Epileptic or Lunatic

Did the NKJV translators believe epilepsy is caused by demon possession?[i] Or do they possibly believe the possession described here is not real, but rather figurative? Or something else?[ii]

• Matthew 17:15 AKJV: Lord, have mercy on my son: for he is lunatick, and sore vexed: for ofttimes he falleth into the fire, and oft into the water.
• Matthew 17:15 NKJV: “Lord, have mercy on my son, for he is an epileptic and suffers severely; for he often falls into the fire and often into the water.

• Epileptic, noun. A person affected by epilepsy (a disorder of the nervous system, characterized either by mild, episodic loss of attention or sleepiness petit mal or by severe convulsions with loss of consciousness grand mal.)
• Lunatic (lunatick), noun. A person affected with a severely disordered state of mind.

Lunatick or Epileptic? The Greek word is σεληνιάζεται, which means “lunatic” or “moonstruck.”[iii] Epileptic is a modern interpretation or application.

Whether reading in the King James Bible or a modern translation, the context is clear that this is a case of devil- or demon possession. Jesus rebuked the devil, and the devil was cast out of the man’s son. Again, I ask, do the NKJV translators believe epilepsy is caused by demon possession, or do they possibly believe the possession described here is not real? Or something else? Many modernists reject that Jesus was literally casting out devils. They ascribe this to ignorance of medical conditions. For example, William Barclay writes from his high modern horse, “As was inevitable in that age [emphasis mine], the father attributed the boy’s condition to the malign influence of evil spirits.” In other words, such medical problems as epilepsy were merely associated with demon possession because the people were ignorant and did not know any better! Such an accusation, however, means the inspired writers—and the one who inspired them to write—must have also been ignorant of the cause! God forbid! Do the NKJV translators side with the modernists against God?

Notice also that there are parallel accounts of this incident recorded in Mark 9:14-27 and Luke 9:37-42. These accounts also clearly point to an evil spirit that Jesus cast out. Textual scholars can be like politicians. Politicians create political problems so they can remain relevant by solving them. Scholars create Bible text problems to they can remain relevant by solving them. I think the simple solution is to leave “epilepsy” out of the equation. Doing so stops short of seeming to make a modern medical diagnosis. Most folks today think epilepsy is a neurological disorder caused by abnormal electrical activity in the brain, and has nothing to do with demon possession. Whatever the “medical diagnosis” of the boy in Matthew 17, it is clear from the Bible that it was caused by the activity of an evil spirit.[iv] Let God be true, but every man a liar.

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[i] And other modern translations, including: ASV, AMP, CEB, CEV, CJB, ESVUK, EXB, GNT, ICB, ISV, MEV, NCB, NCV, NRSV, OJB, RSV, WEB. Interestingly, the LSB and NASB do not use epileptic.
[ii] Some commentators try to either explain or compromise the situation by allowing that some but not all cases of epilepsy are caused by evil spirits. It is notable that in the Believers Bible Commentary edited by Art Farstad and based on the NKJV, William MacDonald attributes this to be an epileptic seizure caused by Satan, pp. 1270-1271. Harold Fowler approaches it similarly, stating, “The child is an epileptic, but not just an epileptic, because this physical malady is merely the background upon which his demon possession is superimposed. Rather, the cause of the epilepsy and its accompanying symptoms was a demon…Although the NT does not teach that all, or even most, cases of epilepsy were produced by demonic power, this one was.” (The Gospel of Matthew, Volume Three. Joplin, MO: College Press, 1978, p. 620). The liberal Lutheran Ulrich Luz does not like the demonic explanation of the text and seeks to spiritualize it positively for modern readers: “Illnesses such as epilepsy do not conform to the human image willed by God, and the struggle against it takes place with the will of Christ and by his power” (Matthew 8-20, English translation by James E. Crouch. Minneapolis, MN: Fortress Press, 2001, p. 408).
[iii] The modern NET Bible gives this note on Matthew 17:15: “tn Grk ‘he is moonstruck,’ possibly meaning ‘lunatic’ (so NAB, NASB), although now the term is generally regarded as referring to some sort of seizure disorder such as epilepsy (L&N 23.169; BDAG 919 s.v. σεληνιάζομαι).” From the root σεληνιάζομαι (lunatic), see also Matthew 4:24.
[iv] To be clear, I am not offering any diagnoses of any modern seizures. I am interpreting this case in the Bible in its context. The physical problem was caused by devils.

The first three heroes of faith

“Instructively, the first three heroes of faith listed in Hebrews are from Genesis 4-6: Abel, Enoch, and Noah. All believed God, but their destinies were significantly different. Abel believed God and died. Enoch believed God and did not die. Noah believed God, and everyone else died in the Flood; eventually he died a natural death at the good old age of 950 years. We cannot dictate where faith will lead. The human tendency is to see only Enoch as the example of faith, but Abel is also given as our example. What all three have in common is that they walked by faith and pleased God. That faith is an example to us.” 

“Yet Noah was not perfect. The striking parallel and contrast between the saintly Noah before and during the Flood (6:8-9) and the drunken sinner, who exposes his nakedness after the Flood (9:21), directs the audience to look to God, not humans, for salvation.”

Bruce K. Waltke, Cathi J. Fredricks, Genesis: a Commentary, Grand Rapids, MI: Zondervan, 2001, p. 155

My song is love unknown

The hymn beginning “My song is love unknown” was written by Samuel Crossman in 1664. It was first published in The Young Man’s Meditation. These stanzas were connected to the Bible verse, “God forbid that I should glory, save in the cross of our Lord Jesus Christ” (Galatians vi. 14). It speaks of the incarnation, the triumphal entry, and the crucifixion.

Not much is known of Samuel Crossman’s early life, but he was born in Suffolk, England in 1623. Crossman studied at Pembroke College, then at Cambridge. After his graduation from the University of Cambridge, he ministered simultaneously at both an Anglican congregation and a Puritan congregation. He participated in the 1661 Savoy Conference. This conference attempted to reconcile dissenting elements in the Church of England, and update the Book of Common Prayer in a reconciliatory way for both Puritans and High Church Anglicans. After this attempt failed, the 1662 Act of Uniformity was passed. Crossman and other Puritan-leaning ministers who opposed the act were expelled from the Church of England. Later, around 1665, he returned to the Anglican Church and served in Bristol. Crossman died on February 4, 1683 (1684, new style), at Bristol. He was buried in the south aisle of the cathedral there.

Some sources state that the last stanza of this hymn “was written as an imitation of George Herbert’s ‘The Temple’ poem as a tribute by Crossman to Herbert.” The hymn text is in Hallelujah Meter (6.6.6.6.8.8.) with an unique internal rhyme pattern in the 5th and 6th lines.

