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Meter: 8.8.8.8 Appears in 50 hymnals Scripture: Luke 21:19 First Line: Patience! O what a grace divine Lyrics: 1 Patience! O what a grace divine Sent from the God of power and love That leans upon its father's hand, As thro' the wilds of life we rove. 2 By patience we serenely bear The troubles of our mortal state, And wait contented our discharge, Nor think our glory comes too late. 3 Tho's we in full sensation feel The weight, the wounds our God ordains, We smile amid our heaviest woes, And triumph in our sharpest pains. 4 O for this grace to aid us on, And arm with fortitude the breast, 'Till, life's tumultuous voyage o'er, We reach the shores of endless rest. 5 Faith into vision shall resign, Hope shall in full fruition die; And patience in possession end In the bright worlds of bliss on high. Topics: Graces of the Spirit Patience; Christian patience desired

Castillo Fuerte

Author: Martín Lutero; Juan B. Cabrera Appears in 38 hymnals Scripture: Luke 21:12-18 First Line: Castillo fuerte es nuestro Dios Lyrics: 1 Castillo fuerte es nuestro Dios, defensa y buen escudo; Con su poder nos librará en esta trance agudo. Con furia y con afán acósanos Satán; por armas deja ver astucia y gran poder; cual él no hay en la tierra. 2 Nuestro valor es nada aquí, con él todo es perdido; Mas por nosotros pugnará de Dios el Escogido. Es nuestro Rey Jesús, el que venció en la cruz, Señor y Salvador, y siendo él solo Dios, él triunfa en la batalla. 3 Aunque estén demonios mil prontos a devorarnos, No temeremos, porque Dios sabrá como ampararnos. Que muestre su vigor Satán, y su furor; dañarnos no podrá; pues condenado es ya por la Palabra Santa. 4 Esa palabra del Señor que el mundo no apetece, Por el Espíritu de Dios muy firme permanece. Nos pueden despojar de bienes y hogar, el cuerpo destruir, mas siempre ha de existir de Dios el Reino eterno. Topics: Adversario: Satanás; Adversary: Satan; Afflicción; Affliction; Apertura del Culto; Opening of Worship; Caballeros; Gentlemen; Confianza; Confidence; Conflicto y Victoria; Conflict and Victory; Iglesia Militante; Church Militant; Iglesia Triunfante; Church Triumphant; Majestad Divina; Divine Majesty; Poder Divino; Divine Power; Valor Cristiano; Christian Courage; Vida Victoriosa; Victorious Life Used With Tune: EIN' FESTE BURG

To the name of our salvation

Author: John Mason Neale (1818-1866) Meter: 8.7.8.7.8.7 Appears in 119 hymnals Scripture: Luke 21:12-15 Lyrics: 1 To the name of our salvation laud and honour let us pay, which for many a generation hid in God's foreknowledge lay, but with holy exultation we may sing aloud today. 2 Jesus is the name we treasure, name beyond what words can tell, name of gladness, name of pleasure, ear and heart delighting well; name of power beyond all measure, saving us from sin and hell. 3 Jesus is the name exalted over every other name; in this name, whene'er assaulted we can put our foes to shame: strength to those who would have halted, eyes to blind, and feet to lame. 4 Therefore we in love adoring this most blessèd name revere, Holy Jesus, thee imploring so to write it in us here, that hereafter, heavenward soaring, we may sing with angels there. Topics: Life in Christ Christ Risen - Reign and Priesthood; Adoration Of Jesus; Conflict; Jesus Name Used With Tune: TANTUM ERGO SACRAMENTUM Text Sources: 15th century; translated Hymns Ancient and Modern, 1861

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EIN' FESTE BURG

Appears in 663 hymnals Composer and/or Arranger: Martín Lutero Scripture: Luke 21:12-18 Tune Key: C Major Incipit: 11156 71765 17656 Used With Text: Castillo Fuerte

TANTUM ERGO SACRAMENTUM

Meter: 8.7.8.7.8.7 Appears in 6 hymnals Composer and/or Arranger: David Evans (1874-1948) Scripture: Luke 21:12-15 Tune Sources: French church melody from Chants Ordinaires de l'Office Divin, Paris, 1881 Tune Key: E Flat Major Incipit: 12333 23434 32321 Used With Text: To the name of our salvation

