My Starred Hymns
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
I am the man who by his rod
Appears in 2 hymnals Scripture: Lamentations 3 Lyrics: 1 I am the man who by his rod
Of wrath see dismal scenes of woes;
2 He hath me into darkness brought,
And not a gleam of light He shows.
3 He surely is against me turn'd:
His hand all day He turns on me.
4 My flesh and skin He old hat made
My bones to pieces broke hath He.
5 He built around me: and with gall
And travel me encompassed:
6 He hath me set in places dark,
As those who long ago were dead.
7 So hedg'd me in, I can't get out;
Makes me his heavy chain to bear;
8 And when I earnest cry aloud,
He grievously shuts out my pray'r.
9 He with hewn stones enclos'd my path,
And intricate hath made my ways:
10 He as a bear lays wait for me,
A lion in a hidden place.
11 He turned hath my ways aside;
He hath to pieces pulled me:
Of all my comforts hath bereav'd
And made me desolate to be.
12 He bent his bow; and me a mark
Did for his sharp'ned arrows place;
13 The arrows of his quiver caus'd
Into my tender reins to pass.
14 To all my people I'm a scoff,
And all the day their jeering song;
15 He made me full of bitterness,
And even drunk with wormwood strong.
16 Yea He my teeth with gravel break,
And all in ashes rolled me.
17 Thou putst my soul far off from peace,
And I forgot prosperity.
18 Yea I did say, my strength and hope
Are wholly perish'd from the LORD.
19 My grief and pain, wormwood and gall,
I in my troubled mind record.
20 My soul doth still remember them,
And in me low abas'd, doth lie:
21 Yet to my mindIi this recall,
And thence a glimpse of hope have I;
22 It's of the mercies of the LORD,
We are not quite consum'd away;
Because the pity of his heart
Nor does, nor ever will decay.
23 They ev'ry morning are renew'd:
Thy changeless faithfulness is great,
24 The LORD's my portions, saith my soul;
And thence my hope I'll on Him set.
25 To them who wait for Him, the soul
Who seeks Him, gracious is the LORD;
26 'Tis best in quietness to wait
Till He salvation will afford.
27 Good for a man it is in youth
that he should bear the humbling yoke;
28 He sits alone, and silence keeps
Becausee he bears thy holy stroke.
29 He puts his mouth into the dust,
If so there any hope may be:
30 His cheek to him who smites he gives,
Tho' filled with reproach is he.
31 Ever the Lord will not cast off;
but tho' He causes pungent grief;
32 Yet in his mercies great He will
Compassion have, and give relief.
33 For He's not willing to afflict
Or grieve the sons of men 'tis known;
34 To crush the pris'ners of the earth,
Or under feet to tread them down.
35 To turn aside the right of man
Before the face of THE MOST HIGH;
36 Or to subvert his righteous case;
The Lord abhors eternally.
37 Who's he that saith, and them performs,
Unless it be the Lord's good will.
38 Out of the mouth of THE MOST HIGH,
Proceed all good and penal ill.
29 Why for the punishment of sins
Doth any living man complain?
40 O let us search and try our ways,
And to the LORD now turn again.
41 O let us lift our hearts and hands.
Up to the mighty God in heav'n;
42 We all have trespass'd and rebell'd,
Nor hast Thou yet our sins forgiv'n.
43 Thy wrath us covers and pursues;
Thou slay'st, and dost not pity show.
44 Thou so with clouds dost hide thy self,
That our loud cries cannot pass thro'.
45 Amidst the people hast us made
Th' offscouring, refuse, and jeer.
46 And the wide mouths of all our foes,
Against and round us op'ned are.
47 Fear and a snare are come on us;
And all in desolation lies:
48 For daughters of my people's waste
Rivers of tears run down mine eyes.
49 Mine eyes with tears flow down apace;
And will no intermissions know,
50 Until the LORD from heav'n look down,
And see us in our dismal woe.
51 Mine eye affects my soul with grief,
To see my city's daughters cause;
52 My foes pursue me unprovok'd
The harmless birds as fowlers chase.
