spread to all the world

Word of life, most pure and strong,

Word for which the nations long,

Spread abroad, until from night

All the world awakes to light.

 A. The Word makes known the words of life: Acts 5:20

 B. This Word should be preached to all nations: Lk. 24:46-47

 C. When this is done, all the world will turn from the darkness of night to the light: Acts 26:18

VI. Stanza 6 says that the Word needs workers

Lord of harvest, let there be

Joy and strength to work for Thee,

Till the nations, far and near,

See Thy light, and learn Thy fear.

 A. The harvest is truly plenteous: Jn. 4:25

 B. However, those who have the joy and strength to be workers are few: Matt. 9:37-38

 C. Hence, to enable the nations far and near to learn God’s word we must work: 1 Cor. 15:58

     CONCL.:  The omitted stanza (No. 6) is as follows:

Up! the ripening fields ye see,

Mighty shall the harvest be;

But the reapers still are few,

Great the work they have to do.

We live in a world that is filled with lost sinners doomed to eternal torment in hell.  However, God is not willing that any should perish, so He sent Christ to die for the sins of mankind and then sent the Spirit to reveal His plan of salvation.  Now it is our turn to say, “Spread, O Spread, Thou Mighty Word. “

Only a Step to Jesus

ONLY A STEP TO JESUS

“Behold, I stand at the door, and knock…” (Revelation 3:20)

     INTRO.:  A song which reminds us that Jesus is standing at the door of our heart and waiting for us to invite Him in is “Only a Step to Jesus.”  The text was written by Mrs. Frances Crosby VanAlstyne, better known as Fanny J. Crosby (1820–1915).  The tune was composed by William Howard Doane (1832–1915).  The song first appeared in the 1873 Royal Diadem, edited by Doane and Robert Lowry for Biglow and Main of New York City, NY. Concerning this hymn, Ira David Sankey, in My Life and the Story of the Gospel Hymns (New York: Harper and Brothers, 1906; p. 212), wrote the following: 

     “The editor of a religious periodical in the South sends me the following incident, which occurred while he was holding meetings in a small town:  One night a prominent man of the country, not a Christian, was in town. Having heard of the fine singing, he went to the meeting for a few minutes to listen to a song or two. He heard only one song and then went away; but that song went with him. It was ‘Only a step to Jesus! Then why not take it now?’  The words stayed with him, and were repeated over and over. They came back to him the next day, and awakened inquiry regarding himself which at last led him into repentance and a happy conversion. Many people wept as he related his experience before the church.”

      Among hymnbooks published by members of the Lord’s church for use in Churches of Christ, the song appeared in the 1940 Praise and Revival Songs and the 1952 Hymns of Praise and Devotion both edited by Will W. Slater, and the 1940 Complete Christian Hymnal edited by Marion Davis.

     It was apparently written as an invitation song to encourage people to come to Jesus for salvation.

I. Stanza 1 indicates that one should take the step to Jesus now

Only a step to Jesus!

Then why not take it now?

Come, and thy sin confessing,

To Him, thy Savior, bow.

 A. Now is the accepted time for salvation: 2 Cor. 6:2

 B. Nowhere does the Scripture make confessing sin a requisite for the lost sinner to be saved, but certainly one must acknowledge sin in his life before seeing the need to be saved: Rom. 3:23

 C. Bowing to the Savior indicates submission in obedience to His will: Heb. 5:8-9

II. Stanza 2 indicates that one must believe in Jesus to be saved

Only a step to Jesus!

Believe, and thou shalt live;

Lovingly now He’s waiting,

And ready to forgive.

 A. Jesus said that we must believe that “I am He”: Jn. 8:24

 B. Lovingly now He is waiting for all who labor and are heavy laden to come to Him: Matt. 11:28-30

 C. Because of the redemption through His blood, He is ready to forgive our sins: Eph. 1:7

III. Stanza 3 indicates that we need God’s grace to be saved

Only a step to Jesus!

A step from sin to grace;

What has thy heart decided?

The moments fly apace.