1. My song is love unknown;
My Saviour’s love to me.
Love to the loveless shown,
That they might lovely be.
Oh who am I, that for my sake
My Lord should take frail flesh and die.
 
2. He came from his blessed throne,
Salvation to bestow:
But men made strange, and none
The longed-for Christ would know.
But oh! my friend; My friend indeed,
Who at my need His life did spend.
 
3. Sometimes they strow his way,
And his sweet praises sing;
Resounding all the day,
Hosannas to their King.
Then crucify Is all their breath,
And for his death They thirst, and cry.
 
4. Why, what hath my Lord done?
What makes this rage, and spite?
He made the lame to run,
He gave the blind their sight.
Sweet injuries! Yet they at these
Themselves displease,
And ’gainst him rise.
 
5. They rise, and needs will have
My dear Lord made away,
A murderer they save:
The Prince of life they slay.
Yet cheerful he to suff’ring goes,
That he his foes From thence might free.
 
6. In life no house, no home,
My Lord on earth might have:
In death no friendly tomb,
But what a stranger gave.
What may I say? Heav’n was his home;
But mine the tomb Wherein he lay.
 
7. Here might I stay, and sing;
No story so divine.
Never was love, dear King!
Never was grief like thine.
This is my friend, In whose sweet praise
I all my days Could gladly spend.

The tune most often connected with this hymn is called Love Unknown. It was written in 1925 by English composer John Ireland. He supposedly composed the melody in 15 minutes while having lunch one day with a fellow-composer.

John Nicholson Ireland was born at Bowden, England on August 13, 1879. He studied piano and organ at the Royal College of Music in London. He later taught at the Royal College of Music. Additionally, he served as organist and choirmaster at St Luke’s Church in Chelsea, London. Ireland died May 12, 1962 in West Sussex and was buried at St. Mary the Virgin Churchyard in Shipley, Horsham District, West Sussex, England.

The Daily Telegraph and Morning Post, Wednesday, April 5, 1950, p. 12

Whitefield on spiritual progress

Some thoughts on spiritual progress derived from George Whitefield’s practices to encourage spiritual progress: 

* Engaging in regular Scripture reading

• recognize Scripture as God’s revelation of Jesus Christ
• approach with faith and humility
• apply the Scripture to your heart and life
• pray over the words and seek the guidance of the Holy Spirit

* Consistent private personal prayer

* Frequent meditation on Scripture

* Observation of God’s providence (externally) and recognition of the Spirit’s guidance (internally)

* Making full use of God’s ordinances (and other practices, such as singing, fasting, etc.)

* Fellowshipping with other Christians who are walking with God, both congregationally and personally

Charity or Love?

Below you will see a point made by Will Kinney in favor of the word “charity” in the places it is used in the New Testament (it does not appear in the Old Testament). “Charity” is used 28 times in 24 verses, and in every case the translators reserve it in context of the love Christians have or ought to have, using the English word “love” more broadly. My personal position is that “love” would not wrong in these places, but that “charity” is better. Everything below was written by Will Kinney.

Well, let’s look at 1 Corinthians 13 for a moment and then compare the characteristics of “charity” to those of “love” as found in some other Scriptures. We will see that by translating the word agape as “love” instead of “charity,” the modern versions in fact create several contradictions.

In 1 Corinthians 13:5-6 we read that CHARITY “doth not behave itself unseemly, seeketh not her own.” Charity as well “thinketh no evil; rejoiceth not in iniquity, but rejoiceth in the truth.”

However, when the new versions tell us that “love (agape) thinks no evil, does not rejoice in iniquity, but rejoices in the truth” (NKJV), then this creates several direct contradictions with the rest of Scripture.

If “love seeks not her own and thinks no evil,” and if “love rejoices not in iniquity but rejoices in the truth” then what do we do with the following Scriptures where “love” (agape) clearly seeks her own and does rejoice in evil and not in the truth?

John 3:19 “And this is the condemnation, that light is come into the world, and men LOVED darkness rather than light, because their deeds were evil.” Agapao

John 12:42-43 “they did not confess him, lest they should be put out of the synagogue: For they LOVED the praise of men more than the praise of God.” Agapao

Luke 6:32 “for sinners LOVE those that LOVE them.” Agapao

2 Timothy 4:10 “For Demas hath forsaken me, having LOVED this present world...” Agapao

2 Peter 2:15 “Which have forsaken the right way, and are gone astray, following the way of Balaam to son of Bosor, who LOVED the wages of unrighteousness.” Agapao

1 John 2:15 “If any man LOVE the world, the love of the Father is not in him.” Agapao

It should be abundantly clear that the scholar who insists the word “agape” means an unconditional, God-type love has not compared Scripture to Scripture. Words have different meanings in different contexts, and in 1 Corinthians 13 the King James Bible’s rendering of “charity” is far more accurate and consistent with the rest of Scripture. It is the modern versions that create the contradictions!

Some Final Observations

Some Final Observations on the Acts of the Apostles.

1. What happened to Paul after Acts 28:31? This has been a source of endless speculation for many, and in some ways might be considered a distraction from how the Acts ends. However, it is a question on many minds. Common Christian tradition holds that Paul was released from this imprisonment (Acts 28:), then later rearrested, convicted, and beheaded in Rome circa AD 66-67, during the rage and reign of Emperor Nero. The idea that, due to his being a Roman citizen, he was beheaded rather than torched or thrown to the lions. Paul mentions his expected end in II Timothy 4:6–8. See Appendix U.

2. We are living in “Acts 29” – that is, the history of the work of the Lord through his churches did not stop when Luke wrote the last word of his treatise to Theophilus. The work continues to the present, until such time as the Lord says “no longer.”

3. The book of Acts records and demonstrates Jesus continuing to fulfill his promise, “I will build my church” (Matthew 16:18). The story begins with 120 disciples in Jerusalem and ends with thousands of disciples across the entire Roman Empire. Three times alone in Acts disciples are numbered in the thousands, Acts 2:41; 4:4; 21:20. Despite opposition and persecution by Jews and Gentiles alike, “the gates of hell shall not prevail against it.” The word of God is not bound.