53 My life they in the dungeon sunk,
And on me haevy stones they cast.
54 The waters flowing o'er my head,
I said, "I'm gone, all hope is past!"
55 O LORD, I call'd upon thy name,
In the deep dungeon, like to die;
56 Thou heardst my voice, hide not thine ear,
From my short panting and my cry
57 Then Thou draw'st near, and saidst, "FEAR NOT!"
Ev'n in the day I call'd on Thee:
48 Lord, my soul's causes Thou didst plead,
And my expiring life set free.
59 JEHOVAH judge the cause for me,
As Thou my wrongs has always seen.
60 As their revenge and all their plots
Before thine eyes have ever been.
61 All their reproach, Thou LORD, hast heard;
Thou seest the snares they for me lay,
62 Their lips who up against me rise,
And all their plotings all the day.
63 See, when they sit, and when they rise,
The musick of their songs am I:
64 But LORD, as are their handy works
A just reward Thou wilt apply.
65 Sorrow of heart Thou wilt them give,
Thy grievous curse wilt make them bear;
66 In wrath them chace, and from beneath
JEHOVAH's heav'ns waste ev'ry where.
I am the man who by his rod
Rock of Ages, cleft for me
Author: Augustus Montague Toplady, 1740-78 Meter: 7.7.7.7.7.7 Appears in 2,895 hymnals Scripture: Lamentations 3:9 Lyrics: 1 Rock of Ages, cleft for me,
let me hide myself in thee;
let the water and the blood,
from thy riven side which flowed,
be of sin the double cure,
cleanse me from its guilt and power.
2 Not the labours of my hands
can fulfill thy law's demands;
could my zeal no respite know,
could my tears for ever flow,
all for sin could not atone:
thou must save, and thou alone.
3 Nothing in my hand I bring,
simply to thy cross I cling;
naked, come to thee for dress;
helpless, look to thee for grace;
foul, I to the fountain fly;
wash me, Saviour, or I die.
4 While I draw this fleeting breath,
when my eyelids close in death,
when I soar through tracts unknown,
see thee on thy judgment throne,
Rock of Ages, cleft for me,
let me hide myself in thee. Topics: Atonement; Comfort; Funerals; Jesus Christ Passion and Cross; Jesus Christ Redeemer; Judgment of God; Sin Used With Tune: PETRA
Rock of Ages, cleft for me
My God, How Endless Is Your Love
Author: Isaac Watts (1674-1748) Meter: 8.8.8.8 Appears in 613 hymnals Scripture: Lamentations 3:1-9 First Line: My God, how endless is your love! Lyrics: 1 My God, how endless is your love!
Your gifts are every evening new,
and morning mercies from above
gently distil, like earthly dew.
2 You spread the curtains of the night,
great Guardian of my sleeping hours;
your sovereign Word restores the light,
and quickens all my drowsy powers.
3 I yield my powers to your command;
to you I consecrate my days:
perpetual blessings from your hand
demand perpetual songs of praise. Topics: Praise of God Used With Tune: WAREHAM
My God, How Endless Is Your Love
Rock of Ages, cleft for me
Author: Augustus Montague Toplady, 1740-78 Hymnal: Together in Song #222 (1999) Meter: 7.7.7.7.7.7 Scripture: Lamentations 3:9 Lyrics: 1 Rock of Ages, cleft for me,
let me hide myself in thee;
let the water and the blood,
from thy riven side which flowed,
be of sin the double cure,
cleanse me from its guilt and power.
2 Not the labours of my hands
can fulfill thy law's demands;
could my zeal no respite know,
could my tears for ever flow,
all for sin could not atone:
thou must save, and thou alone.
3 Nothing in my hand I bring,
simply to thy cross I cling;
naked, come to thee for dress;
helpless, look to thee for grace;
foul, I to the fountain fly;
wash me, Saviour, or I die.