 A. It is by God’s grace that we are saved: Eph. 2:8-9

 B. But it is a decision or choice that each of us must make in our own hearts: Josh. 24:15

 C. The moments fly apace, and we know not what shall be tomorrow: Jas. 4:13-14

IV. Stanza 4 indicates that we must give ourselves to Him

Only a step to Jesus!

O why not come and say,

“Gladly to Thee my Savior,

I give myself away.”

 A. In coming to Jesus there is something that we need to say in confessing Him as Lord: Rom. 10:9-10

 B. We need to say this to Him because He is the Savior: 1 Jn. 4:14

 C. But it is not enough just to say something—we must show that we accept Him as Lord by denying self, taking up the cross, and following Him: Matt. 16:24

     CONCL.:  The chorus continues to remind us that we must take the step to receive His mercy.

Only a step, only a step,

Come, He waits for thee;

Come, and thy sin confessing,

Thou shalt receive a blessing;

Do not reject the mercy

He freely offers thee.

Just as all of us who are Christians had to have someone to take an interest in us, teach us the gospel, and help lead us to Christ, so we need to point out to others that it is “Only a Step to Jesus.” 

O Save Me at the Cross

O SAVE ME AT THE CROSS

“…Justified by His blood, we shall be saved from wrath through Him” (Romans 5:9)

     INTRO.:  A song which asks Jesus to save us from wrath by the blood which He shed on the cross is “O Save Me at the Cross” (sometimes without the “O”).  The text was written by Mrs. Francis Jane VanAlstyne, better known as Fanny J. Crosby (1820–1915).  It first appeared in the 1873 Winnowed Hymns, edited by Charles C. McCabe and Daniel T. Macfarlan and published by Biglow and Main of New York City, NY.

    The tune (Jenin) has been variously attributed.  One book identifies it as “Traditional.”  Another book marks it “Arr.” for arranged.  Still another book lists the composer as Hubert Platt Main (1839–1925).  It is possible that Main took a traditional melody and arranged it for Miss Crosby’s words.  Or he may have simply composed it.  Among hymnbooks published by members of the Lord’s church for use in Churches of Christ, the song appeared in the 1940 Praise and Revival Songs edited by Will W. Slater.

     By expressing the desire to be saved at the cross, it would make a good invitation song.

I. Stanza 1 addresses the Savior

Loving Savior, hear my cry,

Hear my cry, hear my cry;

Trembling to Thy arms I fly,

Oh, save me at the cross.

 A. Jesus Christ the Son is the loving Savior: 1 Jn. 4:14

 B. The cry here is calling on the name of the Lord for salvation: Rom. 10:13

 C. The means by which we fly to His arms is by obeying Him: Heb. 5:8-9

II. Stanza 2 acknowledges sin

I have sinned, but Thou hast died,

Thou hast died, Thou hast died;

In Thy mercy let me hide,

Oh, save me at the cross.

 A. All have sinned: Rom. 3:23

 B. But Jesus died for our sins: 1 Cor. 14:1-3

 C. Therefore, we can be saved by His mercy: Tit. 3:3-5

III. Stanza 3 identifies Christ as the Living Way

Though I perish I will pray,

I will pray, I will pray;

Thou of life the Living Way,

Oh, save me at the cross.

 A. It is unclear to me whether the perishing here is physical or spiritual, but since it is used in a context of asking for salvation at the cross, I shall assume for the purpose of this hymn study that it means the kind of perishing that will occur unless we repent: Lk. 13:3-5

 B. While prayer is not a condition of salvation but a privilege of those who have been saved and become children of God, if a lost person has a good and honest heart, his prayers come up before God as a memorial: Acts 10:1-4

 C. Such a one must come for salvation to the Father through Christ because He is the Living Way: Jn. 14:6

IV. Stanza 4 expresses trust in God’s grace

Thou hast said Thy grace is free,

Grace is free, grace is free;

Have compassion, Lord, on me,

Oh, save me at the cross.

