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The King shall come when morning dawns

Author: John Brownlie Meter: 8.6.8.6 Appears in 95 hymnals Topics: Advent Second; Ancient Hymns; Ascension and Reign; Christ Reign; Christ Second Coming; Historical; Second Coming Text Sources: Greek

Soon and Very Soon

Author: Andraé Crouch Meter: 10.10.10.10.10.10 Appears in 58 hymnals First Line: Soon and very soon we are going to see the King Refrain First Line: Hallelujah

A Voice Cries Out

Author: Michael Joncas Appears in 8 hymnals First Line: Console my people, the ones dear to me Refrain First Line: A voice cries out in the wilderness

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Tunes

Tune authorities

KINGSFOLD

Meter: 8.6.8.6 D Appears in 285 hymnals Composer and/or Arranger: Ralph Vaughan Williams (1872-1958); John Alexander Fuller Maitland (1856-1936) Topics: Assurance; Children and All-Age Worship; Church nature of; Church Year Easter; Death and Bereavement; Easter; Faith; Forgiveness; Future hope; Jesus Names and images for; The Second Sunday of Easter Year C; The Third Sunday before Advent Year C; The Third Sunday of Easter Year B; Funerals and The Departed Tune Sources: Melody from English County Songs 1893 Tune Key: e minor Incipit: 32111 73343 45543 Used With Text: If Christ had not been raised from death

ST FRANCIS

Appears in 45 hymnals Composer and/or Arranger: John Barnard (b. 1948); Sebastian Temple (1928-1997) Topics: The Second Sunday before Advent Year A Tune Key: D Major Incipit: 33333 45353 3333 Used With Text: Make me a channel of your peace

CORVEDALE

Meter: 8.7.8.7 D Appears in 4 hymnals Composer and/or Arranger: Maurice Bevan (1921-2006) Topics: Assurance; Atonement; God in grace and mercy; God Love of; Kindness; Proper 15 Year A; Proper 5 Year C; The Fourth Sunday before Advent Year B; The Second Sunday of Lent Year C Tune Key: E Flat Major Incipit: 12343 25111 65645 Used With Text: There's a wideness in God's mercy

