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Guide Me, O Thou Great Jehovah
Author: Peter Williams, 1722-1796; William Williams, 1717-1791 Meter: 8.7.8.7.8.7.7 Appears in 1,835 hymnals Scripture: Psalm 18:2 Lyrics: 1 Guide me, O thou great Jehovah,
pilgrim through this barren land;
I am weak, but thou art mighty--
hold me with thy powerful hand:
Bread of heaven, Bread of heaven,
feed me till I want no more,
feed me till I want no more.
2 Open now the crystal fountain,
whence the healing stream doth flow;
let the fire and cloudy pillar
lead me all my journey through:
Strong Deliverer, strong Deliverer,
be thou still my strength and shield,
be thou still my strength and shield.
3 When I tread the verge of Jordan,
bid my anxious fears subside;
bear me through the swelling current,
land me safe on Canaan’s side:
Songs of praises, songs of praises
I will ever give to thee,
I will ever give to thee. Used With Tune: CWM RHONDDA Text Sources: Translated also by others
Guide Me, O Thou Great Jehovah
God Moves in a Mysterious Way
Author: William Cowper Meter: 8.6.8.6 Appears in 1,133 hymnals Scripture: Psalm 18:10 Lyrics: 1 God moves in a mysterious way
His wonders to perform;
He plants His footsteps in the sea,
And rides upon the storm.
2 Deep in unfathomable mines
Of never-failing skill
He treasures up His bright designs,
And works His sov'reign will.
3 Ye fearful saints, fresh courage take:
The clouds ye so much dread
Are big with mercy, and shall break
In blessings on your head.
4 Judge not the Lord by feeble sense,
But trust Him for His grace;
Behind a frowning Providence
He hides a smiling face.
5 His purposes will ripen fast,
Unfolding every hour;
The bud may have a bitter taste,
But sweet will be the flower.
6 Blind unbelief is sure to err,
And scan His works in vain;
God is His own interpreter,
And He will make it plain.
Amen.
Topics: Way of Salvation Sanctification; Faith and Trust Used With Tune: LONDON NEW
God Moves in a Mysterious Way
Glory, glory, Hallelujah
Author: Julia Ward Howe (1819-1910) Meter: Irregular Appears in 556 hymnals Scripture: Psalm 18:33 First Line: Mine eyes have seen the glory of the coming of the Lord Lyrics: 1 Mine eyes have seen the glory of the coming of the Lord;
he is trampling out the vintage where the grapes of wrath are stored;
he hath loosed the fatal lightning of his terrible swift sword;
his truth is marching on.
Glory, glory, Hallelujah,
glory, glory, Hallelujah,
glory, glory, Hallelujah,
his truth is marching on.
2 He hath sounded forth the trumpet that shall never call retreat;
he is sifting out all human hearts before his judgment seat.
O, be swift, my soul, to answer him; be jubilant, my feet!
Our God is marching on.
Glory, glory, Hallelujah,
glory, glory, Hallelujah,
glory, glory, Hallelujah,
our God is marching on.
3 In the beauty of the lilies Christ was born across the sea,
with a glory in his bosom that transfigures you and me;
as he died to make us holy, let us die to make all free,
while God is marching on.
Glory, glory, Hallelujah,
glory, glory, Hallelujah,
glory, glory, Hallelujah,
while God is marching on.
4 He is coming like the glory of the morning on the wave;
he is wisdom to the mighty; he is succour to the brave;
so the world shall be his footstool, and the soul of time his slave:
our God is marching on.
Glory, glory, Hallelujah,
glory, glory, Hallelujah,
glory, glory, Hallelujah,
our God is marching on. Topics: Life in Christ Christ Risen - Coming Again; God in judgement and justice Used With Tune: BATTLE HYMN OF THE REPUBLIC
Glory, glory, Hallelujah
GOD OF OUR STRENGTH
Meter: 8.8.8.8 with refrain Appears in 36 hymnals Composer and/or Arranger: William H. Doane Scripture: Psalm 18:1-3 Tune Sources: Baptist Hymnal, 1883 Tune Key: E Flat Major Incipit: 32155 61532 15653 Used With Text: God of Our Strength
GOD OF OUR STRENGTH
GOTT DER VATER WOHN'
Appears in 20 hymnals Scripture: Psalm 18:18 Tune Sources: 11th-century melody Tune Key: C Major Incipit: 55671 17615 34321 Used With Text: God, the Father, Be Our Stay
GOTT DER VATER WOHN'
Guide Me, O Thou Great Jehovah
Author: William Williams; Peter Williams; William Williams Hymnal: Glory to God #65 (2013) Meter: 8.7.8.7.8.7.7 Scripture: Psalm 18:2 Lyrics: 1 Guide me, O thou great Jehovah,
pilgrim through this barren land.