 A. The Bible teaches that we are justified by God’s grace: Rom. 3:24

 B. This grace is free in that we do not have to work in order to earn it: Eph. 2:8-9

 C. The Lord extends us His grace because of His compassion: Matt. 9:36

V.  Stanza 5 mentions the cleansing blood

Wash me in Thy cleansing blood,

Cleansing blood, cleansing blood;

Plunge me now beneath the flood,

Oh, save me at the cross.

 A. It is possible to have our sins washed away: Acts 22:16

 B. The agent which cleanses us from sin is the blood of Christ: 1 Jn. 1:7

 C. Being plunged beneath the flood signifies the action of baptism: Rom. 6:3-4

VI. Stanza 6 indicates the importance of faith

Only faith will pardon bring,

Pardon bring, pardon bring,

In that faith to Thee I cling,

Oh, save me at the cross.

 A. We must have faith to come to God for salvation: Heb. 11:6

 B. If our faith leads us to forsake our wicked ways and unrighteous thoughts and return the Lord, God will pardon: Isa. 55:7

 C. Then that faith must cling to or continue with the Lord: Acts 11:23

     CONCL.:  The chorus continues to seek salvation from the Lord Jesus, our blessed Redeemer:

Lord Jesus, receive me,

No more would I grieve Thee;

Now, blessèd Redeemer,

Oh, save me at the cross.

I once was a lost sinner.  In order to have redemption through the blood Christ, I had to come to Him in obedience to His will and make my request saying, “O Save Me at the Cross.”

O Jesus, Thou Art Standing

(Portrait of J. H. Necht)

O JESUS, THOU ART STANDING

“Behold, I stand at the door and knock…” (Revelation 3:20)

     INTRO.:  A hymn which pictures Jesus standing and knocking at the doors of our hearts is “O Jesus, Thou Art Standing.”  The text was written in 1867 by William Walsham How (1823–1897).   How has given the following information about the writing of this hymn.  “I composed the hymn early in 1867, after I had been reading a very beautiful poem, entitled, ‘Brothers, and a Sermon” [by Jean Inglow]. The pathos of the verses impressed me very forcibly at the time. I read them over and over again, and finally, closing the book, I scribbled on an old scrap of paper my first idea of the verses, beginning, ‘O Jesus, Thou art standing.’ I altered them a good deal subsequently, but I am fortunate in being able to say that after the hymn left my hands it was never revised or altered in any way.”  It was first published in the 1867 Supplement to Psalms and Hymns originally compiled and edited in 1854 by How and Thomas B. Morrell.

     The tune (St. Hilda, sometimes mistakenly referred to as St. Edith) is the work of two men.  The first two phrases were composed by Justin (or Justinus) Heinrich Knecht, a German composer, organist, and music theorist who was born on September 30, 1752, at Biberach an der Riss, in Baden-Württemberg, Germany, where he learned organ, keyboard, violin, and singing. He attended a Lutheran collegiate institution in Esslingen am Neckar, where he received a good education, both musical and general (Boeckh was one of his masters), from 1768 to 1771, when he became Lutheran preceptor (professor of literature) and music director in Biberach, which was a free imperial city until 1803, and had a rich cultural life. He became organist of St Martin’s church, which was used simultaneously by Lutherans and Catholics for many years, beginning in 1792.   His works include Erklärung einiger (1785) and Gemeinnütziges (1792).This tune (Knecht), dated 1793, first appeared in the 1799 Vollstandige Sammlung edited by Knecht and Johann Friedrich Christmann, to which Knecht contributed 98 tunes.

     Knecht led an energetic, busy musical life; he composed for the theatre and church, organised subscription concerts, and taught music theory, acoustics, aesthetics, composition, and instruments at the Gymnasium, which was affiliated to the Musikschule in 1806. He went to Stuttgart in December 1806 in the hopes of a post there as Kapellmeister or similar, but after being appointed Direktor beim Orchester by the King of Württemberg in April, 1807, he served for two years and then returned in 1808 to his former work at Biberach where he remained for the rest of his life and died on December 1, 1817.  The final two phrases were added in 1871 to extend the melody by a Church of England minister and church musician,  Edward Husband (1843-1908).  Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, “O Jesus, Thou Art Standing” has not appeared in any to my knowledge.  I first saw it in the 1948 Church Service Hymnal compiled by Homer Rodeheaver and published by the Rodeheaver Company of Winona Lake, IN.