4 While I draw this fleeting breath,
when my eyelids close in death,
when I soar through tracts unknown,
see thee on thy judgment throne,
Rock of Ages, cleft for me,
let me hide myself in thee. Topics: Atonement; Comfort; Funerals; Jesus Christ Passion and Cross; Jesus Christ Redeemer; Judgment of God; Sin Languages: English Tune Title: PETRA
Rock of Ages, cleft for me
My God, How Endless Is Your Love
Author: Isaac Watts (1674-1748) Hymnal: Common Praise (1998) #353 (1998) Meter: 8.8.8.8 Scripture: Lamentations 3:1-9 First Line: My God, how endless is your love! Lyrics: 1 My God, how endless is your love!
Your gifts are every evening new,
and morning mercies from above
gently distil, like earthly dew.
2 You spread the curtains of the night,
great Guardian of my sleeping hours;
your sovereign Word restores the light,
and quickens all my drowsy powers.
3 I yield my powers to your command;
to you I consecrate my days:
perpetual blessings from your hand
demand perpetual songs of praise. Topics: Praise of God Languages: English Tune Title: WAREHAM
My God, How Endless Is Your Love
New every morning is the love
Author: John Keble Hymnal: The Riverdale Hymn Book #10 (1912) Scripture: Lamentations 3:2 Topics: Morning Tune Title: MELCOMBE
New every morning is the love
Augustus Toplady
1740 - 1778 Person Name: Augustus Montague Toplady, 1740-78 Scripture: Lamentations 3:9 Author of "Rock of Ages, cleft for me" in Together in Song Toplady, Augustus Montague, the author of "Rock of Ages," was born at Farnham, Surrey, November 4, 1740. His father was an officer in the British army. His mother was a woman of remarkable piety. He prepared for the university at Westminster School, and subsequently was graduated at Trinity College, Dublin. While on a visit in Ireland in his sixteenth year he was awakened and converted at a service held in a barn in Codymain. The text was Ephesians ii. 13: "But now, in Christ Jesus, ye who sometimes were far off are made nigh by the blood of Christ." The preacher was an illiterate but warm-hearted layman named Morris. Concerning this experience Toplady wrote: "Strange that I, who had so long sat under the means of grace in England, should be brought nigh unto God in an obscure part of Ireland, amidst a handful of God's people met together in a barn, and under the ministry of one who could hardly spell his name. Surely this is the Lord's doing, and it is marvelous." In 1758, through the influence of sermons preached by Dr. Manton on the seventeenth chapter of John, he became an extreme Calvinist in his theology, which brought him later into conflict with Mr. Wesley and the Methodists. He was ordained to the ministry in the Church of England in 1762, and in 1768 he became vicar of Broadhembury, a small living in Devonshire, which he held until his death. The last two or three years of his life he passed in London, where he preached in a chapel on Orange Street. His last sickness was of such a character that he was able to make a repeated and emphatic dying testimony. A short time before his death he asked his physician what he thought. The reply was that his pulse showed that his heart was beating weaker every day. Toplady replied with a smile: "Why, that is a good sign that my death is fast approaching; and, blessed be God, I can add that my heart beats stronger and stronger every day for glory." To another friend he said: "O, my dear sir, I cannot tell you the comforts I feel in my soul; they are past expression. . . . My prayers are all converted into praise." He died of consumption August 11, 1778. His volume of Psalms and Hymns for Public and Private Worship was published in 1776. Of the four hundred and nineteen hymns which it contained, several were his own productions.
If on a quiet sea 446
Rock of ages, cleft for me 279
Hymn Writers of the Church, 1915 by Charles S. Nutter
===============================================
Toplady, Augustus Montague, M.A. The life of Toplady has been repeatedly and fully written, the last, a somewhat discursive and slackly put together book, yet matterful, by W. Winters (1872). Summarily, these data may be here given: he was born at Farnham, in Surrey, on November 4, 1740. His father, Richard Toplady, was a Major in the British array, and was killed at the siege of Carthagena (1741) soon after the birth of his son. His widowed mother placed him at the renowned Westminster school, London. By-and-by circumstances led her to Ireland, and young Augustus was entered at Trinity College, Dublin, where he completed his academical training, ultimately graduating M.A. He also received his "new birth" in Ireland under remarkable conditions, as he himself tells us with oddly mixed humility and lofty self-estimate, as "a favourite of heaven," common to his school:—
"Strange that I who had so long sat under the means of grace in England should be brought right unto God in an obscure part of Ireland, midst a handful of people met together in a barn, and by the ministry of one who could hardly spell his own name. Surely it was the Lord's doing and is marvellous. The excellency of such power must be of God and cannot be of man. The regenerating spirit breathes not only on whom but likewise, when and where and as He listeth."