4. Though the book primarily focuses on two apostles, beginning with Peter and ending with Paul, there is “so great a cloud of witnesses” among the many thousands reached with the gospel just during this record of time considered by Luke. Some sixty or so believers are mentioned by name: Æneas, Agabus, Ananias (of Damascus), Andrew, Apollos, Aquilla, Aristarchus, Bartholomew, Cornelius, Crispus, Damaris, Dionysius the Areopagite, Erastus, Eunuch of Ethiopia, Eutychus, Gaius, James (brother of John), James (of Jerusalem), James the son of Alphæus, Jason, John, John Mark, Joseph called Barsabas, Joses surnamed Barnabas, Judas (sent with Silas), Judas the brother of James, Justus, Lucius of Cyrene, (Luke), Lydia, Manaen, Mary the mother of Jesus, Mary mother of John Mark, Matthew, Matthias, Mnason of Cyprus, Nicanor, Nicolas, Parmenas, Paul/Saul, Peter, Philip (apostle), Philip (deacon/evangelist), Philippian Jailer, Priscilla, Prochorus, Publius, Rhoda, Secundus, Sergius Paulus, Silas, Simeon Niger, Simon Zelotes, Sopater of Berea, Stephen, Tabitha/Dorcas, Theophilus, Thomas, Timon, Timotheus, Trophimus, Tychicus. (I chose to include 3 men who were “almost named” – Luke, the Eunuch of Ethiopia, and the Philippian jailer.) “The Lord knoweth them that are his,” and he will not forget.

5. May believers be strengthened by and follow the example set by the believers in the times recorded by Luke. They left houses and lands, preached the gospel, founded churches, taught what Christ commanded, endured hardness, took up their crosses and followed in the steps of their Lord and Saviour Jesus Christ. Cf. Corinthians 11:1.

6. Many Bible commentators, rather than write commentaries, should write books on “why I don’t believe the Bible.”

7. Bible believers need to get back to describing the Bible text as primarily the work of the Holy Spirit rather than primarily the work of the human author.

Sacred Harp and Historical Reenactment

“Sacred Harp is not historical reenactment!” You can find this statement cried loud and long online. Notice this example:

“…the practice of singing is not a historical reenactment, but a gathering of enthusiasts. Over the last ten years, Sacred Harp has gained popularity in Europe with singing groups establishing themselves in many countries. The spirit of Sacred Harp is primarily that of communion in song, and while it has religious and local origins, today the Sacred Harp is international and open to all. In the cultural porosity of our times, Sacred Harp has paved its way to become a universal and inclusive singing practice. All voices and ages can sing the Sacred Harp.”

“*The religiosity of Sacred Harp, as in gospel singing, is an integral part of the origins of the tradition and gives vibrancy through customs that remain true to the original practice (the day opens with a blessing, the texts are from a liturgical repertoire etc.). However, the practice considers itself secular; atheists and members of all faiths are welcome and celebrated, as are people of all ages and social backgrounds. Everyone is free to define the spirituality that he or she wishes to find. This is what makes the practice of Sacred Harp a unique space to mix and meet people of all denominations, generations, and backgrounds in a climate of tolerance and openness.”[i]

Funny how no one ever thought about or discussed Sacred Harp being historical reenactment until it became filled with folks who don’t believe the words of the songs they are singing. Then it became a necessary “thing” to carefully explain they were not doing historical reenactment! Why would anyone think they were doing so in the first place? Because they do not believe what they are singing.

Historical re-enactment and living history are immersive activities/gatherings of individuals and/or groups that perform accurate recreations (from music to war). They do research to confirm accuracy – re-enactors often conduct extensive research in order to replicate the details of their activity. Many non-traditional non-Christian Sacred Harp singers do just that.

Singings ran by unbelievers re-enact the sitting in the square, opening & closing with prayer, the memorial lesson, the way to lead/keep time, and so on. I have observed that non-traditional singers are often the ones who are the most fastidious and fussy in their attempts to re-enact the traditions accurately and vociferously condemn any perceived deviation from their way of re-enacting the tradition.[ii] Why? Because their sense of being part of the Sacred Harp tradition is found not in the Christian tradition of Sacred Harp, but in the accurate recreation of the outward motions.[iii]

For atheists, non-Christians, and those who otherwise reject the meaning of the hymns, Sacred Harp is supposedly not re-enactment for them because the singings have historical continuity. Certainly, singing from The Sacred Harp has historical continuity, but without a genuine religious feeling, some continuity interacting with the text and not just the music, there must necessarily be some element of historical re-enactment by non-Christian Sacred Harp singers – no matter how much they enjoy the practice or loudly and vociferously re-enactment is denied.

No, Sacred Harp is not just historical re-enactment for the non-traditional non-Christian singer.[iv] Yes, there is an element of refuge in historical re-enactment for the non-traditional non-Christian singer. They imply it in many camouflaged ways. Why not just be straightforward and say so clearly? Then we can move on to the next issue.

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[i] The above quote was copied from few months ago, but currently (March 2026) is no longer available online. A Google search suggests it first appeared online April 15, 2017. It touts the fact that Sacred Harp is not historical reenactment, while laying groundwork showing that, for some people, it actually is.
[ii] “Orthopraxic obsessions in matters of musical performance also sideline the issue of authentic feeling in a way that frustrates many singers. Some suggest that no matter how perfectly one reproduces the musical characteristics of an eighteenth century of Civil War era performance, singing religious music without religious faith is not historically accurate…” (Traveling Home, Kiri Miller, page 185). Miller goes on to discuss an online debate about Sacred Harp historical re-enactment, including whether non-Christian singers were “firing blanks.”
[iii] This is not to say that Sacred Harp does not touch these folks beyond the outward formality. Obviously, for many/most it does. However, their sense of being part of the tradition is nevertheless grounded in being able to recreate what traditional Christian singers have received supernaturally. Sacred Harp singers who are not Christians cannot recreate the internal belief and therefore must recreate the external trappings. Often the leaders of the non-traditional singers become obsessed with exactitude –the sixth must always be raised, all songs much meet our exacting standards of dispersed harmony, and so on. It is my opinion that this brand of external formality played some part in what songs were added to and what songs were removed from the 2025 edition of The Sacred Harp.
[iv] Again, I acknowledge “not just” historical re-enactment, but assert yes there “is some” historical re-enactment.

Attitude of getting older

“Let us correct our attitude of getting older. Believers must not allow the carnal thinking of this world to form our opinions and attitudes. The reason so much emphasis is placed on youth, physical strength and beauty, riches and possession is because this is all that the worldling has and when these are gone-all is gone! Actually age, while it mars outward beauty, should bring us real lasting beauty-which is inward grace, mercy and peace. Age will decrease our physical strength but should increase our spiritual strength. We grow in faith, love, and patience. Age may make our arms weak and tremble, but it should establish us more firmly on the everlasting arm. Age may make the present less sure, but it gives us assurance of the certainty of the future. I’ll always be young in Christ! My steps may be slower, but I walk with the King. My eyes may be dimmer, but as I see less of the world, I see more of my Lord. My ears may be dull, but I hear His Voice more clearly. My body may be weak, but I am stronger in faith. I may not know the latest story, but I know the old, old story a little better. I may not be surrounded by as many human admirers, but I am surrounded by a heavenly host which waits to take me home.”