      The hymn could be used for an invitation song.

I. Stanza 1 pictures Jesus as standing

O Jesus, Thou art standing,

Outside the fast closed door,

In lowly patience waiting

To pass the threshold o’er:

Shame on us, Christian brothers,

His name and sign who bear,

O shame, thrice shame upon us,

To keep Him standing there!

 A. The fast closed door represents the heart that Jesus wants us to give Him: Prov. 23:36

 B. He waits in lowly patience for us to come to Him: Matt. 11:28-30

 C. It may seem odd to address a hymn about Jesus standing at the door of the heart to “Christian brothers” until we realize that the passage of Scripture that pictures Him at the door was addressed to the church at Laodicea: Rev. 3:14-19

II. Stanza 2 pictures Jesus as knocking

O Jesus, Thou art knocking;

And lo, that hand is scarred,

And thorns Thy brow encircle,

And tears Thy face have marred:

O love that passeth knowledge,

So patiently to wait!

O sin that hath no equal,

So fast to bar the gate!

 A. To knock is to request admittance: Acts 12:12-16

 B. He knocks with a nail scarred hand: Jn. 20:24-27

 C. And He knocks with a love that passes knowledge: Eph. 3:18-19

III. Stanza 3 pictures Jesus as pleading

O Jesus, Thou art pleading

In accents meek and low,

I died for you, My children,

And will you treat Me so?

O Lord, with shame and sorrow

We open now the door;

Dear Savior, enter, enter,

And leave us nevermore.

 A. Jesus died for us: Rom. 5:6-8

 B. On this basis, He pleads with us to open our hearts as Lydia did: Acts 16:14

 C. When we do this by obeying Him, He becomes the author of eternal salvation to us: Heb. 5:8-9

     CONCL.:  Many songs have been written drawing from the picture of Jesus standing, knocking, and pleading at the door of our hearts which make good invitation hymns—“Who at My Door Is Standing,” “There’s a Stranger at the Door,” and “Why Keep Jesus Waiting?”, to name a few.  However, this one is somewhat unique in that it is specifically addressed to “Christian brothers.”  Even though I may already be a Christian, I need to make sure that my heart is always open to Christ as I acknowledge to the Savior, “O Jesus, Thou Art Standing.”

I Was a Wandering Sheep

I WAS A WANDERING SHEEP

 “All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all” (Isaiah 53:6)

     INTRO.:  A hymn which points out that all we like sheep have gone astray is “I Was a Wandering Sheep.”  The text was written by Scottish preacher Horatius Bonar (1808–1889).  It was first published in 1843.  Bonar wrote many other hymns, such as “Yes, for Me, for Me He Careth”; “Go, Labor On”; “Here, O My Lord, I See Thee Face to Face”; “I Heard the Voice of Jesus Say”; and “No Shadows Yonder.”  The tune (Lebanon Zundel) was composed by German-American musician John Zundel (1815–1882).  It was first published in 1855.  Zundel is best known for the music commonly used with Charles Wesley’s hymn “Love Divine.”  Charles S. Nutter and Wilbur F. Tillett in The Hymns and Hymn Writers of the Church (1911; p. 161) tell the following story.

     During a revival in a female seminary in Massachusetts, many of the pupils had shown the natural enmity of the carnal mind to spiritual things.  Helen B. was among those who noticed the Spirit’s work only by a curling lip and scornful laugh. It seemed in vain to talk with her or seek to induce her to attend a prayer meeting. Christians could do nothing more than to pray for her.  One evening, however, as a praying band had gathered, the door opened, and Helen B. entered. Her eyes were downcast, and her face was calm and very pale. There was something in her look which told of an inward struggle.  She took her seat silently, and the exercises of the meeting proceeded. A few lines were sung, two or three prayers offered, and then, as was their custom, each repeated a few verses of their favorite hymn.  One followed another in succession until it came to the turn of the newcomer. There was a pause and a perfect silence, and then, without lifting her eyes from the floor, she commenced: “I was a wandering sheep, I did not love the fold.”  Her voice was low, but distinct; and every word, as she uttered it, thrilled the hearts of the listeners. She repeated one stanza after another of that beautiful hymn of Bonar, and not an eye save her own was dry.

     Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, “I Was a Wandering Sheep” has not appeared in any to my knowledge.  I first saw it in the 1972 Living Hymns edited by Alfred B. Smith and published by Encore Publications Inc. of Montrose, PA.

     The song pictures the sinner as a wandering sheep.

I.  In stanza 1, the sheep wanders away

I was a wandering sheep,

I did not love the fold;

I did not love my Shepherd’s voice,

I would not be controlled.

I was a wayward child,

I did not love my home;

I did not love my Father’s voice,

I loved afar to roam.

 A. Peter refers to Isaiah’s statement that we were like sheep going astray: 1 Pet. 2:25

 B. As such, we were wayward, prodigal children: Lk. 15:11-13

 C. We obviously did not love our Father’s voice enough to keep His commandments: 1 Jn. 5:3

II. In stanza 2, the Shepherd seeks for the sheep

The Shepherd sought His sheep,

The Father sought His child;

They followed me o’er vale and hill,

O’er deserts waste and wild;

They found me nigh to death,

Famished and faint and lone;

They bound me with the bands of love,

They saved the wandering one.

 A. The Shepherd goes out to find the lost sheep: Lk. 15:1-7

 B. He did this because of His great love: Eph. 5:2

 C. Thus, He saved the wandering one: Matt. 1:21

III. In stanza 3, both Shepherd and Father participate in the rescue

They spoke in tender love,

They raised my drooping head,

They gently closed my bleeding wounds,

My fainting soul they fed;

They washed my filth away,

They made me clean and fair;

They brought me to my home in peace,

The long sought wanderer.

 A. They heal the bleeding wounds: Matt. 13:15

 B. They wash the filth of our sins away: Acts 22:16

 C. They bring the wander to a home of peace: Rom. 5:1-2

IV. In stanza 4, the Shepherd is identified

Jesus my Shepherd is:

’Twas He that loved my soul;

’Twas He that washed me in His blood,

’Twas He that made me whole.

’Twas He that sought the lost,

That found the wandering sheep,

’Twas He that brought me to the fold,

’Tis He that still doth keep.

 A. Jesus is the good Shepherd who goes out to find the lost sheep: Jn. 10:11-14

 B. We have redemption by His blood: Eph. 1:7

 C. In this way God makes us whole and keeps us from falling: Jude vs. 24-25

V. In stanza 5, the sheep is now at home

No more a wandering sheep,

I love to be controlled;

I love my tender Shepherd’s voice,

I love the peaceful fold.

No more a wayward child,

I seek no more to roam;

I love my heavenly Father’s voice,

I love, I love His home!

 A. The sheep is now no more a wandering sheep because the Shepherd has found Him: Matt. 18:12-14

 B. The sheep now loves to hear the voice of the Shepherd: Jn. 10:27

 C. And the sheep is safe in the fold: Jn. 10:16

     CONCL.:  Isaiah said that  all we like sheep have gone astray.  But Jesus is the good Shepherd who went out to seek and find the lost lamb, and even gave His life for the sheep.  If we are willing, He will bring us safely to the fold.  However, I must be willing to accept and acknowledge that “I Was a Wandering Sheep.” 