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Instances

Published text-tune combinations (hymns) from specific hymnals

Hvordan takke vi vor Herre

Author: Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #151 (1919) Topics: Fourth Sunday in Advent; Fourth Sunday in Advent; Second Sunday in Christmas; Second Sunday in Christmas; Nyaarsdag Til Høimesse -Til Tredje Teksxtækkes Evangelium; New Years Day; Søndag Septuagesima Til Høimesse -Til Sekund Tekstrækkes Evangelium; Septuagesima Sunday; Søndag Seksagesima Til Høimesse -Til Sekund Tekstrækkes Evangelium; Søndag Seksagesima Til Høimesse -Til Sekund Tekstrækkes Evangelium; Sexagesima Sunday; Sexagesima Sunday; Pentecost; Trefoldigheds-Fest Til Aftengudstjeneste - Til Sekund Tekstrækkes Epistel; Trinity Sunday; Second Sunday after Trinity Sunday; Second Sunday after Trinity Sunday; Fourth Sunday after Trinity Sunday; Åttende Søndag efter Trefoldiheds Fest Til Høimesse -Til Tredje Teksxtækkes Evangelium; Eighth Sunday after Trinity Sunday; Tjueførste Søndag efter Trefoldiheds Fest Til Aftengudstjeneste - Til Sekund Tekstrækkes Epistel; Efterfølgelse, Jesu; Obedience of Jesus; Hykleri; Hypocrisy; Jesus, vort Lys; Jesus, Our Light; Naadetiden; Omvendelse; Repentance; Selvprøvelse; Vandring I Lyset; Walking in the Light; Second Christmas Day; Fjerde Søndag efter Trefoldiheds Fest Til Aftengudstjeneste - Til Anden Tekstrækkes Epistel; Fjerde Søndag I Advent Til Aftengudstjeneste - Til Anden Tekstrækkes Epistel; Fjerde Søndag I Advent Til Høimesse -Til Anden Tekstrækkes Evangelium; Anden Juledag Til Aftengudstjeneste - Til Tredje Tekstrækkes Epistel; Anden Juledag Til Høimesse -Til Tredje Teksxtækkes Evangelium; Anden Pinsedag Til Høimesse -Til Tredje Teksxtækkes Evangelium; Anden Søndag efter Trefoldiheds Fest Til Høimesse -Til Anden Tekstrækkes Evangelium; Anden Søndag efter Trefoldiheds Fest Til Høimesse -Til Tredje Teksxtækkes Evangelium; Anden Juledag Til Høimesse Lyrics: 1 Hvordan takke vi vor Herre, For han gav sin Søn herned? Mange skjønne lidt, desværre, Paa saa stor en Kjærlighed; Deres onde Syndelyst Dække de med Naadens Trøst, Vil af Jesus intet lære, Og dog sande Kristne være. 2 Vistnok ingen Sjæl fordømmes, Naar man paa sin Jesus tror, Naadens Kilde aldrig tømmes, Naaden er og bliver stor; Men det er en afsagt Dom, Siden Jesus til os kom, Skal man sig fra SYnden vende, Eller ogsaa evig brænde. 3 At du vil i dine Lyster Fare fort, som du er van, Og dig dog ved Jesus trøster, Gaar i Evighed ei an. Kjære Hjerte, Et af To: Enten udi Bøn og Tro Syndens Vei at fly og hade, Eller lide Sjæleskade. 4 Lyset er i Verden kommet; Veed du ogsaa om du tror? Har du nogen Tid fornummet, At din Jesus i dig bor? Har hans Naade-Straalers Kraft I din Sjæl sin Virkning havt? Kan du i dit Hjerte finde, At der er et Lys derinde? 5 Hvordan gaar man dog og drømmer Udi saadan vigtig Sag, Og i Sikkerhed forsømmer Naadens dyrbare Dag! Sagen burde vides vist, Mens der end er Bedrings Frist. Evig, Evighedens Tanke Bør jo vore Sanser sanke. 6 Bort, du Syndens fæle Taage, Satans helvedsorte Magt! Det er Tid engang at vaage Og at passe paa sin Vagt; Det er Tid at sanse Vel Og at sørge for sin Sjæl; Det er Tid at forekomme Herrens grumme Vredes Domme. 7 Gud, som Lyset lod opklare Udi Naadens blide Aar, Vil og ingenlunde spare Den, som dette Lys forsmaar. Vil du vende Ryggen til, Gud dig fra sig støde vil; Den, som ei vil Lyset kjende, Han skal sig paa Lyset brænde. 8 Lad din Naades glans oprinde, Søde Jesus, at jeg maa Derved altid Veien finde, Som jeg bør at vandre paa! Vær min Formand, at jeg ei Kommer paa den brede Vei, Eller fra dit Fodspor viger, Til jeg ind i Himlen stiger. Languages: Norwegian

I Jomfruer, I kloge

Author: Laur. Laurenti; Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #641 (1919) Topics: Second Sunday in Advent; Second Sunday in Advent; Second Sunday in Advent Lyrics: 1 I Jomfruer, I kloge, O tænder Lamper, ser, Hvor det i Verdens Kroge Nu mørknes mer og mer! Vor Brudgom op er standen Og kommer med en Fart, Op, vaager med hinanden, Nu erdet Midnat snart! 2 Hver gjøre Lampen færdig, At I kan rede staa Og vorde agtet værdig, Med Brudgommen at gaa; Thi Zions Vægtre raabe: Vor Brudgom nu er nær, O, møder ham tilhobe I Troens Frydefærd! 3 I Jomfruer, saa mange, Som ere ved Forstand, O kommer, ud at gange Imod vor Frelsermand! Ser Himlens aabne Porte Og Brylluppet bered! Han ikke langt er borte, Som hedder Zions Fred! 4 Ser op, gaar ham imøde, Han er, nu er han her! Ser Træets Topper gløde, Saa er vor sommer nær! Ser, hvor saa klart frembryder Den røde Aftensky, Som os den Dag betyder, Naar al vor Nat maa fly! 5 Bort derfor, Søvnens Taage! Hvo vaager, han er vis. Enhver, som ei vil vaage, Skal føle Vredens Ris, Fordærvelse og Plage; Thi alle Vredens kar For evig da skal smage Den Helvedpine svar. 6 Men møder ham, I Fromme, Med Fryd og Glædes Lyd! Vor Sorrigs Tid er omme, Til Klagen Afsked byd! O, ser dog Frydestunden, Som bærer Kronen from, Nu er den snart oprunden, Nu hentes Bruden hjem! 7 I, som med Jesus lider I denne Grædedal, Skal efter Sorgens Tider Faa Fryd i Himlens Sal, Med ham I skal regjere,– Hvo kan vel det forstaa?– Og evig triumfere Med Ærens Krone paa. 8 O Jesus, lad det komme Dog snart dertil engang, At alle dine Fromme Maa mode dig med Sang! Gjør, Jesus, snart en Ende Paa dines haarde Strid, Og lad min Lampe brænde Til min Forløsningstid! Languages: Norwegian