Henry T. Mahan, 13th Street Baptist Church

My Jesus, I Love Thee

“We love him because he first loved us.” I John iv. 19.

Baptist pastor Adoniram Judson Gordon is the composer of the well-known tune for the hymn “My Jesus, I love thee.” He found the hymn (uncredited) in the “London Hymn Book” (The London Hymn Book for Prayer Meetings and Special Services, edited by Charles Russell Hurditch, and published around 1864). Gordon wrote a tune for it, which was first published in The Vestry Hymn and Tune Book (A. J. Gordon, editor. Boston, MA: Henry A. Young and Co., 1872). It is Hymn 562 (four stanzas, as in the “London Hymn Book”) on page 284. The original hymn (see below) had six stanzas. The hymn and tune are in 11s. meter. Gordon titled the song “My Jesus, I Love Thee.” In modern times the tune has been designated the name Gordon, after the composer.

Gordon was born in New Hampshire in 1836, and died in 1895 at age 58. He is buried at the Forest Hills Cemetery in Jamaica Plain, Suffolk County, Massachusetts.

1. My Jesus, I love thee, I know thou art mine;
For thee all the pleasure [follies] of sin I resign;
My gracious Redeemer, my Savior art thou;
If ever I loved thee, my Jesus, it’s [’tis] now.

2. I love thee because thou hast first loved me,
And purchased my pardon when nailed to the tree [on Calvary’s tree];
I love thee for bleeding on Calvary’s brow:
If ever I loved thee, my Jesus, it’s now.

3. I love thee because thou hast saved me from hell—
How dearly I love thee my tongue cannot tell;
I love thee for wearing the thorns on thy brow;
If ever I loved thee, my Jesus, it’s now.

4. I love thee for pardon, I love thee for peace,
And sweet hope of heaven thy Spirit conveys,
For it gladdens my heart as onward I go;
If ever I loved thee, my Jesus, it’s now.

5. May I love thee in life, may I love thee in death,
And praise thee as long as thou lendest me breath,
And say, when the death-dew lies cold on my brow.
“If ever I loved thee, my Jesus, it’s now.”

6. In mansions of glory and endless delight,
I will ever adore thee in regions of light;
I’ll sing with the glittering crown on my brow,
“If ever I loved thee, my Jesus, it’s now.”

The six stanzas of this hymn appear to have first appeared, uncredited, in February 1862 in The Christian Pioneer. The Pioneer was edited by Joseph Foulkes Winks. It borrows some lines and thoughts from the hymn “O Jesus my Savior, I know though art mine,” written by Kentucky evangelist Caleb Jarvis Taylor (and published in 1804 in Spiritual Songs). For example:

“…I know thou art mine, For thee all the pleasures of sin I resign”

The hymn has at times been attributed to William Ralph Featherston. However, this has not been substantiated and seems unlikely. In 1862, Featherston would have been only about 12 years old.

In other words, aboulia to vying

• aboulia (also abulia), noun. A pathological inability to make decisions.
• aesthete, noun. A person who has or professes to have refined sensitivity toward the beauties of art or nature.
• aseity, noun. (Theology, Metaphysics) Existence originating from and having no source other than itself; self-existence (from Latin a ‘from’ and se ‘self’ + -ity, a suffix of state, condition, or quality).
• catena, noun. A connected series of related things; (Theology) a connected series of texts written by early Christian theologians (from the Latin, meaning “chain”).
• circumambient, adjective. Ascribing to all aspects of; encompassing; surrounding.
• cognomen, noun. Name; surname; any name, especially a nickname.
• concatenation, noun. A series of things depending on each other as if linked together; the state of being linked together as in a chain; union in a linked series.
• desideratum, noun. Something considered essential, necessary, or highly desirable.
• froth, noun. Bubbles formed in or on a liquid; foam.
• froth, verb. To foam at the mouth; to cause to foam.
• frother, noun. A device for making liquid, especially milk for coffee, frothy (that is, full of small air bubbles).
• gallimaufry, noun. A confused medley, jumble, hodgepodge; also, a type of stew or hash.
• gauche, noun. Lacking grace and perceptivity in social situations; tactless; socially awkward (from French, meaning “left”).
• gaucho, noun. A cowboy of the South American pampas; (pl.) Calf-length pants with flared legs (from South American Spanish, meaning “comrade”).
• hospo, noun. (Australian and New Zealand slang). The hospitality industry.
• inspissate, verb. Become thick or thicker; make thick.
• ludic, adjective, Of or pertaining to play; playful; lively and full of fun.
• minatory, adjective. Of a menacing or threatening nature; minacious.
• minority, noun. The smaller in number of two groups forming a whole.
• myrmidon, noun. A soldier or a subordinate civil officer who executes orders of a superior without protest or pity.
• propaganda, noun. Ideas, facts, or allegations spread deliberately to further one’s cause or to damage an opposing cause; (Roman Catholic) A committee of cardinals, established in 1622 by Pope Gregory XV, having supervision over foreign missions and the training of priests for these missions. (from Latin congregātiō dē propāgandā fidē meaning “congregation for propagating the faith”)
• spoonerism, noun. The transposition of initial or other sounds of words, usually by accident (e.g. snail tracks for trail snacks).
• stochastic, adjective. Random; chance; involving probability; opposite of deterministic.
• vying, verb. Present participle of vie ( to strive for superiority; contend).

Can’t get there from here

Ausgangstext, noun. Initial text, that is, the earliest recoverable version of a text that can be considered the direct predecessor to the surviving manuscript traditions (not the original text).

“When textual criticism speaks about the original text, it typically means this Ausgangstext. It is only with this text that genuine text critical methods are dealing. Textual stages that may have been situated between the autograph and the Ausgangstext, are not accessible to text critical means.” [bold emphasis mine] (Gerd Mink; English translation by Peter Gurry, citing from “Eine umfassende Genealogie der neutestamentlichen Überlieferung, Gerd Mink, New Testament Studies, Volume 39, Issue 4, October 1993, pp. 481-499)

It is revealing, tragic, and cautionary that the text critics continue to tell us that they do not believe we either have or can have the original inspired scriptures as written by the original inspired authors. Let God be true, but every man a liar.

Pot calling the kettle

https://baptistnews.com/article/how-a-group-of-presbyterians-is-trying-to-reshape-the-sbc/

How a group of Presbyterians is trying to reshape the SBC:

“…there is no independent nonprofit called the Center for Baptist Leadership. CBL is only a d/b/a (doing business as) moniker of American Reformer…”

Appendix U

A Summary of APPENDIX U – PAUL’S FOURTH MISSIONARY JOURNEY?