Follow, I Will Follow Thee

FOLLOW, I WILL FOLLOW THEE

“…Lord, I will follow Thee…” (Luke 9:61)

     INTRO.:  A song which expresses the desire to follow the Lord is “Follow, I Will Follow Thee.”  The text was written and the tune was composed both by Howard Longsdon Brown and his wife Pearl Margaret Winter Brown.  Some books list Margaret as the author and Howard as the composer.  Howard Longsdon (sometimes misspelled Longston) Brown was born on December 8, 1886 (some sources say 1889), at Los Angeles, California, to John Barnard Brown (1841–1909) and Fannie Longsdon Brown (1854–1942).  His wife was Pearl Margaret Winter Brown who was born on January 28, 1892, at Ashland, Jackson County, Oregon. Howard was director of California Christian Endeavor, an international church youth organization between 1930 and 1940.  In those years this was a large organization, especially in the Los Angeles-Orange County area. He wrote many spiritual songs along with his wife Margaret. 

     “Follow, I Will Follow Thee” was copyrighted in 1935 by Howard in Songs of Cheer.  It was arranged in 1937 by Herbert G. Tovey (1888-1972).  After its renewal in 1963 by Brown, the song was assigned to Ross Jungnickel and then to Singspiration Inc. Harold died on October 9, 1965, at Los Angeles, California.  After living in Redondo Beach, California for the last years of her life, Margaret died on October 26, 1985, aged 93, at Los Angeles, California.  They were buried at Forest Lawn Memorial Park, Glendale, Los Angeles County, California.  Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, “Follow, I Will Follow Thee” has not appeared in any to my knowledge.  I first saw it in the 1968 Great Hymns of the Faith edited by John W.  Peterson and published by Singspiration Inc . in a new arrangement by Ross Jungnickel.

     The song discusses several aspects related to following Jesus.

I. Stanza 1 tells us to follow Him today

Jesus calls me; I must follow,

Follow Him today.

When His tender voice is pleading,

How can I delay?

 A. We need to follow Him today while we have the opportunity: Heb. 3:15

 B. His tender voice is pleading for us to come to Him: Matt. 11:28-30

 C. Therefore, we should not delay because now is the accepted time: 2 Cor. 6:2

II. Stanza 2 tells us to follow Him every hour

Jesus calls me; I must follow,

Follow every hour

Know the blessing of His presence,

Fullness of His power.

 A. To follow every hour means to take up the cross daily: Lk. 9:23

 B. As we do this, we shall know the blessing of His presence because He will dwell in our hearts by faith: Eph. 3:17

 C. And we shall also know the fullness of His power: 2 Cor. 13:4

III. Stanza 3 tells us to follow Him always

Jesus calls me; I must follow,

Follow Him alway.

When my Savior goes before me,

I can never stray.

 A. To follow Jesus always means to be faithful till death: Rev. 2:10

 B.  We can make sure that the Savior is going before us by following in His steps: 1 Pet. 2:21

 C. In this way, we can never stray: Jn. 10:27-29 (Some might object to the statement “I can never stray,” thinking that it is teaching that a child of God cannot sin so as to be lost.  But it must be understood in context to be saying that as long as the Savior goes before us and we follow Him we cannot go astray.)

     CONCL.: The chorus continues to encourage us to follow our Lord:

Follow, I will follow Thee, my Lord,

Follow every passing day.

My tomorrows are all known to Thee;

Thou wilt lead me all the way.

Jesus calls all mankind to come to Him for salvation and to walk in His way to receive eternal life.  Therefore, if I want His guidance and blessing, I must have a submissive attitude and say to Him, “Follow, I Will Follow Thee.” 

Fill Me Now

(Portrait of E. H. Stokes)

FILL ME NOW

“…Be filled with the Spirit” (Ephesians 5:18)

     INTRO.:  A song which encourages us to be filled with the Spirit is “.”  The text was written by Elwood Haines Stokes, who was born on October 10, 1815, at Medford, Burlington County, New Jersey, the youngest son of Quaker parents, Caleb and Ruth Stokes.  In 1826, the family moved to Philadelphia, PA. The Stokes were very poor, and when Elwood was just thirteen his parents indentured him as an apprentice to James Crissey, a local bookbinder. This move provided their son an income, offered him training in a skilled trade, and engendered in him a love of reading and books that lasted a lifetime. He worked as a bookbinder for the next fifteen years, and became foreman of the establishment.  In February 1834, under the ministry of Charles Pitman, Elwood became a Christian, and in April of that year Pitman received him as a member of Union Methodist Episcopal Church. Four years later, on July 31, 1838, Pitman married Elwood Stokes and Hannah H. Neff, and to their home came one child, Mary.

