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Let earth and heaven agree

Representative Text

1 Let earth and heaven combine,
their voices all agree,
to praise in songs divine
the incarnate deity,
our God contracted to a span,
incomprehensibly made Man.

2 Unsearchable the love
that has the Saviour brought;
the grace is far above
our own or angels' thought:
enough for us that God, we know,
our God, is manifest below.

3 He deigns in flesh to appear,
widest extremes to join;
to bring our vileness near
and make us all divine:
and we the life of God shall know,
for God is manifest below.

4 Made perfect first in love,
and sanctified by grace,
we shall from earth remove,
and see his glorious face:
then shall his love be fully showed,
and we shall then be lost in God.

Source: Together in Song: Australian hymn book II #305

Author: Charles Wesley

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 deepene… Go to person page >


Let earth and heaven agree, Angels and men, &c. C. Wesley. [Praise of Jesus as the Redeemer.] Appeared in tho Hymns On God's Everlasting Love, London, 1741, No. 11, in 10 stanzas of 6 lines. (Poetical Works, 1868-72, vol. iii. p. 71). [Hymnary.org editor's note: This text is found in Hymns for the Nativity of our Lord, 1745, V. See https://divinity.duke.edu/sites/divinity.duke.edu/files/documents/cswt/31_Nativity_Hymns_%281745%29.pdf] In whole or in part, it soon came into general use not only by the followers of the Wesleys, but also by many who, on Calvinistic grounds, opposed them, and against whom the Hymns on God's Everlasting Love were written. M. Madan included stanzas i.-iv. in his Psalms & Hymns 1760, No. 90, and this form of the hymn was repeated by A. M. Toplady in his Psalms & Hymns, 1776; and again by others to modern hymnbooks in the Church of England. Nonconformists also copied this form of the hymn. In the Wesleyan Hymn Book, 1780, stanzas i.-v., vii. and ix. were given as No. 33. This is the form of the hymn most popular in Great Britain and America. The following centos are also in common use:— 1. Jesus, harmonious Name. Composed of stanzas iii. iv., vii. and ix., is in the American Andover Sabbath Hymn Book, 1858, and others. 2. Jesus, transporting sound. In the Hymnary, 1872, this is composed of stanzas ii.-iv., vi.-ix., x., considerably altered. In G. J. Stevenson's Methodist Hymn Book Notes, 1883, p. 42, several interesting reminiscences of this hymn are recorded, mainly from Wesleyan sources. --John Julian, Dictionary of Hymnology (1907)



Instances (1 - 6 of 6)

Hymns and Psalms #109

Hymns and Psalms #226

Singing the Faith #208

Singing the Faith #358


The Song Book of the Salvation Army #62


Together in Song #305

Include 159 pre-1979 instances
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