"The Master Weaver knows what looms ahead."
I saw the above quote on a church billboard. I agree with it. But the thought struck me that there are many who agree with the above -- that God knows -- but deny that the Master Weaver not only knows, but also planned the tapestry and is actively weaving it.
Monday, January 31, 2011
Sunday, January 30, 2011
Friday, January 28, 2011
Mothers and church
(Two tales I received via e-mail)
One Sunday morning, a mother went in to wake her son and tell him it was time to get ready for church, to which he replied, "I'm not going."
"Why not?" she asked.
I'll give you two good reasons," he said. "They don't like me, and I don't like them."
His mother replied, "I'll give YOU two good reasons why you SHOULD go to church. You're 59 years old, and you're the pastor!
---------------------------------------------------------------------------------
An elderly woman walked into the local country church. The friendly usher greeted her at the door and helped her up the flight of steps, "Where would you like to sit?" he asked politely.
"The front row please," she answered.
"You really don't want to do that," the usher said "The pastor is really boring."
"Do you happen to know who I am?" the woman inquired.
"No." he said.
"I'm the pastor's mother," she replied indignantly.
"Do you know who I am?" he asked.
"No." she said.
"Good," he answered.
One Sunday morning, a mother went in to wake her son and tell him it was time to get ready for church, to which he replied, "I'm not going."
"Why not?" she asked.
I'll give you two good reasons," he said. "They don't like me, and I don't like them."
His mother replied, "I'll give YOU two good reasons why you SHOULD go to church. You're 59 years old, and you're the pastor!
---------------------------------------------------------------------------------
An elderly woman walked into the local country church. The friendly usher greeted her at the door and helped her up the flight of steps, "Where would you like to sit?" he asked politely.
"The front row please," she answered.
"You really don't want to do that," the usher said "The pastor is really boring."
"Do you happen to know who I am?" the woman inquired.
"No." he said.
"I'm the pastor's mother," she replied indignantly.
"Do you know who I am?" he asked.
"No." she said.
"Good," he answered.
Wednesday, January 26, 2011
Interesting...
...since I work in Nacogdoches.
The Marx Brothers came to Nacogdoches, Texas in 1912, performing (mostly singing) at the Opera House. Their performance was interrupted by someone shouting about a runaway mule. Many in the audience went outside to see what was going on. Julius Marx (aka Groucho) was angered by the interruption. When the rest of the audience came back, he began to insult them with "Nacogdoches is full of roaches" and other comments. The audience laughed, thinking he was joking. It is claimed that this incident made the Marx Brothers aware of their comic potential.
The Marx Brothers came to Nacogdoches, Texas in 1912, performing (mostly singing) at the Opera House. Their performance was interrupted by someone shouting about a runaway mule. Many in the audience went outside to see what was going on. Julius Marx (aka Groucho) was angered by the interruption. When the rest of the audience came back, he began to insult them with "Nacogdoches is full of roaches" and other comments. The audience laughed, thinking he was joking. It is claimed that this incident made the Marx Brothers aware of their comic potential.
Monday, January 24, 2011
The Fuging Tune
Just putting together some comments on the "fuging tune" [Example], a song type of British origin and popularized by the "First New England school". The "First New England School" includes American musicians such as William Billings, Supply Belcher, Daniel Read, Oliver Holden, and Justin Morgan (most of whom lived from the mid-1700s to the early-1800s). These writers developed a musical style largely independent of European models. Because of this, the "First New England School" is usually considered the first uniquely American music.
Most scholars agree that the term fuging tune is a shortened form of the English phrase "fuging psalm tune".
"Fuging tune: A tune upon which a fugue is built." -- Virginia Tech Multimedia Music Dictionary
In The American Fuging Tune: 'Marks of Distinction', Maxine Fawcett-Yeske describes fuging tunes as "three- or four-part polyphonic choral settings of metered sacred texts" and notes that "Imitation, sequence, and the rudimentary spinning-out of musical motives are procedures present in the early British models that find their way to varying degrees into the American repertory."