ABBOT'S LEIGH

Meter: 8.7.8.7 D Appears in 167 hymnals Composer and/or Arranger: Cyril V. Taylor (1907-1991) Scripture: Luke 21:19-20 Tune Key: C Major Incipit: 53111 76655 34565 Used With Text: Lord, You Give the Great Commission

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Instances

Published text-tune combinations (hymns) from specific hymnals

Joy to the world! The Lord is come

Author: Isaac Watts, 1674-1748 Hymnal: Together in Song #268 (1999) Scripture: Luke 21:19-28 Lyrics: 1 Joy to the world! The Lord is come; let earth receive its king; let every heart prepare him room, and heaven and nature sing, and heaven and nature sing, and heaven, and heaven and nature sing. 2 Joy to the earth! The Saviour reigns; let us our songs employ; while fields and streams, rocks, hills and plains repeat the sounding joy, repeat the sounding joy, repeat, repeat the sounding joy. 3 He rules the world with truth and grace, and makes the nations prove the glories of his righteousness and wonders of his love, and wonders of his love, and wonders, wonders of his love. Topics: Christmas; Epiphany; Festal Joy; God's Love to Us; Hymns Specially Suitable for Children; Hymns Specially Suitable for Liturgical Dance; Jesus Christ Reign; Mission/Sending Languages: English Tune Title: ANTIOCH

Guide Me, O Thou Great Jehovah

Author: William Williams, 1717-1791; Peter William, 1723-1796 Hymnal: Common Praise (1998) #565 (1998) Meter: 8.7.8.7.8.7 with repeat Scripture: Luke 21:5-19 Topics: Bread; Eucharist; Exodus; Funeral; Guidance; Healing; Trust Languages: English Tune Title: CWM RHONDDA

My Hope Is Built

Author: Edward Mote Hymnal: Voices Together #621 (2020) Meter: 8.8.8.8 with refrain Scripture: Luke 21:5-19 First Line: My hope is built on nothing less Refrain First Line: On Christ, the solid rock, I stand Lyrics: 1 My hope is built on nothing less than Jesus’ blood and righteousness. I dare not trust the sweetest frame but wholly lean on Jesus’ name. Refrain: On Christ, the solid rock, I stand; all other ground is sinking sand, all other ground is sinking sand. 2 In ev’ry rough and stormy gale, my anchor holds within the vale. When all around my soul gives way, he then is all my hope and stay. [Refrain] 3 Not earth, nor hell, my soul can move; I rest upon unchanging love. I trust his righteous character, his counsel, promise, and his pow’r. [Refrain] 4 When he shall come with trumpet sound, oh, may I then in him be found, dressed in his righteousness alone, faultless to stand before the throne. [Refrain] Topics: Confessing Faith; Faith; Hope; Jesus Christ Second Coming of; Name of Jesus; Reign of Christ; Salvation Tune Title: SOLID ROCK

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People

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Charles Wesley

1707 - 1788 Person Name: C. Wesley Scripture: Luke 21:19-20 Author of "Jesus, we thus obey" in African Methodist Episcopal hymn and tune book 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) ================== 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.

Fred Kaan

1929 - 2009 Person Name: Fred Kaan, 1929-2009 Scripture: Luke 21:5-19 Author of "For the healing of the nations" in Singing the Faith Fred Kaan Hymn writer. His hymns include both original work and translations. He sought to address issues of peace and justice. He was born in Haarlem in the Netherlands in July 1929. He was baptised in St Bavo Cathedral but his family did not attend church regularly. He lived through the Nazi occupation, saw three of his grandparents die of starvation, and witnessed his parents deep involvement in the resistance movement. They took in a number of refugees. He became a pacifist and began attending church in his teens. Having become interested in British Congregationalism (later to become the United Reformed Church) through a friendship, he was attended Western College in Bristol. He was ordained in 1955 at the Windsor Road Congregational Church in Barry, Glamorgan. In 1963 he was called to be minister of the Pilgrim Church in Plymouth. It was in this congregation that he began to write hymns. The first edition of Pilgrim Praise was published in 1968, going into second and third editions in 1972 and 1975. He continued writing many more hymns throughout his life. Dianne Shapiro, from obituary written by Keith Forecast in Independent (http://www.independent.co.uk/news/obituaries/fred-kaan-minister-and-celebrated-hymn-writer-1809481.html)

Martin Luther

1483 - 1546 Person Name: Martín Lutero Scripture: Luke 21:12-18 Author of "Castillo Fuerte" in Celebremos Su Gloria Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

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