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.

---

[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).