In American Fuging Tunes in The Sacred Harp, Molly Cronin describes the common form: "The fuging tune as we know it today is a binary form with a homophonic, homorhythmic A section, followed by a repeated polyphonic B section, often using points of imitation. The earliest fuging tunes had these contrapuntal sections simply as optional extensions of the homophonic section."
"fuging tune, a form of hymnody developed by American composers of the so-called First New England school during the period of the American Revolution (1775–83).
"A typical fuging tune places the tune in the tenor voice and harmonizes it with block chords. In the next-to-last phrase, called the fuging section or fuge, each of the four voices enters in turn singing the tune or a slightly varied version of it. The last phrase is again chordal. The fuge, although all four parts follow each other in melodic imitation, is not a classical fugue but merely a passage that uses imitative writing."
"fuging tune." -- Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 21 Jan. 2011.
Karl Kroeger’s definition of fuging tune is one which "contains at least one section in which the voices sing different words simultaneously." (American Fuging Tunes, 1770-1820, 1994.)
"A shape-note fuging tune has one or more sections with staggered entrances; the various parts begin the fuge in different measures, rest, enter again, and sing over each other, indeed making the music soar." -- Malinda Snow, Georgia State University in "The Sacred Harp" in The New Georgia Encyclopedia
George Pullen Jackson provides more of a description than a definition the fuging tune in White Spirituals in the Southern Uplands, as follows:
"In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence. The end of this sentence marks a cessation, a complete melodic close. During the next four measures the four parts set in, one at a time and one measure apart. First the basses take the lead for a phrase a measure long, and as they retire on the second measure to their own proper bass part, the [tenors] take the lead with a sequence that is imitative of, if not identical with, that sung by the basses. The tenors in turn give way to the altos, and they to the trebles, all four parts doing the same passage (though at different pitches) in imitation of the [part in the] preceding measure. ... Following this fuguing passage comes a four-measure phrase, with all the parts rhythmically neck and neck, and this closes the piece; though the last eight measures are often repeated."
Not everybody liked them:
"Instead of those plain and easy Compositions...away they get off, one after another, in a light airy jiggish Tune....The matter of the Psalm has very little Share in their Attention." -- From a 1764 letter to a Boston newspaper, quoted in Church Music in America, 1620 to 2000, by John Ogasapian, p. 34
Most scholars agree that the term fuging tune is a shortened form of the English phrase "fuging psalm tune".
"Fuging tune: A tune upon which a fugue is built." -- Virginia Tech Multimedia Music Dictionary
In The American Fuging Tune: 'Marks of Distinction', Maxine Fawcett-Yeske describes fuging tunes as "three- or four-part polyphonic choral settings of metered sacred texts" and notes that "Imitation, sequence, and the rudimentary spinning-out of musical motives are procedures present in the early British models that find their way to varying degrees into the American repertory."
In American Fuging Tunes in The Sacred Harp, Molly Cronin describes the common form: "The fuging tune as we know it today is a binary form with a homophonic, homorhythmic A section, followed by a repeated polyphonic B section, often using points of imitation. The earliest fuging tunes had these contrapuntal sections simply as optional extensions of the homophonic section."
"fuging tune, a form of hymnody developed by American composers of the so-called First New England school during the period of the American Revolution (1775–83).
"A typical fuging tune places the tune in the tenor voice and harmonizes it with block chords. In the next-to-last phrase, called the fuging section or fuge, each of the four voices enters in turn singing the tune or a slightly varied version of it. The last phrase is again chordal. The fuge, although all four parts follow each other in melodic imitation, is not a classical fugue but merely a passage that uses imitative writing."
"fuging tune." -- Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 21 Jan. 2011.
Karl Kroeger’s definition of fuging tune is one which "contains at least one section in which the voices sing different words simultaneously." (American Fuging Tunes, 1770-1820, 1994.)
