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. was first 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