     Three years later, on October 8, 1841, Hannah Stokes died. A cloud of gloom descended on Elwood, and lasted until the next summer, when at a local camp meeting, he saw a spiritual vision of his deceased wife and his depression began to lift. In 1843 Stokes received a local license to preach, and in May of that same year started career on the Salem Circuit in the Camden (New Jersey) District. On January 6, 1847, he married Sarah Ann Stout.  Stokes served several parishes in rapid succession, including the Pitman Methodist Episcopal Church in New Brunswick, New Jersey, and the Third Street Methodist Episcopal Church in Camden, New Jersey, almost always conducting an annual revival. Some of these produced services of tremendous spiritual power.  Shortly after the Civil War, Stokes served in Trenton, New Jersey, where he helped lead the congregation in building a new sanctuary. From 1867 to 1875 he served two four-year terms as Presiding Elder (District Superintendent), and in 1869 he became one of the founding fathers of the Ocean Grove camp meeting. He served as the first president of the Ocean Grove Campmeeting Association and held that position from 1869 until his death in 1897. Stokes was a gifted preacher and writer, and published several volumes of poetry, but his genius began to show forth at Ocean Grove.

     When Adam Wallace founded the Ocean Grove Record in 1875, Stokes served as the first editor. Known as “The Father of Ocean Grove,” Stokes led many projects which contributed to the success of the town. These included drilling fresh water wells, constructing a sewage system, planning the town’s layout, ensuring that roads and railroads were in place to transport people, and installing electric lights. His most significant accomplishment was overseeing the construction of the Grand Auditorium.  Elwood, who for most of his life was known by his initials E.H., wrote “Fill Me Now” in 1879.  The tune (Palm Springs) was composed by John Robson Sweney ( 1837–1899).  The song appeared in The Quiver of Sacred Song edited by Sweney and William J. Kirkpatrick in 1880).  Stokes, whose works include What I Saw In Europe (1884), Blossoms (1885), and Footprints in My Life (1898), died aged 81 on July 16, 1897, at Ocean Grove, Monmouth County, New Jersey, and was buried at the Haddonfield Methodist Cemetery on the Kings Highway, Haddonfield, Camden County, New Jersey. Among major hymnbooks published by members of the Lord’s church for use in Churches of Christ, “Fill Me Now” has not appeared in any to my knowledge.  I first saw it in the 1948 Christian Service Hymns compiled and published by Homer A. Rodeheaver.

     The song concerns several concepts related to the work of the Holy Spirit.

I. Stanza 1 asks the Spirit to bathe us

Hover o’er me, Holy Spirit,

Bathe my trembling heart and brow;

Fill me with Thy hallowed presence,

Come, O come and fill me now.

 A. The Holy Spirit is one of the divine persons of the Godhead: Matt. 28:19

 B. His bathing the trembling heart and brow might symbolize the comfort that He gives through the truth which He revealed through the apostles: Jn. 14:16-17

 C. As we have this truth in our hearts, the influence of the Spirit dwells in us: Rom. 8:9-11

II. Stanza 2 asks the Spirit to fill us

Thou canst fill me, gracious Spirit,

Though I cannot tell Thee how;

But I need Thee, greatly need Thee,

Come, O come and fill me now.

 A. The Spirit is gracious because He revealed God’s grace to us: Heb. 10:29

 B. Though we cannot tell all the details of how He works, we know that it is through His sword, the word of God: Eph. 6:17

 C. Something else that we know is that we need Him to help us bear His fruit: Gal. 5:22-23

III. Stanza 3 asks the Spirit to strengthen us

I am weakness, full of weakness,

At Thy sacred feet I bow;

Blest, divine, eternal Spirit,

Fill with power and fill me now.

