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Hymn 105
Author: Isaac Watts Meter: 8.6.8.6 Appears in 177 hymnals Scripture: 1 Corinthians 2:9-10 First Line: Nor eye hath seen, nor ear hath heard Lyrics:
Nor eye hath seen, nor ear hath heard,
Nor sense nor reason known,
What joys the Father hath prepared
For those that love the Son.
But the good Spirit of the Lord
Reveals a heav'n to come;
The beams of glory in his word
Allure and guide us home.
Pure are the joys above the sky,
And all the region peace;
No wanton lips nor envious eye
Can see or taste the bliss.
Those holy gates for ever bar
Po lution, sin, and shame
None shall obtain admittance there
But followers of the Lamb.
He keeps the Father's book of life,
There all their names are found;
The hypocrite in vain shall strive
To tread the heav'nly ground
Hymn 105
Eye Has Not Seen
Author: Marty Haugen, b. 1950 Appears in 12 hymnals Scripture: 1 Corinthians 2:9-10 First Line: When pain and sorrow weigh us down Refrain First Line: Eye has not seen, ear has not heard Used With Tune: [When pain and sorrow weigh us down]
Eye Has Not Seen
Ask Ye What Great Thing I Know
Author: Johann C. Schwedler; Benjamin H. Kennedy Meter: 7.7.7.7.7 D Appears in 162 hymnals Scripture: 1 Corinthians 2:2 Lyrics: 1. Ask ye what great thing I know,
that delights and stirs me so?
What the high reward I win?
Whose the name I glory in?
Jesus Christ, the crucified.
2. Who defeats my fiercest foes?
Who consoles my saddest woes?
Who revives my fainting heart,
healing all its hidden smart?
Jesus Christ, the crucified.
3. Who is life in life to me?
Who the death of death will be?
Who will place me on his right,
with the countless hosts of light?
Jesus Christ, the crucified.
4. This is that great thing I know;
this delights and stirs me so:
faith in him who died to save,
him who triumphed o'er the grave:
Jesus Christ, the crucified. Topics: The Grace of Jesus Christ In Praise of Christ; Assurance; Christian Year Easter; Christian Year Ascension; Faith; Jesus Christ; Salvation; Testimony and Witness Used With Tune: HENDON
Ask Ye What Great Thing I Know
WACHET AUF
Meter: Irregular Appears in 322 hymnals Composer and/or Arranger: Philipp Nicolai; J. S. Bach Scripture: 1 Corinthians 2:9 Tune Key: C Major Incipit: 13555 56551 51232 Used With Text: "Sleepers, Wake!" A Voice Astounds Us
WACHET AUF
[When pain and sorrow weigh us down]
Appears in 12 hymnals Composer and/or Arranger: Marty Haugen, b. 1950 Scripture: 1 Corinthians 2:9-10 Tune Key: D Major Incipit: 23434 56551 17534 Used With Text: Eye Has Not Seen
[When pain and sorrow weigh us down]
There is a fountain filled with blood
Author: Cowper Hymnal: The Voice of Praise #380 (1873) Meter: 8.6.8.6 Scripture: 1 Corinthians 2:2 Lyrics: 1 There is a fountain filled with blood,
Drawn from Immanuel's veins;
And sinners, plunged beneath that flood,
Lose all their guilty stains.
2 The dying thief rejoiced to see
That fountain in his day;
And there have I, as vile as he,
Washed all my sins away.
3 Dear, dying Lamb! thy precious blood
Shall never lose its power,
Till all the ransomed church of God
Be saved, to sin no more.
4 E'er since, by faith, I saw the stream
Thy flowing wounds supply,
Redeeming love has been my theme,
And shall be till I die.
5 Then, in a nobler, sweeter song,
I'll sing thy power to save,
When this poor, lisping, stammering tongue
Lies silent in the grave. Topics: The Christian System Atonement; The Cleansing Fountain
There is a fountain filled with blood
When I Survey the Wondrous Cross
Author: Isaac Watts Hymnal: The Presbyterian Hymnal #100 (1990) Meter: 8.8.8.8 Scripture: 1 Corinthians 2:2 Lyrics: 1 When I survey the wondrous cross
On which the Prince of glory died,
My richest gain I count but loss,
And pour contempt on all my pride.
2 Forbid it, Lord, that I should boast,
Save in the death of Christ my God;
All the vain things that charm me most,
I sacrifice them to His blood.
3 See, from His head, His hands, His feet,
Sorrow and love flow mingled down;
Did e’er such love and sorrow meet,
Or thorns compose so rich a crown?
4 Were the whole realm of nature mine,
That were a present far too small;
Love so amazing, so divine,
Demands my soul, my life, my all.
Languages: English Tune Title: ROCKINGHAM
When I Survey the Wondrous Cross
When I Survey the Wondrous Cross
Author: Isaac Watts Hymnal: The Presbyterian Hymnal #101 (1990) Meter: 8.8.8.8 Scripture: 1 Corinthians 2:2 Lyrics: 1 When I survey the wondrous cross
On which the Prince of glory died,
My richest gain I count but loss,
And pour contempt on all my pride.
2 Forbid it, Lord, that I should boast,
Save in the death of Christ my God;
All the vain things that charm me most,
I sacrifice them to His blood.
3 See, from His head, His hands, His feet,
Sorrow and love flow mingled down;
Did e’er such love and sorrow meet,
Or thorns compose so rich a crown?
4 Were the whole realm of nature mine,
That were a present far too small;
Love so amazing, so divine,
Demands my soul, my life, my all.
Languages: English Tune Title: HAMBURG
When I Survey the Wondrous Cross
Charles Wesley
1707 - 1788 Scripture: 1 Corinthians 2:2 Author of "Blest Be the Dear Uniting Love" in The United Methodist Hymnal Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists."
In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley.
As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.
It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works.
The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
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Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
Charles Wesley
Catherine Winkworth
1827 - 1878 Scripture: 1 Corinthians 2:12 Translator of "Blessed Jesus, at Your Word" in Psalter Hymnal (Gray) Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869).
Bert Polman
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Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:—
Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863.
Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:—
(1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869.
In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:—
"The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'"
Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:—
"She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character."
Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love."
Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer.
-- John Julian, Dictionary of Hymnology (1907)
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See also in:
Hymn Writers of the Church
Catherine Winkworth
Johann Sebastian Bach
1685 - 1750 Person Name: J. S. Bach Scripture: 1 Corinthians 2:9 Harmonizer of "WACHET AUF" in The Presbyterian Hymnal Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