"A shape-note fuging tune has one or more sections with staggered entrances; the various parts begin the fuge in different measures, rest, enter again, and sing over each other, indeed making the music soar." -- Malinda Snow, Georgia State University in "The Sacred Harp" in The New Georgia Encyclopedia
George Pullen Jackson provides more of a description than a definition the fuging tune in White Spirituals in the Southern Uplands, as follows:
"In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence. The end of this sentence marks a cessation, a complete melodic close. During the next four measures the four parts set in, one at a time and one measure apart. First the basses take the lead for a phrase a measure long, and as they retire on the second measure to their own proper bass part, the [tenors] take the lead with a sequence that is imitative of, if not identical with, that sung by the basses. The tenors in turn give way to the altos, and they to the trebles, all four parts doing the same passage (though at different pitches) in imitation of the [part in the] preceding measure. ... Following this fuguing passage comes a four-measure phrase, with all the parts rhythmically neck and neck, and this closes the piece; though the last eight measures are often repeated."
Not everybody liked them:
"Instead of those plain and easy Compositions...away they get off, one after another, in a light airy jiggish Tune....The matter of the Psalm has very little Share in their Attention." -- From a 1764 letter to a Boston newspaper, quoted in Church Music in America, 1620 to 2000, by John Ogasapian, p. 34
Friday, January 21, 2011
That Old Ship of Zion
Some songs using the "ship of Zion" metaphor:
1. I was standing on the banks of the river
Looking out over life's troubled sea
When I saw the old ship that was sailing
Is that the old ship of Zion I see.
2. Its hull was bent and battered
From the storms of life I could see
Waves were rough but that old ship kept sailing
Is that the old ship of Zion I see,
3. At the stern of the ship stood the captain
I could hear as he called out my name
Get on board it's the old ship of Zion
It will never pass this way again
4. As I step on board I'll be leaving
All my sorrows and heartaches behind
I'll be safe with Jesus the captain
Sailing out on the old ship of Zion.
M. J. Cartwright, 1889
I was drifting away on life’s pitiless sea,
And the angry waves threatened my ruin to be,
When away at my side, there I dimly descried,
A stately old vessel, and loudly I cried:
“Ship ahoy! Ship ahoy!”
And loudly I cried: “Ship ahoy!”
1. I was standing on the banks of the river
Looking out over life's troubled sea
When I saw the old ship that was sailing
Is that the old ship of Zion I see.
2. Its hull was bent and battered
From the storms of life I could see
Waves were rough but that old ship kept sailing
Is that the old ship of Zion I see,
3. At the stern of the ship stood the captain
I could hear as he called out my name
Get on board it's the old ship of Zion
It will never pass this way again
4. As I step on board I'll be leaving
All my sorrows and heartaches behind
I'll be safe with Jesus the captain
Sailing out on the old ship of Zion.
M. J. Cartwright, 1889
I was drifting away on life’s pitiless sea,
And the angry waves threatened my ruin to be,
When away at my side, there I dimly descried,
A stately old vessel, and loudly I cried:
“Ship ahoy! Ship ahoy!”
And loudly I cried: “Ship ahoy!”
Thursday, January 20, 2011
Prayer for children
Prayer for children.
Gracious Lord, our children see,
By thy mercy we are free;
But shall these, alas! remain
Subjects still of Satan's reign?
Israel's young ones, when of old
Pharaoh threatened to withhold;
Ex 10:9
Then thy messenger said, "No;
Let the children also go."
When the angel of the Lord
Drawing forth his dreadful sword,
Slew, with an avenging hand,
All the first-born of the land:
Ex 12:13
Then thy peoples' doors he passed,
Where the bloody sign was placed;
Hear us, now, upon our knees,
Plead the blood of CHRIST for these!
LORD we tremble, for we know
How the fierce malicious foe;
Wheeling round his watchful flight,
Keeps them ever in his sight:
Spread thy pinions, King of kings!
Hide them safe beneath thy wings;
Lest the rav'nous bird of prey
Stoop, and bear the brood away.