I am weak, but thou art mighty.
Hold me with thy powerful hand.
Bread of heaven, bread of heaven,
feed me till I want no more;
feed me till I want no more.
2 Open now the crystal fountain,
whence the healing stream doth flow.
Let the fire and cloudy pillar
lead me all my journey through.
Strong deliverer, strong deliverer,
be thou still my strength and shield;
be thou still my strength and shield.
3 When I tread the verge of Jordan,
bid my anxious fears subside.
Death of death, and hell's destruction,
land me safe on Canaan's side.
Songs of praises, songs of praises
I will ever give to thee;
I will ever give to thee.
Topics: Death; Dying in Christ; Funeral; God's Covenant with Israel; Guidance; Healing; Living in Christ Languages: English Tune Title: CWM RHONDDA
Guide Me, O Thou Great Jehovah
Guide me, O thou great Jehovah
Author: William Williams, 1717-1791; Peter Williams, 1727-1796 Hymnal: Singing the Faith #465 (2011) Scripture: Psalm 18:2 Topics: Our Journey With God Languages: English Tune Title: CWM RHONDDA
Guide me, O thou great Jehovah
Guide Me, O Thou Great Jehovah
Author: Peter Williams, 1722-1796; William Williams, 1717-1791 Hymnal: Worship and Rejoice #501 (2003) Meter: 8.7.8.7.8.7.7 Scripture: Psalm 18:2 Lyrics: 1 Guide me, O thou great Jehovah,
pilgrim through this barren land;
I am weak, but thou art mighty--
hold me with thy powerful hand:
Bread of heaven, Bread of heaven,
feed me till I want no more,
feed me till I want no more.
2 Open now the crystal fountain,
whence the healing stream doth flow;
let the fire and cloudy pillar
lead me all my journey through:
Strong Deliverer, strong Deliverer,
be thou still my strength and shield,
be thou still my strength and shield.
3 When I tread the verge of Jordan,
bid my anxious fears subside;
bear me through the swelling current,
land me safe on Canaan’s side:
Songs of praises, songs of praises
I will ever give to thee,
I will ever give to thee. Languages: English Tune Title: CWM RHONDDA
Guide Me, O Thou Great Jehovah
Robert Grant
1779 - 1838 Scripture: Psalm 18:10-11 Author of "O Worship the King, All Glorious Above!" in Glory to God Robert Grant (b. Bengal, India, 1779; d. Dalpoorie, India, 1838) was influenced in writing this text by William Kethe’s paraphrase of Psalm 104 in the Anglo-Genevan Psalter (1561). Grant’s text was first published in Edward Bickersteth’s Christian Psalmody (1833) with several unauthorized alterations. In 1835 his original six-stanza text was published in Henry Elliott’s Psalm and Hymns (The original stanza 3 was omitted in Lift Up Your Hearts).
Of Scottish ancestry, Grant was born in India, where his father was a director of the East India Company. He attended Magdalen College, Cambridge, and was called to the bar in 1807. He had a distinguished public career a Governor of Bombay and as a member of the British Parliament, where he sponsored a bill to remove civil restrictions on Jews. Grant was knighted in 1834. His hymn texts were published in the Christian Observer (1806-1815), in Elliot’s Psalms and Hymns (1835), and posthumously by his brother as Sacred Poems (1839).
Bert Polman
========================
Grant, Sir Robert, second son of Mr. Charles Grant, sometime Member of Parliament for Inverness, and a Director of the East India Company, was born in 1785, and educated at Cambridge, where he graduated in 1806. Called to the English Bar in 1807, he became Member of Parliament for Inverness in 1826; a Privy Councillor in 1831; and Governor of Bombay, 1834. He died at Dapoorie, in Western India, July 9, 1838. As a hymnwriter of great merit he is well and favourably known. His hymns, "O worship the King"; "Saviour, when in dust to Thee"; and "When gathering clouds around I view," are widely used in all English-speaking countries. Some of those which are less known are marked by the same graceful versification and deep and tender feeling. The best of his hymns were contributed to the Christian Observer, 1806-1815, under the signature of "E—y, D. R."; and to Elliott's Psalms & Hymns, Brighton, 1835. In the Psalms & Hymns those which were taken from the Christian Observer were rewritten by the author. The year following his death his brother, Lord Glenelg, gathered 12 of his hymns and poems together, and published them as:— Sacred Poems. By the late Eight Hon. Sir Robert Grant. London, Saunders & Otley, Conduit Street, 1839. It was reprinted in 1844 and in 1868.