 A. There are times when all of us are weak in some way or another: 2 Cor. 12:9-10

 B. Bowing is symbolic of complete submission: Phil. 2:9-10

 C. As we bow ourselves to the word given by the Spirit, we receive power: Rom. 15:13

IV. Stanza 4 asks the Spirit to save us

Cleanse and comfort, bless and save me,

Bathe, O bathe my heart and brow;

Thou art comforting and saving,

Thou art sweetly filling now.

 A. All of us have sinned and need cleansing of Christ’s blood: 1 Jn. 1:7

 B. The Holy Spirit was sent to bring comfort to sinful mankind through the witness that He gave through the apostles: Jn. 15:26-27

 C. Thus, the truth that He revealed in the word plays an important role in our salvation: Jn. 16:7-13

     CONCL.:  The chorus changes focus and asks Jesus to come and fill us with His presence.

Fill me now, fill me now,

Jesus, come and fill me now;

Fill me with Thy hallowed presence,

Come, O come, and fill me now.

There have been those associated with Churches of Christ who believe that it is not scriptural to sing songs addressed to the Holy Spirit.  They could change the wording to read “Holy Jesus” in stanza 1, “gracious Shepherd” in stanza 2, and “eternal Savior” in stanza 3.   I don’t know what those who feel that it’s wrong to sing songs addressed to Jesus could do—substitute the word “Father” in all three cases?  Being filled with the Spirit is a scriptural concept and doesn’t necessarily involve anything miraculous or some direct personal indwelling of the Spirit.  With this understanding, I conclude that I can sing songs which ask the Spirit to “Fill Me Now.”

Hope in the Rock of Ages

HOPE IN THE ROCK OF AGES

“…Or who is a rock save our God?” (Psalm 18:31)

     INTRO.:  A song which identifies God as a rock in whom we can hide is “Hope in the Rock of Ages.”  The text and the tune are both anonymous.  The song appeared in The Cross and Resurrection in Song published in 1927 by F. L. Rowe Publisher of Cincinnati, OH, and was marked “Arranged by F. H.”  The two editors of the book were Samuel H. Hall and Flavil Joseph Hall (1876-1952).  Hence, one would likely conclude that the initials “F. H.” stand for Flavil Hall.  I was able to find no further information about the song.

    It refers to several blessings that hiding in God as our rock provides.

I. Stanza 1 mentions hope

I have hope in that Rock cleft for me;

I have hope in that Rock cleft for me.

I have hope in that Rock, and I fear no tempest shock—

Rock of ages, let me hide myself in Thee.

 A. Jesus Christ is our hope: Col. 1:27

 B. This is because He is the Rock to which we can go and cling: 1 Cor. 10:4

 C. Therefore, we need not fear anything: Heb. 13:5-6

II. Stanza 2 mentions a home

There’s a home in that Rock cleft for me;

There’s a home in that Rock cleft for me.

There’s a home in that Rock for the Shepherd’s ransomed flock—

Rock of ages, let me hide myself in Thee.

 A. We can have a home in that Rock because it was cleft for us: Exo. 33:18-22

 B. The Lord is the Shepherd: Ps. 23:1-6

 C. He has prepared a home for His redeemed flock: Jn. 10:11-16

III. Stanza 3 mentions comfort in death

When my eyes close in death, hide Thou me;

When my eyes close in death, hide Thou me.

When my eyes close in death, and I draw my latest breath,

Pillowed on the Rock of ages I shall be.

 A. Someday our eyes will close in death: Heb. 9:27

 B. Then we shall draw our last breath as the spirit departs from the body: Jas. 2:26

 C. However, pillowed on the Rock of ages, we shall rest from our labors: Rev. 14:13

     CONCL.:  Flavil Hall was a gospel preacher who was the father of gospel preacher Gardner Hall, who in turn was the father of gospel preachers Sewell and Bill Hall, whose sons also became gospel preachers.  It appears that at one time hymnbooks edited by Flavil were quite popular among many brethren.  It is a natural course that a lot of hymns that were well known and much used in previous generations are replaced by newer songs and eventually forgotten by later generations.  However, we need to be reminded that whatever generation we’re in, we can find “Hope in the Rock of Ages.”