Løft Hoved op, al Kristendom

Author: Grundtvig; Søren Palludan Hymnal: Salmebog for Lutherske Kristne i Amerika #104 (1919) Topics: Second Sunday in Advent; Second Sunday in Advent; Second Sunday in Advent Lyrics: 1 Løft Hoved op, al Kristendom, Vaag flittig nu, og tænk dig om, Og hør Guds Ord og Lære! Skik deg derefter af al Magt, Staa op af Søvne og giv Agt, Om du vil salig være! 2 I Himlen er dit Hjertes Skat, Derfra med Ære kommer brat Den Ven, du ei kan glemme. O vær ham tro! saa er du glad Og venter snart og stunder ad, At være hos ham hjemme. 3 Du gruer ei for Domme-Dag, Du veed, han selv har ført din Sag, Og den med Ære vundet; Thi længes du hvert Morgengry, Til Herren kommen selv i Sty, Naar Natten er udrundet. 4 Naar under hver en Himmel-Egn Du skuer da din Konges Tegn, Ja Tegn i Sol og Maane, Da lyser salig Øiet dit; Da reiser du dit Hoved frit, Mens stjerner dø og daane. 5 Men, skjønt du længes, Kristenhed, Saa glem dog ei, at godt du veed, Hvad Herren bier efter, Og bed ham ei, før Timen kom, Til Jordens Gru og Verdens Dom At røre Himlens Kræfter! 6 Du veed, du har en Herre mild, Som nødig kun med Himlens Ild Hjemsøger Jordens Lyder, Som "Vennen" hist fra Sodom bad, Saa bed du for den store Stad, Til selv han Staven bryder! 7 Ja bed for Babel, til du ser, At Bøn og Suk ei gavner mer Mod Undergangens Bølger. Da raaber han: Jeg kommer snart! Og Bruden svarer: Kom! med Fart Jeg dig i Skyen følger. Languages: Norwegian

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People

Authors, composers, editors, etc.