In the “Pastoral Epistles” of Paul (I and II Timothy, and Titus), there are references to places and events that do not seem to fit the timeline of the book of Acts. These logically fit a time after Paul’s first imprisonment (Acts 28) and before his execution (II Timothy 4:6). There is enough available biblical information to permit reconstruction of some of the events that happened in Paul’s ministry after Acts 28:31. For that reason, the phrase “Fourth Missionary Journey of Paul” has been set forth by some to describe this time and these events.

These following examples and suggestions are founded on three presuppositions: (1) that the Bible is divinely inspired, absolutely infallible, and accurately preserved; (2) that the book of Acts presents a trustworthy historical record and is not historical fiction; and (3) that all the epistles traditionally ascribed to Paul were in fact written by him during his lifetime. The notes below attempt to grapple with the issue, and give the “chronological order” in simple order of mention in Bible rather than a likely order in the travel route. A possible trajectory of the journey might be based on moving in a circuitous route from Rome and back again.

• Paul appeared before Nero at some point in time during his first arrest in Rome, after Acts 28:31. This is a known fact because God promised it. In Acts 27:24 it is recorded that God said Paul would stand before Cæsar.
• Paul expects to be released from his house arrest. See his letter to Philemon. He was in bonds, but expected to be released (Philemon, verses 10, 13, 22). Cf. also Philippians 1:12-26 (especially v. 26), for an expectation of release and traveling to Philippi.
• Paul traveled to Ephesus, where Timothy was serving (I Timothy 1:3). He saw a falling away in Asia, by followers of Phygellus and Hermogenes (II Timothy 1:15). He was helped by Onesiphorus (II Timothy 1:18). He encountered opposition from Alexander the coppersmith (II Timothy 4:14).[1]
• Paul went to Miletum with Trophimus and left him there sick (II Timothy 4:10). He traveled, possibly by ship to Troas, and left some things there with Carpus, including his cloke and some books (II Timothy 4:13). Since he left his cloke, we might assume that it was during a warm season. He sent Tychicus from Rome to Ephesus (II Timothy 4:12).
• Paul traveled to Crete, laboured together with Titus, and then left Titus to complete the work and appoint elders in the churches (Titus 1:5).
• Paul wrote a letter to Titus (Titus 3:12), and expected to meet him in Nicopolis, a city on the west coast of Achaia – planning to be there during the winter (Titus 3:12). Paul would send Artemas or Tychicus to Crete, so Titus could meet him in Nicopolis (Titus 3:12).
• Paul evidently with to Corinth, left Erastus there, and then headed toward Nicopolis (II Timothy 4:20).[2]

A possible itinerary of Paul’s “fourth missionary journey” might be: leaving Rome, traveling to Crete, Miletus, Ephesus (or simply sent Timothy there), (possibly) the area of Colosse to see Philemon, Troas, Philippi, Corinth, and Nicopolis. Paul had determined to winter over in Nicopolis, and could have possibly been taken into custody there. At some point during his final ministry, Paul was arrested, taken to Rome, and imprisoned. This stay was probably not with any kind of liberty as formerly, but rather than in a “hired house,” in a dank prison that was cold (II Timothy 4:13, 21).[3] While in prison before his execution, Paul was visited by Onesiphorus (II Timothy 1:16–17), left alone by others (II Timothy 4:16), forsaken by Demas (II Timothy 4:10), and wrote his farewell epistle – the second letter to Timothy. Paul was aided by the physician Luke, who looked after his needs (II Timothy 4:11).

Paul may have traveled to Spain during this time, though the scriptures do not tell us. He had at least written of planning to minister there (Romans 15:22-29).  However, this was when he was also planning to go to Rome of his own volition (which did not transpire in that way). If he did go to Spain, it would have been most likely that he would have left for there first, after being freed from this imprisonment – since he was already on the west side of Italy.

Paul the apostle probably lived about five or six years after the end of the book of Acts.

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[1] His warning to Timothy implies that Alexander was in Ephesus.
[2] Erastus was from Corinth, if the letter to the Romans was written from Corinth. See Romans 16:23.
[3] Regardless, Paul’s last letter indicates that his friends were given access to meet with him.

A laughable position?

From a report that a Sacred Harp singer made about the September United Association weekend:

“Over the weekend I heard a lot of sacred harp politics and gossip, including some dissatisfaction over the revision process and consultation with composers. … Unsurprisingly there seems to be a small schism forming that intends to stick with the 1991 book, rejecting the 2025 due to all the non-Christians and queers who worked on the book or who have their music included. This is a laughable position if one has even superficial knowledge of Sacred Harp history.”

The above excerpt is from a report that one singer wrote about his experience at the singing of the United Association in Atlanta in September. (He rejoiced in “the presence of many transgender singers able to be themselves with such apparent confidence.”) Take note of a few things stated in the excerpt.

1. The “dissatisfaction over the revision process and consultation with composers” is quickly passed over to make it about “all the non-Christians and queers who worked on the book or who have their music included.” This takes the focus away from the discussion of ethics and makes it more of an emotional appeal to get people on the side of what might be made to seem like a minority. However, from the beginning the main objections concerned questionable ethics, a premeditated agenda, and the lack of promised impartiality in how the revision played out. Who knew what when? How many times did the committee know who submitted certain songs? Why did the committee revise songs without the permission of the composers? Why did some composers have opportunities to revise their songs, while others had their songs revised by someone on or working for the committee – with a “here it is, take it or leave it” option? Why do songs appear in the book dated after the submission deadline? None of these answers have been forthcoming. There is no transparency, but rather subterfuge in its place.

• Re ethics, see: https://baptistsearch.blogspot.com/2025/09/outside-looking-in-part-2.html

This is not to say we are not dissatisfied with leaders trying to normalize behaviour that is inconsistent with the historic practice of Sacred Harp, and outside of Christian worldview and morality. It is to say that leaders apparently want to put the focus on this and hope for a sympathetic reaction – because they cannot and will not answer the ethical questions.

2. “a small schism…” The author wishes to dismiss and downplay the “schism” as “small.” I do not doubt that more people are now using the new 2025 than are using the 1991 book. However, might does not make right. Additionally, that fact does not necessarily mean that all who are using the 2025 like everything about the new book or the way the revision process was conducted. It may mean that some singers have just accepted the book as what is now being printed and that they are willing to live with. It may mean that some singers are unwilling to stand against these things to the point of not using the new book. It may mean that a few people are in “la-la land” and have no idea what is going on. It is a known fact that some people who are using the new book have complained of some things about it. Eventually, the euphoria will wear off and time will test the quality of the work done for the 2025 revision.