Toplady received orders in the Church of England on June 6, 1762, and after some time was appointed to Broadhembury. His Psalms and Hymns of 1776 bears that he was then “B.A." and Vicar of Broadhembury. Shortly thereafter be is found in London as minister of the Chapel of the French Calvinists in Leicester Fields. He was a strong and partizan Calvinist, and not well-informed theologically outside of Calvinism. We willingly and with sense of relief leave unstirred the small thick dust of oblivion that has gathered on his controversial writings, especially his scurrilous language to John Wesley because of his Arminianism, as we do John Wesley's deplorable misunderstanding and misrepresentation of Calvinism.
Throughout Toplady lacked the breadth of the divine Master's watchword "Forbid him not, for he that is not against us is for us" (St. Luke ix. 50). He was impulsive, rash-spoken, reckless in misjudgment; but a flame of genuine devoutness burned in the fragile lamp of his overtasked and wasted body. He died on August 11, 1778. The last edition of his works is in 6 vols., 8 vo., 1825. An accurate reproduction of most of his genuine hymns was one of the reprints of Daniel Sedgwick, 1860. His name occurs and recurs in contemporary memoirs and ecclesiastical histories, e.g., in Tyerman's Life of John Wesley. The reader will find in their places annotations on the several hymns of Toplady, and specially on his "Rock of Ages,” a song of grace that has given him a deeper and more inward place in millions of human hearts from generation to generation than almost any other hymnologist of our country, not excepting Charles Wesley. Besides the "Rock of Ages" must be named, for power, intensity, and higher afflatus and nicer workmanship, "Object of my first desire,” and "Deathless principle arise." It is to be regretted that the latter has not been more widely accepted. It is strong, firm, stirring, and masterful. Regarded critically, it must be stated that the affectionateness with which Toplady is named, and the glow and passion of his faith and life, and yearning after holiness, have led to an over-exaltation of him as a hymnwriter. Many of his hymns have been widely used, and especially in America, and in the Evangelical hymnbooks of the Church of England. Year by year, however, the number in use is becoming less. The reason is soon found. He is no poet or inspired singer. He climbs no heights. He sounds no depths. He has mere vanishing gleams of imaginative light. His greatness is the greatness of goodness. He is a fervent preacher, not a bard. [Rev. A. B. Grosart, D.D., LL.D.]
Toplady's hymns and poetical pieces were published in his:—
(1) Poems on Sacred Subjects wherein The Fundamental Doctrines of Christianity, with many other interesting Points, are occasionally introduced. . . Dublin: Printed by S. Powell, in Crane-lane, MDCCLIX.; (2) his Psalms & Hymns for Public and Private Worship, 1776; (3) in The Gospel Magazine, 1771-1776; and (4) in Hymns and Sacred Poems on a variety of Divine Subjects, &c. D. Sedgwick's reprint, 1860. His Works, with a Memoir by W. Row, were published in 6 volumes, in 1794. Walter How was also the editor of the 2nd and some later editions of the Psalms & Hymns. He was a most careless editor, and attributed several hymns by C. Wesley and others to Toplady.
The following additional hymns in common use together with centos indicated in the sub-lines, are from:—
i. His Poems on Sacred Subjects, 1759.
1. Can my heaven-born soul submit? All for Christ.
2. Come from on high, my King and God. Holiness desired.
(1.) 0 might this worthless heart of mine.