Johann Rist

1607 - 1667 Topics: Advent, Second Sunday Author of "Arise, the Kingdom Is at Hand" in The Hymnal and Order of Service Rist, Johann, son of Kaspar Rist, pastor at Ottensen, near Hamburg, was born at Ottensen, March 8, 1607, and from his birth was dedicated to the ministry. After passing through the Johanneum at Hamburg and the Gymnasium Illustre at Bremen, he matriculated, in his 21st year, at the University of Rinteln, and there, under Josua Stegmann (q. v.), he received an impulse to hymn-writing. On leaving Rinteln he acted as tutor to the sons of a Hamburg merchant, accompanying them to the University of Rostock, where he himself studied Hebrew, Mathematics and also Medicine. During his residence at Rostock the terrors, of the Thirty Years War almost emptied the University, and Rist himself also lay there for weeks ill of the pestilence. After his recovery he seems to have spent some time at Hamburg, and then, about Michaelmas, 1633, became tutor in the house of the lawyer (Landschreiber) Heinrich Sager, at Heide, in Holstein. There he betrothed himself to Elizabeth, sister of the Judge Franz Stapfel, whose influence seems to have had a good deal to do with Rist's appointment as pastor at Wedel. In the spring of 1635 he married and settled at Wedel (on the Elbe, a few miles below Hamburg), where, spite of various offers of preferment, he remained till his death, on Aug. 31, 1667. (Johann Rist und seine Zeit, by Dr. T. Hansen, Halle, 1872; K. Goedeke's Grundriss, vol. iii., 1887, p. 79; Koch, iii., 212; Bode, p. 135, &c. The statements of the various authorities regarding the period 1624-1635 vary greatly and irreconcilably.) During the Thirty Years War Rist had much to endure from famine, plundering, and pestilence. Otherwise he led a patriarchal and happy life at Wedel, close to the congenial society of Hamburg, and as years went on more and more esteemed and honoured by his contemporaries. The Emperor Ferdinand III. crowned him as a poet in 1644, and in 1653 raised him to the nobility, while nearer home Duke Christian of Mecklenburg appointed him Kirchenrath and Consistorialrath. Among other literary honours he was received in 1645 as a member of the Pegnitz Order, and in 1647 as a member of the Fruitbearing Society, the great German literary union of the 17th century; while in 1660 he himself became the founder and head of the Elbe Swan Order, which however did not survive his death. Rist was an earnest pastor and a true patriot. He of course took the side, and that with all his might, of the Protestants, but he longed as few did for the union of the scattered elements of the body politic in Germany. He was a voluminous and many-sided writer (see the full bibliographies in Hansen and Goedeke as above). His secular works are of great interest to the student of the history of the times, and his occasional poems on marriages, &c, to the genealogist and local historian. Perhaps the most interesting to the general reader are the Friede wünschende Teutschland, 1647, and the Friedejauchzende Teutschland, 1653, two plays in which there are vivid pictures of the times, especially of the condition of the lower classes during the Thirty Years War. These plays, with selections from his other secular poems and from his hymns, are included in his Dichtungen, Leipzig, 1885, edited by Goedeke and E. Goetze. Hansen gives analyses of the secular works, with a few extracts from them; and in his second part gives a full selection from the hymns, often however greatly abridged. As a hymn-writer Rist takes high rank. He wrote some 680 hymns, intended to cover the whole ground of Theology, and to be used by all ranks and classes, and on all the occasions of life. Naturally enough they are not of equal merit, and many are poor and bombastic. Rist meant them rather for private use than for public worship, and during his lifetime they were never used in the church at Wedel. But they were eagerly caught up, set to melodies by the best musicians of the day, and speedily passed into congregational use all over Germany, while even the Roman Catholics read them with delight. Over 200 may be said to have been in common use in Germany, and a large number still hold their place. Unfortunately many are very long. But speaking of Rist's better productions, we may say that their noble and classical style, their objective Christian faith, their