This volume is accompanied by a short "Notice," dated "London, Juno 18, 1839."
=====================
Grant, Sir R., p. 450, i. Other hymns are:—
1. From Olivet's sequester'd scats. Palm Sunday.
2. How deep the joy, Almighty Lord. Ps. lxxxiv.
3. Wherefore do the nations wage. Ps. ii.
These are all from his posthumous sacred Poems, 1839.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Robert Grant
Jeanne Marie Bouvier de La Motte Guyon
1648 - 1717 Person Name: Madame Guyon Scripture: Psalm 18:1 Author of "I Would Love Thee" in Church Hymnal, Mennonite Guyon, Madame. (1648-1717.) Jeanne Marie Bouyieres de la Mothe was the leader of the Quietist movement in France. The foundation of her Quietism was laid in her study of St. Francis de Sales, Madame de Chantal, and Thomas ä Kempis, in the conventual establishments of her native place, Montargis (Dep. Loiret), where she was educated as a child. There also she first learned the sentiment of espousal with Christ, to which later years gave a very marked development. She was married at sixteen to M. Guyon, a wealthy man of weak health, twenty-two years her senior, and her life, until his death, in 1676, was, partly from disparity of years, partly from the tyranny of her mother-in-law, partly from her own quick temper, an unhappy one. Her public career as an evangelist of Quietism began soon after her widowhood. Her first labours were spent in the diocese of Geneva, at Annecy, Gex, and Thonon, and in Grenoble. In 1686 she came to Paris, where she was at first imprisoned for her opinions in the Convent of St. Marie in the Faubourg St. Antoine, but released after eight months at the instance of Madame de Maintenon. She then rose to the zenith of her fame. Her life at all times greatly fascinated those around her; and the court, Madame de Maintenon, Fénelon (who ardently sympathised with her doctrine of pure and disinterested love of God), and Madame de Maintenon's College of Ladies at Cyr, came under the spell of her enthusiasm. But the affinity of her doctrines with those of Molinos, who was condemned in 1685, soon told against her. Her opinions were condemned by a commission, of which Bossuet was president. She then incurred Bossuet's displeasure by breaking the promises she had made to him to maintain a quiet attitude, and not return to Paris. She was imprisoned at Vincennes, Dec. 1695, and in the following year removed to Vaugirard, under a promise to avoid all receptions and correspondence, except by special permission. In 1698 she was immured in the Bastille, and not released until 1702. The Quietist controversy had meanwhile ruined the saintly Fénelon in the favour of Louis XIV., and obtained the condemnation by the Pope (1699) of his book (Maxima des Saints) written in defence of the doctrine of disinterested love. The remainder of Madame Guyon's life was spent in retirement with her daughter, the Marquise de Vaux, at Blois. She was visited there by numbers of persons of all ranks, some of them from foreign countries; and she had a considerable correspondence. She heard Mass daily, and died in full communion with the Roman Church. Madame Guyon's works fill 40 volumes. The principal ones are:—
(1) Les Torrents (1683), a description of God's dealings with souls, founded on her own spiritual history. (2) Le Cantique des Cantiques interpreté selon le sens mystique. Le Moyen Court defaire oraison (1684). Her (3) Autobiography. (4) Poésies et Cantiques Spirituels (pub. 1722). The Cantiques Spirituels comprise nearly 900 pieces. The dates of composition are mainly to be gathered from internal evidence; some appear to have been written in the country; many were certainly written in her imprisonments at the Convent of St. Marie and Vincennes; many also apparently in her last sickness at Blois. They were composed to ballad tunes, and with an effortless facility, five or six hymns being often written in a day, while confined to her bed. She believed them to originate from the Divine impulse, more than from herself. The Cantiques are at once illustrated and interpreted by her Autobiography (which is one of the most remarkable books in the delineation of spiritual enthusiasm) and by her Commentary on the Song of Solomon, which applies its passionate love to the union of Christ with the soul. The leading ideas are, (1) the absorption of the soul, utterly emptied of self, into the Infinite Being of God: which is expressed at other times as the entire occupation of the soul, reduced to nothingness ("le néant, le rien"), and deprived of all independent will, by the Personality of God. The perfect state of the soul is one of complete passiveness; its energy is the energy of God directing and wielding the human powers; prayer becomes not the expression of desire, but rapt contemplation, wordless intercourse, and reception of the Divine Voice to the soul. (2) Pure and disinterested love of God, as Himself the Perfect Love, uninfluenced by any consideration of His favour and blessing either here or in eternity. If it be His will to cast the soul into hell itself, even this is to be accepted without fear or deprecation, if the Love of God remains as the joy of His creature. (3) The Love of God is consistent with terrible, often unintelligible or apparently capricious infliction of suffering and desertion on the soul He loves.