3. Earnest of future bliss. The Witness of the Spirit.
4. From Thy supreme tribunal, Lord. Christ's Righteousness a Refuge.
(1.) The spotless Saviour lived for me.
5. Great God, Whom heaven, and earth, and sea. For Peace.
6. I saw, and lo! a countless throng. Saints' Days. Revised form in the Gospel Magazine, 1774, p. 449.
7. Immovable our hope remains. Divine Faithfulness.
8. Jesus, God of love, attend. Divine Worship. Pt. ii. is "Prayer can mercy's door unlock."
9. Jesus, Thy power I fain would feel. Lent.
10. Lord, I feel a carnal mind. Mind of Christ desired.
11. My yielding heart dissolves as wax. On behalf of Arians, &c.
(1.) 0 Jesus, manifest Thy grace.
12. Not to myself I owe. Praise for Conversion,
(1.) Not to ourselves we owe.
(2.) The Father's grace and love.
13. 0 that my heart was right with Thee. Dedication to God desired.
14. 0 Thou that hearest the prayer of faith. Christ the Propitiation.
15. 0 Thou Who didst Thy glory leave. Thanksgiving for Redemption.
16. 0 when wilt Thou my Saviour be. Trust in Jesus.
(1.) Jesus, the sinner's Rest Thou art.
17. Redeemer, whither should I flee? Safety in the Cross.
18. Remember, Lord, that Jesus bled. Pardon.
19. Surely Christ thy griefs hath borne. Redemption. Revised text in Gospel Magazine, 1774, p. 548.
(1.) Weary sinner, keep thine eyes.
(2.) Weeping soul, no longer mourn.
ii. From the Gospel Magazine.
20. Compared with Christ, in all besides. Christ All in All. Feb. 1772.
21. Eternal Hallelujahs Be to the Father given. Holy Trinity, Dec. 1774.
22. From whence this fear and unbelief. Reviving Faith, Feb. 1772.
23. How vast the benefits divine. Redemption. Dec. 1774. From this "Not for the works which we have done" is taken.
24. Whom have I in heaven but Thee? Christ All and in All, Feb. 1772. From this "If my Lord Himself reveal" is taken.
25. Jesus, immutably the same. Jesus, the True Vine. June, 1771.
All these hymns, together with "O precious blood, 0 glorious death" (Death of Christ), are in D. Sedgwick's reprint of Toplady's Hymns, &c, 1860. We have met with several other hymns to which Toplady's name is appended, but for this we can find no authority whatever.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
Augustus Toplady
Richard Redhead
1820 - 1901 Person Name: Richard Redhead, 1820-1901 Scripture: Lamentations 3:9 Composer of "PETRA" in Together in Song Richard Redhead (b. Harrow, Middlesex, England, 1820; d. Hellingley, Sussex, England, 1901) was a chorister at Magdalen College, Oxford. At age nineteen he was invited to become organist at Margaret Chapel (later All Saints Church), London. Greatly influencing the musical tradition of the church, he remained in that position for twenty-five years as organist and an excellent trainer of the boys' choirs. Redhead and the church's rector, Frederick Oakeley, were strongly committed to the Oxford Movement, which favored the introduction of Roman elements into Anglican worship. Together they produced the first Anglican plainsong psalter, Laudes Diurnae (1843). Redhead spent the latter part of his career as organist at St. Mary Magdalene Church in Paddington (1864-1894).
Bert Polman
Richard Redhead
Isaac Watts
1674 - 1748 Person Name: Isaac Watts (1674-1748) Scripture: Lamentations 3:1-9 Author of "My God, How Endless Is Your Love" in Common Praise (1998) Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit.
The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred.
Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.)
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
=================================
Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693.
Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution.
Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey.
His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.]
A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken.
(l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736.
454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time.
--Excerpts from John Julian, Dictionary of Hymnology (1907)
==================================
Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=================
Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin.
i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:—
On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202.
ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:—
On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441.
iii. Additional not noted in the revision:—
1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place."
2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719.
3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719.
A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
===========
See also in:
Hymn Writers of the Church
Isaac Watts