3. “Unsurprisingly…” The author uses the word “unsurprisingly” when referencing a schism over the book. Why is it “unsurprising”? Because you knew this would lead to dissatisfaction, dissension, and division? Yes, this is a (perhaps unintended) admission that folks pushing the boundaries knew that they were moving things in a direction that would lead to schism. So, you now say that it is “unsurprising” when it occurs, and call the ones who you knew would object schismatics.

4. The author finds that those who are dissatisfied have a “laughable position if one has even superficial knowledge of Sacred Harp history.” This in itself is laughable from someone who has been involved in Sacred Harp less than 10 years, to think he has a firm grasp on Sacred Harp history while those from families that have been singing it for multiple generations are quite slow on the uptake! It is also a disrespectful dig at the living elders who have passed this Christian faith singing tradition down from the previous generation to the present generation. Such is the hubris of the new non-traditional singer. Considering that kind of attitude, I guess a schism is unsurprising after all!

A pilot without a compass

The true Christian was intended by Christ to prove all things by the Word of God, all churches, all ministers, all teaching, all preaching, all doctrines, all sermons, all writings, all opinions, all practices. These are his marching orders. Prove all by the Word of God; measure all by the measure of the Bible; compare all with the standard of the Bible; weigh all in the balances of the Bible; examine all by the light of the Bible; test all in the crucible of the Bible. That which cannot abide the fire of the Bible, reject, refuse, repudiate, and cast away. This is the flag which he nailed to the mast. May it never be lowered!

A church which does not honor the Bible is as useless as a body without life, or a steam engine without fire. A minister who does not honor the Bible is as useless as a soldier without arms, a builder without tools, a pilot without compass, or a messenger without tidings.

J. C. Ryle, Light from Old Times

A poor despised company

The following hymn is number CXXV in Divine Hymns, or Spiritual Songs: for the Use of Religious Assemblies and Private Christians (Joshua Smith, Samuel Sleeper). There it is captioned “A brief description of the Children of God, in a Dialogue.” In some books it is called the “The Pilgrim Company.” The caption in Divine Hymns is helpful, cueing us in to the fact that this is a dialogue, discussing a despised company of travelers. In form, the first stanza is a question answered in the second stanza. Afterward, each stanza has the question in the first half and the answer in the last half. According to Warren Steel and Richard Hulan (The Makers of The Sacred Harp, p. 209), the hymn probably first appears in Hymns and Spiritual Songs by James Maxwell (London: 1759).

The hymn provides a contrast of the view of those “that walk in yonder narrow way.” The world can only see them in a temporal physical manner, while the narrator explains the long view – the eternal and spiritual look. Nothing is ever properly evaluated until it is evaluated in light of eternity. The type of hymn about “a poor despised company” or “poor and afflicted saints” have fallen into general contempt among most wealthy and prosperous Western churches.

1. What poor despisèd company
Of travellers are these,
That walk in yonder narrow way,
Along that rugged maze?

2. Ah, these are of a royal line,
All children of a King;
Heirs of immortal crowns divine,
And lo! for joy they sing.

3. Why do they then appear so mean
And why so much despis’d?
Because of their rich robes unseen
The world is not appriz’d.

4. But some of them seem poor, distress’d,
And lacking daily bread.
Ah they’re of boundless wealth possess’d,
With hidden manna fed.

5. But why keep they that narrow road—
That rugged, thorny maze?
Why, that’s the way their Leader trod;
They love and keep his ways.

6. Why must they shun the pleasant path,
That worldings love so well?
Because that is the road to death,
The open road to hell.

7. What, is there then no other road
To Salem’s happy ground?
Christ is the only way to God,
None other can be found.

In The Sacred Harp tradition, we sing this hymn to the tune Irwinton, by T. W. Carter. (Only the first and second stanzas are printed with the tune.) Irwinton was dropped from The Sacred Harp in the 1870 revision. The 1902 Cooper revision of The Sacred Harp added it back in an arrangement by N. Cheshire, called Joyful News (p. 244(. The Denson stream of The Sacred Harp added Irwinton back in 1911 (in the James Book, called Invitation, p. 482). It was dropped once again, and then returned to the book in 1991 (under the name Irwinton, p. 229).

Thomas W. Carter was born in Abbeville District, South Carolina, the son of Edward R. Carter, Sr. and brother of Matthew M. Carter. He attended medical school in Augusta, Georgia, and afterward married Lucinda A. Tompkins in 1849. They had one daughter, Hannah, who married James McNeil. After the death of Lucinda, Carter married Mary C. Dozier circa 1875. He died August 19, 1876, and was buried somewhere in Lake City, Florida.

Thomas W. Carter wrote or arranged 13 songs that appeared in The Sacred Harp by B. F. White & E. J. King, published in 1844: Augusta, 35; The Old Ship of Zion, 79; Little Children, 86; Church Triumphant, 91; Oak Bowery, 94; Ecstasy, 106; Night Watchman, 108; Concord, 111; Sandtown, 112; Florence, 121; Irwinton, 124; Exhilaration, 170; Banquet of Mercy, 177.

With an eye on the cross

 

Hymn Book as “Prayer Book”

An interesting thought.

It has been asserted by some that in many of the English “free churches” (dissenters from the Anglican Church, including Baptists), the hymn book acted as a central, unifying, and authoritative resource. In that place it fulfilled many of the same functions as the Book of Common Prayer did in the Church of England. I find this very intriguing, and think there is some merit in that assertion. A group of churches with a shared hymn book had a degree of shared theological and structural framework for worship.

For example, Ernest Payne says that the hymn book as a body of practical and experimental divinity was “One of the more immediate and personal legacies of Wesley was the hymn book he edited.” He continues, “In the Free Churches a hymn book takes the place occupied by the Prayer Book in the devotional life, public and private, of the Anglican. This in part explains how it is that the hymns of Watts, Doddridge, and the Wesleys have so entered into the life of the English people.”

The Free Church Tradition in the Life of England, Ernest Alexander Payne. London: S.C.M. Press Ltd., 1944, p. 79

Acts 28:30-31

A final summary statement, 28:30-31

Verses 30 and 31 provide a summary statement to conclude the account. It began in the Jewish capital of Jerusalem and ends in the Gentile capital of Rome, taking Acts 1:8 to its logical “conclusion.” Yet there is no conclusion, for the witness still goes forth.