A selection of 37 pieces from these poems was translated by the poet Cowper, in 1782 (published by his friend William Bull, in 1801). Bull had introduced the poems to him, and requested him to translate some of them. Whether Bull or Cowper selected the pieces for translation is uncertain, Their leading theme is that of Love unshaken, submissive, not asking for release, though under the extremity of desertion and suffering inflicted by God's Hand, which is heavy with anger and seems threatening destruction. Mixed with these awful seasons there are others, in which the manifestation of the Divine Love floods the soul with transport. The points of affinity with Cowper's thought are obvious; and Bull may have hoped that the spectacle of her unmoved belief in the hidden love of God might help to drive away the terrible delusion of his reprobation. The nervous style is very different from the flabby lines of the French: and Cowper designedly modified the amative metaphors, which, especially when they represent the dealings of Christ with her as His spouse, in language suggested by the caprice of Cupid or that of conjugal infidelity, are very painful and unconsciously irreverent. (See his letters to W. Unwin, 1782-3.) The most characteristic pieces are those beginning, "Twas my purpose on a day," "I suffer fruitless anguish," "Long plunged in sorrow," and "Source of Love, my brighter Sun."
The translations from Madame Guyon's hymns which are in common use are mainly in American hymnbooks. They include :—
1. Ah! régnez sur toute la terre. Triumph of heavenly love desired. From her Cantique des Cantiques, vol. ii. No. 236. Translated by W. Cowper in his posthumous Poems Translated from the French of Madame de la Mothe Guion, fee., 1801, p. 14, in 3 stanzas of 4 lines, as, "Ah! reign, wherever man is found." It is in Spurgeon’s Our Own Hymnbook, 1866.
2. Amour que mon âme eat contente. The soul that loves God finds Him everywhere. From vol. ii., Cantique 108. Translated by W. Cowper, 1801, p. 33, in 9 stanzas of 4 lines, as "0 Thou, by long experience tried." This has been abbreviated and altered to "My Lord, how full of sweet content," in Hatfield's Church Hymn Book, N. Y., 1872, and others, and as "0 Lord, how full of sweet content," in the Andover Sabbath Hymn Book, 1858; the Songs for the Sanctuary, 1865, &c. It is also in use in its original form. Cowper's translation is more nervous than the original, but not always close thereto.
3. Divin objet, auquel nul objet n'est pareil. The Nativity. From her works, vol. iv., Poëmes Héroїques, 1. W. Cowper's translation of the poem (1801, p. 1) begins "Tis folly all—-let me no more be told." The cento in common use begins on p. 4 with "Infinite God, Thou great unrivall'd One," and is composed of 14 lines, not consecutive in all cases, and with extraneous additions.
4. Esprit Saint, viena dedans nos cœurs. Charity. From vol. ii., Cant. 96, beginning with stanza iii. Translated by W. Cowper, 1801, p. 26, as "Spirit of charity dispense.” This is in American common use.
5. Je n'aime plus d'un amour mien. Life in the love of God. From vol. iv., sect. 2, cant. 80. An anonymous translation of a part of this as "I love my God, but with no love of mine," appeared in the Andover Sabbath Hymn Book, 1858; the Church Praise Book, N. Y., 1881, &c, in 2 stanzas of 6 lines. Of this translation st. i. is apparently an expansion of the four first lines of this short hymn; stanza ii. may be only an expansion of the two remaining lines, or may have added to it some verse of a hymn not identified. Guyon, vol. iii., cant. 136, is somewhat similar, especially at its close, but is on a much larger scale.
6. L'amour me tient asservie. Divine love. From vol. ii., cant. 155. Translated by W. Cowper, 1801, p. 38, in 8 stanzas of 4 lines, as “Love is the Lord whom I obey." It is generally used in an abbreviated form.