scriptualness, their power to console, to encourage, and to strengthen in trust upon God's Fatherly love, and their fervent love to the Saviour (especially seen in the best of his hymns for Advent, and for the Holy Communion), sufficiently justify the esteem in which they were, and are, held in Germany. The best known of Rist's hymns appeared in the following collections:— (1) Himlischs Lieder. This contains 50 hymns. The Erste Zehen is dated Lüneburg, 1641, the 2-6 Zehen are dated 1642 [Royal Library, Berlin]. In the later editions Rist made various alterations, and also expanded the titles of the hymns, these changes being almost all for the worse. (2) Neüer himlischer Lieder sonderbahres Buch, Lüneburg, 1651 [Wernigerode Library]. 50 hymns. (3) Sabbahtische Seelenlust, Lüneburg, 1651 [British Museum and Göttingen]. With 58 hymns on the Gospels for Sundays, &c. (4) Frommer und gottseliger Christen alltägliche Haussmusik, Lüneburg, 1654 [Brit. Mus. and Göttingen], with 70 hymns. (5) Neüe musikalische Fest-Andachten, Lüneburg, 1655 [Wernigerode]. With 52 hymns on the Sunday Gospels. (6) Neüe musikalische Katechismus Andachten, Lüneburg, 1656 [British Museum and Wernigerode]. With 50 hymns. Seven of Rist's hymns are separately noted under their German first lines. The others which have passed into English are:-- i. Du Lebensbrod, Herr Jesu Christ. Holy Communion. In his Haussmusik, 1654, No. 7, p. 32, in 8 stanzas of 8 lines, entitled "A devotional hymn, which may be sung when the people are about to take their place at the Holy Communion of the Lord." Founded on Ps. xxiii. Included as No. 473 in the Berlin Geistliche Lieder, ed. 1863. Translated as:— Lord Jesu Christ, the living bread. A good translaton of stanzas i., ii., iii., v., by A. T. Russell, as No. 159 in his Psalms & Hymns, 1851. ii. Ehr und Dank sei dir gesungen. On the Angels. In his Fest-Andachten, 1655, No. 46, p. 304, in 9 stanzas of 10 lines, entitled "Another hymn of Praise and Thanksgiving on the same Gospel [S. Matt, xviii.] for St. Michael's Day. In which the great God who created the Angels, and appointed them for our service, is from the heart adored and praised." Included in Burg's Gesang-Buch, Breslau, 1746, No. 219, and in Bunsen's Versuch, 1833, No. 233. The translations in common use are:— 1. Praise and thanks to Thee be sung. By Miss Winkworth, omitting st. iii.—vi., in her Lyra Germanica, 1st Ser., 1855, p. 205, repeated in her Chorale Book for England, 1863, No. 85. 2. Glory, praise, to Thee be sung. A translation of st. i. as No. 1224, in the Moravian Hymn Book, 1886. iii. Ermuntre dich, mein schwacher Geist. Christmas. Founded on Isaiah ix. 2-7. First published in the Erstes Zehen of his Himlische Lieder, 1641, No. 1, p. 1, in 12 stanzas of 8 lines, entitled "A hymn of praise on the joyful Birth and Incarnation of our Lord and Saviour Jesus Christ." Included in Crüger's Praxis, 1656, No. 87, and recently, omitting st. viii., as No. 32 in the Unverfälschter Liedersegen 1851. The translations in common use are:— 1. Be cheerful, thou my spirit faint. A translation of st. i. by J. Gambold, as No. 138 in pt. i. of the Moravian Hymn Book, 1754; repeated as st. i. of No. 437, altered to "Arise my spirit, leap with joy," and with his trs. of st. ii., iv., ix. added. In the edition of 1789, No. 46 (1886, No. 41), it begins, "Arise, my spirit, bless the day.” 2. O Jesu! welcome, gracious Name! This is a translation of st. ii., vi., xii., by A. T. Russell, as No. 55 in his Psalms & Hymns., 1851. Another translation is "My languid spirit, upward spring." By N. L. Frothingham, 1870, p. 179. iv. Gott sei gelobet, der allein. Joy in God. In his Neüer Himlischer Lieder 1651, p. 126, No. 9, in 13 stanzas of 7 lines, entitled “A joyful hymn of Thanksgiving to God, that He permits us to enjoy our daily bread in health, peace and prosperity, with a humble prayer that He would graciously preserve us in the same." Included in Olearius's Singe-Kunst, 1671, No. 322, and recently in Knapp's Evangelischer Lieder-Schatz 1850, No. 1696 (1865, No. 1766). The tr. in common use is:— Now God be praised, and God alone . By Miss Winkworth, omitting st. iii., vi., viii., ix., in her Christian Singers, 1869, p. 192. Repeated, abridged, in Statham's Collection, Edinburgh, 1869, No. 63 (1870, No. 110). v. Jesu, der du meine Seele. Lent. In the Erstes Zehen of his Himlische Lieder, 1641, p. 35, No. 7, in 12 stanzas of 8 lines, entitled "A heartfelt hymn of penitence to his most beloved Lord Jesus, for the forgiveness of his many and manifold sins." Founded on prayer viii. in Class in. of J. Arndt's Paradiesgärtlein, 1612. In the Unverfälschter Liedersegen, 1851, No. 382. The translations in common use are:—- 1. Thou hast cancell'd my transgression. A translation of st. vi., viii., as No. 1022, in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 107). 