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O God, My God, My All Thou Art!
Author: Unknown; John Wesley Meter: 8.8.8.8 Appears in 45 hymnals First Line: O God, my God, my all Thou art Lyrics: 1. O God, my God, my all Thou art!
Ere shines the dawn of rising day,
Thy sovereign light within my heart,
Thy all enlivening power display.
2. For Thee my thirsty soul doth pant,
While in this desert land I live;
And hungry as I am, and faint,
Thy love alone can comfort give.
3. In a dry land, behold I place
My whole desire on Thee, O Lord;
And more I joy to gain Thy grace,
Than all earth’s treasures can afford.
4. More dear than life itself, Thy love
My heart and tongue shall still employ
And to declare Thy praise will prove
My peace, my glory, and my joy.
5. In blessing Thee with grateful songs
My happy life shall glide away;
The praise that to Thy name belongs
Hourly with lifted hands I’ll pay.
6. Abundant sweetness, while I sing
Thy love, my ravished heart o’erflows;
Secure in Thee, my God and King,
Of glory that no period knows. Used With Tune: GERMANY Text Sources: Psalms and Hymns, 1738
O God, My God, My All Thou Art!
TALLIS' EVENING HYMN
Appears in 483 hymnals Incipit: 11711 22343 14433 Used With Text: O God, my God, my all thou art
TALLIS' EVENING HYMN
O God, My God, My All Thou Art!
Author: Unknown; John Wesley Hymnal: The Cyber Hymnal #4864 Meter: 8.8.8.8 First Line: O God, my God, my all Thou art Lyrics: 1. O God, my God, my all Thou art!
Ere shines the dawn of rising day,
Thy sovereign light within my heart,
Thy all enlivening power display.
2. For Thee my thirsty soul doth pant,
While in this desert land I live;
And hungry as I am, and faint,
Thy love alone can comfort give.
3. In a dry land, behold I place
My whole desire on Thee, O Lord;
And more I joy to gain Thy grace,
Than all earth’s treasures can afford.
4. More dear than life itself, Thy love
My heart and tongue shall still employ
And to declare Thy praise will prove
My peace, my glory, and my joy.
5. In blessing Thee with grateful songs
My happy life shall glide away;
The praise that to Thy name belongs
Hourly with lifted hands I’ll pay.
6. Abundant sweetness, while I sing
Thy love, my ravished heart o’erflows;
Secure in Thee, my God and King,
Of glory that no period knows. Languages: English Tune Title: GERMANY
O God, My God, My All Thou Art!
O God, my God, my all thou art
Hymnal: Urania #176 (1761) Lyrics: 1 O God, my God, my all thou art,
Ere shines the dawn of rising day,
Thy sovereign light within my heart
Thine all enlive...
Thine all enliv'ning pow'r display.
2 In blessing thee with grateful songs,
My happy life shall glide away,
The praise, that to thy Name belongs,
Hourly with...
Hourly with lifted hands I'll pay.
3 Abundant sweetness, while I sing
Thy love, my ravish'd soul o'erflows.
Secure in thee, my God and king,
Of glory that...
Of glory that no period knows.
4 Thy name, O Lord, upon my bed,
Dwells on my lips and fires my thought.
With trembling awe in midnight shade,
I muse on all...
I muse on all thine hands have wrought.
4 In all I do I feel thine aid.
Therefore thy greatness will I sing,
O God, who didst my heart be glad,
Beneath the shadow...
Beneath the shadow of thy wing. Languages: English Tune Title: ITALIAN
O God, my God, my all thou art
O God, my God, my all thou art
Hymnal: A Collection of Hymns Adapted to the use of the Methodist Episcopal Church Including the Whole Collection of the Rev. J. Wesley #ad414 (1836) Languages: English
O God, my God, my all thou art
Anonymous
Person Name: Unknown Author of "O God, My God, My All Thou Art!" in The Cyber Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
John Wesley
1703 - 1791 Translator (from Spanish) of "O God, My God, My All Thou Art!" in The Cyber Hymnal John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872
======================
John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88.
The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals.
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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See also in:
Hymn Writers of the Church
John Wesley
William Gardiner
1770 - 1853 Composer of "GERMANY" in The Cyber Hymnal William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music.
Bert Polman
William Gardiner