7. La fontaine dans sa source. Living Water. From vol. iv., cant. 81. Translated by W. Cowper, 1801, p. 28, in 2 stanzas of 4 lines, as “The fountain in its source." In 1812 it was given in Collyer's Selections, No. 322, with an additional stanza by Collyer. This is the form of the text in common use in Great Britain and America.
8. Mon cœur depuis longtems plongé. The Joy of the Cross. From vol. iii., cant. 97. Translated by W. Cowper, 1801, pp. 81-84, in 12 stanzas of 6 lines, as "Long plung'd in sorrow, I resign." The following centos therefrom are in common use:—
1. "Long plunged in sorrow, I resign."
2. "O Lord, in sorrow I resign."
3. "Self-love no grace in sorrow sees."
Of these centos 1 is in Spurgeon's Our Own Hymn Book, 1866; and 2 and 3 in American collections.
9. Nous portons un doux témoignage. God's Chosen. Vol. ii., cant. 78. Translated by W. Cowper, 1801, p. 35, as "How happy are the newborn race." This is usually altered to "O happy they, God's chosen race," as in Mercer, 1854, and others.
10. Souffrons, puisqu’l le faut, souffrons toute la vie. The love of God the end of Life. From vol ii., cant. 165. Translated by W. Cowper, 1801, p. 50, in 4 stanzas of 4 lines, as “Since life in sorrow must be spent." In the Songs for the Sanctuary, 1865, and other American collections it is altered to "If life in sorrow must be spent."
In addition to these there are also translations of hymns in common use, the originals of which are attributed to Madame Guyon. These we have not identified in her poetical works:—
11. By suffering only can we know. Resignation. This is part of a poem written at nineteen. In a letter written from Blois in 1717, Madame Guyon thus alludes to it: "I remember that when I was quite young, only nineteen years of age, I composed a little song in which I expressed my willingness to suffer for God. ... A part of the verses to which I refer is as follows: ‘By suffering only can we know.’ ”The translation in the American Hymns for the Church of Christ, 1853, is anonymous.
12. I would love Thee, God and Father. This we cannot identify. It appeared in the Andover Sabbath Hymnbook, 1858, No. 649, in 5 stanzas of 4 lines. It is in Songs for the Sanctuary, 1865, Hatfield's Church Hymn Book, 1872, and others.
13. 'Tis not by skill of human art. Love. Not identified. The translation appeared in the Hymns for the Church of Christ, 1853, No. 606. [Rev. H. Leigh Bennett, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
=====================
Guyon, Madame, p. 475, i. Other translations in common use are:—
1. From No. 3 on p. 476, i., the cento in Martineau's Hymns, 1840, No. 160, "Almighty Former of creation's plan" is taken.
2. Source of love, and Light of day. This in Martineau's Hymns, 1840, No. 425, is from W. Cowper's translation of Cantique 125, in 1801, p. 40.
3. To me remains nor place, nor time. This cento In Dale's English Hymn Book, 1874; "My country, Lord, art Thou alone," in Spurgeon's Our Own Hymn Book, 1866; and "All scenes alike engaging prove," are from No. 2 on p. 476, i.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Jeanne Marie Bouvier de La Motte Guyon
Dale Grotenhuis
1931 - 2012 Scripture: Psalm 18 Harmonizer of "EARTH AND ALL STARS" in Psalms for All Seasons Dale Grotenhuis (b. Cedar Grove, WI, 1931; d. Jenison, Mi, August 17, 2012) was a member of the 1987 Psalter Hymnal 1987 Revision Committee, and was professor of music and director of choral music at Dordt College, Sioux Center, Iowa, from 1960 until he retired in 1994 to concentrate on composition. Educated at Calvin College; Michigan State University, Lansing; and Ohio State University, Columbus; he combined teaching with composition throughout his career and was a widely published composer of choral music. He also directed the Dordt choir in a large number of recordings, including many psalm arrangements found in the 1959 edition of the Psalter Hymnal.
Before coming to Dordt, Grotenhuis taught music at Christian high schools in Washington and Michigan. Under his direction, the Dordt College concert choir participated in annual tours that took members throughout the United States, Canada and Europe. He loved the church and the music of the church. His favorite song was "All Glory Be to God on High".
Bert Polman (last two sentences from Joy Grotenhuis, daughter-in-law)
Dale Grotenhuis