Verse 30: in his own hired house (εν ιδιω μισθωματι, a place of lodging that is hired, or rented).[1]

The word of God cannot be bound. What might have seemed to be a setback and stumblingblock in Paul’s ministry was so ordered and arranged by God. Paul acknowledged “that the things which happened unto me have fallen out rather unto the furtherance of the gospel” (Philippians 1:12). Often we do not at first see clearly what God has designed for our good, the good of others, and his glory. While here Paul would not only preach freely, but he also wrote what are commonly called “The Prison Epistles.” The term “Prison Epistles” refers to the four letters written while Paul was under house arrest in Rome – Ephesians, Philippians, Colossians, and Philemon. The “we” section of 27:1-28:16 indicates that Luke travels with Paul from Cæsarea to Rome. Paul mentions Luke’s presence when writing to the saints at Colosse (Colossians 4:14), and to Philemon (v. 24). Previously, Paul had most often dwelt with others; now he has a dwelling place of his own. He had been on the move in the Roman empire; now he is settled in Rome. He had gone out with the gospel message to others; now others come to him to hear the message.

In the end of this chapter, soldiers guard Paul. He receives visitors, and freely shares the gospel (Acts 28:16, 20, 30-31). In the letters, Paul mentions being with “they that are of Cæsar’s household” (Philippians 4:22), his bonds (Ephesians 6:20; Philippians 1:7, 12-16; Colossians 4:3-4, 4:18; Philemon 10-13), and refers to himself as a prisoner (Ephesians 3:1; 4:1; Philemon 1, 9, 23). This was not Paul’s only incarceration, of course. He was bound in Philippi (Acts 16:23-40), Jerusalem (Acts 21:33), Cæsarea (23:23-24; 24:27), and Rome (Acts 28:16) – as well as when transported as a prisoner from Jerusalem to Cæsarea to Rome. Paul made it to Rome, as he believed, and was able to preach concerning “the Lord Jesus Christ, with all confidence, no man forbidding him.”

“…the narrative ends as it does because it had caught up with history, and at the moment there was nothing more to record.”[2]

“Yet it is a pleasure to us (for we are sure it was to him) that, though we leave him in bonds for Christ, yet we leave him at work for Christ, and this made his bonds easy that he was not by them bound out from serving God and doing good.”[3]

The open ending!

Alexander MacLaren said the book of Acts “stops rather than ends.”[4] The work of the Lord through his churches is not finished. God the inspirer pulls the curtain on “Act 28,” but his show goes on.

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[1] Josephus, Antiquities, Book XVIII, 6.10 mentions the circumstance of Agrippa, while “still in custody,” going to live in “that house where he lived before.” This might be a situation comparable to that of Paul.
[2] Ladd, Wycliffe Commentary, p. 1178.
[3] Matthew Henry’s Commentary, Volume VI, page 361. “Luke is with me” again when Paul is in prison in Rome the second time (II Timothy 4:11).
[4] MacLaren, The Acts of the Apostles, Expositions Of Holy Scripture, p. 383. He further suggests, like Ladd, “that nothing more is said for nothing more had yet been done.” That is, simply, the book stops at the point in history when it is written. There are many dreams and nightmares recounted by the unbelieving and misbelieving scholars, when instead a simple explanation is quite sufficient. It ended where the Holy Spirit ended it.

Hymns can mean anything

Hymns can mean anything ... or can they?

“I tend to tell people that whatever meaning or relevance they take from that is up to them.” unnamed Facebook commenter, cited in Sacred Harp Singing in Europe: Its Pathways, Spaces, and Meanings, Ellen Leuck, p. 226[i]

“Flexible interpretations of texts permit singers with diverse beliefs and experience to relate to Sacred Harp in personally meaningful ways…” Traveling Home: Sacred Harp Singing and American Pluralism, Kiri Miller, page 132

Regarding the texts and scriptural bases for the songs in the Sacred Harp tune books, it is important to understand that they have a context and underlying meaning. They cannot just mean whatever someone wants them to mean. Now, I understand that different texts may touch different folks in different ways, make us think different things, or make us feel different things. However, we must also understand that what we think and feel about a text is not part of the text itself, and does not become the standard for the meaning of the text. First and foremost (except for a few patriotic songs, e.g. “Behold, the smiling happy land,” “My country, ’tis of thee”) the texts are Christian texts.[ii] Therefore, the songs have a Christian worldview and meaning. That fact does not mean the texts cannot touch someone who is not Christian. That fact DOES mean that Christian hymns cannot be removed from their context and mean just anything and everything to everybody. That folks think they can have their own meaning and eat it to is a sad commentary on an age that does not understand or believe objective truth. May God help Christian singers not acquiesce to this falsehood. The Christian texts have Christian meaning.

There is a fountain filled with blood,
Drawn from Immanuel’s veins;
And sinners plunged beneath that flood
Lose all their guilty stains.

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[i] A couple more quotes from Sacred Harp Singing in Europe: Its Pathways, Spaces, and Meanings: “…Sacred Harp singers in Europe who identify as generally non-religious…find other ways of internalizing the meaning of the texts outside of the realm of religious worship” (p. 220). “…the religious words in The Sacred Harp do have meaning for secular participants, though not a literal meaning. They have meaning within the context of the music, and they perhaps facilitate tapping into feelings of emotional and spiritual depth that secular lyrics can do less easily. Furthermore, it is understood by the community-at-large that the meaning of the texts is interpreted by participants privately” (pp. 222-223).
[ii] The Christians who included the patriotic songs doubtless understood them to fit within their Christian worldview.

Bearing the Cross

And he bearing his cross went forth into a place called the place of a skull, which is called in the Hebrew Golgotha: John 19:17

There is no incident in our Lord’s passion which, to a heart quickened with spiritual sensibility, is more replete with holy instruction, or more deeply, tenderly touching than this—Christ bearing to Calvary the cross upon which he was to suffer. It unveils such a profound abasement, and yet such a depth of love—it portrays a stoop of the Majesty of heaven to earth’s lowest degradation—so marvelous, and yet, is the measurement of grace, so vast, the fact stands out, amid the many marvels of our Lord’s death, one of the most touching and significant of all. To compel the criminal to bear the wood upon which he was to be impaled, was one of the severest elements of degradation in the Roman punishment of crucifixion. To this our Lord was subjected, “And he, bearing his cross, went forth.” Little did they dream, as they bound the fatal wood upon his shoulder, by whose power that tree was made to grow, and from whom the beings who bore Him to the death drew their existence. So completely was Jesus bent upon saving sinners by the sacrifice of himself, he created the tree upon which he was to die, and nurtured from infancy the men who were to nail him to the accursed wood. Oh, the depth of Jesus’s love to sinners! Lord! the universe in its accumulation presents no love like yours! Your love, eternal as your being, saw from everlasting the cross of Calvary, and yet you did not falter in your purpose, nor modify your plan of saving lost sinners by the sacrifice of yourself. You saved others, yourself you would not save!

Octavius Winslow, The Foot of the Cross, 1864

It is Well with My Soul

1. When peace like a river attendeth my way,
When sorrows like sea billows roll;
Whatever my lot, thou hast taught me to say,
“It is well, it is well with my soul.”