2. Jesu! Who in sorrow dying. A free translation of st. i., iii. lines 1-4, v. 11. 5-8, xii., by A. T. Russell, as No. 78 in his Psalms & Hymns, 1851. vi. 0 Jesu, meine Wonne. Holy Communion. This beautiful hymn appears in Rist's Hauss-musik, 1654, No. 9, p. 42, in 14 stanzas of 4 lines, entitled "The heartfelt Thanksgiving of a pious Christian when he has partaken of the Holy Communion." In the Unverfälschter Liedersegen, 1851, No. 285. The translation in common use is:— 0 Sun of my salvation. A good tr. of st. i., iii., v., vi., by A. T. Russell, as No, 160 in his Psalms & Hymns, 1851. Another translation is:— “0 Christ, my joy, my soul's delight." By Dr. G. Walker, 1860, p. 65. vii. Werde licht, du Stadt der Heiden. Epiphany. In his Fest-Andachten , 1655, p. 82, No. 13, in 15 stanzas of 6 lines, entitled "Another festival hymn of the day of the Manifestation of Christ, in which the glorious, godlike, and eternal Light, which has graciously arisen on us poor heathen in thick darkness, is devotedly contemplated." In the Unverfälschter Liedersegen, 1851, No. 82. Translated as:— 1. All ye Gentile lands awake. A good tr. of st. i.-iv., vi., vii., xiv. xv., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 30. Repeated, abridged, in Schaffs Christ in Song, 1869 aud 1870, and in Flett's Collection, Paisley, 1871. 2. Rise, O Salem, rise and shine. A good translation of stanzas i., iii., vii., xiv., xv., based on her Lyra Germanica version but altered in metre, by Miss Winkworth, in her Chorale Book for England, 1863, No. 38. Repeated in J. L. Porter's Collection, 1876, and the Pennsylvania Lutheran Ch. Book, 1868. viii. Wie wohl hast du gelabet. Holy Communion. In his Neüer Himlischer Lieder, 1651, p. 78, in 9 stanzas of 12 lines, entitled "A hymn of heartfelt Praise and Thanksgiving after the reception of the Holy Communion." In the Unverfälschter Liedersegen, 1851, No. 291. The translation in common use is:— O Living Bread from Heaven. A good tr., omitting st. iv., by Miss Winkworth, in her Lyra Germanica 2nd Ser., 1858, p. 103; repeated in her Chorale Book for England, 1863, No. 94, omitting the trsanslations of iii., v., vi. Her translations of st. i.-iii., ix. were included, slightly altered, in the Pennsylvania Lutheran Ch. Book, 1868. The following have also been tr. into English:— ix. Heut ist das rechte Jubelfest. Whitsuntide. In his Fest-Andachten, 1655, p. 216, No. 33, in 12 stanzas, founded on the Gospel for Whitsunday (St. John xiv.). In Olearius's Singe-Kunst, 1671, No. 704, and Porst's Gesang-Buch, ed. 1855, No. 173. The text translation is that in Bunsen's Allgemeine Gesang-Buch, 1846, No. 114, where it begins with st. v., "Heut hat der grosse Himmeleherr." Translated as "This day sent forth His heralds bold." By Miss Cox, in the Churchman's Shilling Magazine, June 1867. x. Ich will den Herren loben. Praise and Thanksgiving. Founded on Ps. xxxiv. In his Neüer Himlischer Lieder, 1651, p. 132 (No. 10 in pt. ii.), in 12 st. of 8 1. This form is in Burg's Gesang-Buch, Breslau, 174G, No. 1201. In his Haussmusik, 1654, p. 348, No. 64, Rist rewrote it to 6 stanzas of 12 lines, and of this form st. iv.-vi., beginning "Man lobt dich in der Stille, ed. 1863, No. 1018. The translation from this last text is "To Thee all praise ascendeth." In the British Herald, May 1866, p. 265, repeated in Reid's Praise Book, 1872. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

George Frideric Handel

1685 - 1759 Person Name: George Frederick Handel Topics: Advent, Second Sunday Composer of "CHRISTMAS" in The Hymnal and Order of Service George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.” Bert Polman

Charles Wesley

1707 - 1788 Topics: Advent Second; Christ Second Coming; Second Coming Author of "Lo! He Comes with Clouds Descending" 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.

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