Refrain
It is well (it is well) with my soul (with my soul);
It is well, it is well with my soul.

2. Though Satan should buffet, though trials should come,
Let this blest assurance control:
That Christ hath regarded my helpless estate,
And hath shed his own blood for my soul.

3, My sin—oh, the bliss of this glorious thought!—
My sin, not in part, but the whole,
Is nailed to the cross, and I bear it no more;
Praise the Lord, praise the Lord, O my soul!

4. O Lord, haste the day when my faith shall be sight,
The clouds be rolled back as a scroll;
The trump shall resound and the Lord shall descend;
Even so, it is well with my soul.

5. For me, be it Christ, be it Christ hence to live:
If Jordan above me shall roll,
No pang shall be mine, for in death as in life
Thou wilt whisper thy peace to my soul.

Horatio Gates Spafford was born October 20, 1828 at Troy, Rensselaer County, New York, the son of Horatio Gates Spafford, Sr. and Elizabeth Clark Hewitt. His father was the publisher of the Gazetteer of New York. Spafford married Norwegian-American Anna Tobine Larsen Øglende in Chicago on September 5, 1861. Horatio Spafford, Jr. was a lawyer at a large law firm in Chicago, a church elder in the Fullerton Avenue Presbyterian Church, as well as good friends with evangelist Dwight L. Moody. Eventually he would withdraw from the Fullerton Church and emerged a dissident leader in a chapel he built behind his home. The group called themselves “Saints,” and was called by “Spaffordites” or “Overcomers” by their opponents.[i]

Horatio and Anna Gates, with some of their followers, founded “the American Colony” in Israel. Spafford died in Jerusalem of malaria on September 25, 1888. He was buried in the Mount Zion Cemetery in Jerusalem.

The story of the song It Is Well with My Soul is fairly well-documented. As with many others, the Great Chicago Fire of 1871 was a calamitous loss for the Spaffords. This was followed two years later by and the sea-faring deaths of their four young daughters. They drowned on a transatlantic voyage. Horatio was home working in Chicago, while his wife and daughters traveled to England. They were on board the steamship SS Ville du Havre. On November 22, 1873, the iron sailing vessel Loch Earn collided with the Ville du Havre. Two hundred twenty-six of the 313 member passengers and crew were killed, including the Spafford’s daughters. Anna escaped. Upon reaching Cardiff, Wales, she sent Horatio a telegram, “Saved alone.” Survivors reported that they heard the child Annie Spafford (age 11) calmly say, “Don’t be afraid. The sea is His, and He made it.”

Soon Horatio Spafford traveled to meet his wife. When his ship passed near where the Ville du Havre sank, he felt inspired to write the lines we know as It Is Well with My Soul. Spafford wrote in a letter to his sister-in-law:

“On Thursday last we passed over the spot where she went down, in mid-ocean, the water three miles deep. But I do not think of our dear ones there. They are safe, folded, the dear lambs, and there, before very long, shall we be too. In the meantime, thanks to God, we have an opportunity to serve and praise Him for His love and mercy to us and ours. ‘I will praise Him while I have my being.’ May we each one arise, leave all, and follow Him.”

A reproduction of the original manuscript can be seen HERE. It has only four stanzas (which are the four contained in many hymnals and in first printing). The last line – “Even so, it is well with my soul” was originally “A song in the night, oh my soul!”

For more on the song, see Our Jerusalem: An American Family in the Holy City 1881-1949, by Bertha Spafford Vester, pp. 45-46, et al.

Another stanza (by Spafford, I think) was added to the song later (see No. 5, above), and some books print a sixth stanza (as follows), whose origin is unknown to me.

But, Lord, ’tis for thee, for thy coming we wait,
The sky, not the grave, is our goal;
Oh, trump of the angel! Oh, voice of the Lord!
Blessed hope, blessed rest of my soul!

The tune, known as Ville du Havre, was written by the evangelistic singer Philip Paul Bliss (1838 – 1876) in 1876. For some biographical information on Bliss, see “My Redeemer.” The meter of It Is Well with My Soul is 11.8.11.9. with refrain. The refrain seems likely added by Bliss when he wrote the tune. Gospel Hymns No. 2 by Ira Sankey and P. P. Bliss seems to be the first printing of the song. It is No. 76. The scripture under the song title is “He hath delivered my soul in peace” (Psalm 55:18). Other related scriptures include Isaiah 66:12 (I will extend peace to her like a river); 2 Kings 4:26 (Is it well? It is well); Psalm 146:1 (Praise the Lord, O my soul) and Isaiah 34:4 (the heavens shall be rolled together as a scroll).

This is a wonderful hymn expressing the peace and wellness of soul available to those who put their trust in God.

Psalm 84:12 O Lord of hosts, blessed is the man that trusteth in thee.

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[i] This is such a well-loved and comfort-giving hymn that I will pull the curtain of charity over its author. Suffice it to say that while all may have been well with the soul of Horatio Gates Spafford, all was not well with his theology as he progressed further and further in life.

I gave you one book, and other quotes

The posting of quotes of human authors does not constitute agreement with either the quotes or their sources. (I try to confirm the sources that I give, but may miss on occasion; please verify if possible.)

“What if you get to heaven one day, then the God of all the universe tells you, ‘I gave you one book, and you mean to tell me you never managed to read it.’” -- Reta Dyess

“The LXX continues to be treated with a mystical reverence wholly out of proportion to its origins.” -- Peter Van Kleeck, Sr.

“We are not called to manage a goat farm. We are called to shepherd God’s sheep with God’s word.” -- Keith Foskey

“Influence is not unimportant, but it should never be all-important. The glory of God, not the influence of gifted men, governs the priorities for calling and appointing pastors.” -- Scott Hurst

“Never overestimate the power of one great sermon. Never underestimate the power of many good sermons week after week.” -- Ray Pritchard

“Money is not the solution to poverty when poverty is still rooted in the mind” -- Omotade Makinwa

“The poor are those ‘passing over opportunities repeatedly.’” -- Herman Johnson

“Paul was a ‘cross-eyed’ preacher.” -- Robert Smith, Jr.

“America is not gospel hardened. It is gospel ignorant because its preachers are gospel ignorant.” -- Paul Washer

“A church that elevates sexual orientation above the Scriptures is not loving, it’s lost.” -- Chad Prather

“If the Bible is no longer their authority, then the ‘church’ is no longer a church.” -- Chad Prather

“60% of the time it works every time.” -- Brian Fantana

“I believe in prayer, but the last place you want to be is on a Southern woman’s prayer chain. All that means is, ‘I will tell everybody your business.’ Amen.” -- J. J. Barrow

“God created man in his own image and ever since then man has been trying to return the favor.” -- Andrew Remillard (perhaps quoting someone else)