William Cowper (1731-1800)
Olney Hymns, 1779
Gracious Lord, our children see,
By thy mercy we are free;
But shall these, alas! remain
Subjects still of Satan's reign?
Israel's young ones, when of old
Pharaoh threatened to withhold;
Ex 10:9
Then thy messenger said, "No;
Let the children also go."
When the angel of the Lord
Drawing forth his dreadful sword,
Slew, with an avenging hand,
All the first-born of the land:
Ex 12:13
Then thy peoples' doors he passed,
Where the bloody sign was placed;
Hear us, now, upon our knees,
Plead the blood of CHRIST for these!
LORD we tremble, for we know
How the fierce malicious foe;
Wheeling round his watchful flight,
Keeps them ever in his sight:
Spread thy pinions, King of kings!
Hide them safe beneath thy wings;
Lest the rav'nous bird of prey
Stoop, and bear the brood away.
William Cowper (1731-1800)
Olney Hymns, 1779
Wednesday, January 19, 2011
Tuesday, January 11, 2011
J-E-S-U-S
We are not fond of acrostics, but we remember an old preacher describing the name of Jesus: "J-E-S-U-S: Jesus Exactly Suits Us Sinners." -- B. A. Ramsbottom, editor of The Gospel Standard
Thursday, January 06, 2011
Grace o'er sin abounding
Sovereign grace o'er sin abounding,
Ransomed souls, the tidings swell;
Tis a deep that knows no sounding
Who its breadth or length can tell?
On its glories
Let my soul forever dwell.
What from Christ that soul shall sever,
Bound by everlasting bands?
One in Him, in Him forever,
Thus th' eternal cov'nant stands;
None shall pluck thee
From the Strength of Israel's hands.
Heirs of God, joint heirs with Jesus,
Long ere time its race begun;
To His name eternal praises,
O what wonders He hath done!
One with Jesus,
By eternal union one.
On such love, my soul still ponder,
Love so great, so rich and free:
Say while lost in holy wonder,
"Why, O Lord, such love to me?"
Hallelujah!
Grace shall reign eternally.
John Kent (1766-1843)
Ransomed souls, the tidings swell;
Tis a deep that knows no sounding
Who its breadth or length can tell?
On its glories
Let my soul forever dwell.
What from Christ that soul shall sever,
Bound by everlasting bands?
One in Him, in Him forever,
Thus th' eternal cov'nant stands;
None shall pluck thee
From the Strength of Israel's hands.
Heirs of God, joint heirs with Jesus,
Long ere time its race begun;
To His name eternal praises,
O what wonders He hath done!
One with Jesus,
By eternal union one.
On such love, my soul still ponder,
Love so great, so rich and free:
Say while lost in holy wonder,
"Why, O Lord, such love to me?"
Hallelujah!
Grace shall reign eternally.
John Kent (1766-1843)
Friday, December 31, 2010
Dispel our sadness
Holy Ghost, dispel our sadness;
Pierce the clouds of nature's night;
Come, great Source of joy and gladness,
Breathe Your life, and spread Your light.
From the height which knows no measure,
As a gracious shower descend,
Bringing down the richest treasure
Man can wish, or God can send.
Author of the new creation,
Come with blessing and with power.
Make our hearts your habitation;
On our souls Your graces shower.
Hear, O hear our supplication,
Blessèd Spirit, God of peace!
Rest upon this congregation,
With the fullness of Your grace.
Johann Cruger
Praxis Pietatis Melica, 1648.
translated by August Montague Toplady (author of "Rock of Ages")
Pierce the clouds of nature's night;
Come, great Source of joy and gladness,
Breathe Your life, and spread Your light.
From the height which knows no measure,
As a gracious shower descend,
Bringing down the richest treasure
Man can wish, or God can send.
Author of the new creation,
Come with blessing and with power.
Make our hearts your habitation;
On our souls Your graces shower.
Hear, O hear our supplication,
Blessèd Spirit, God of peace!
Rest upon this congregation,
With the fullness of Your grace.
Johann Cruger
Praxis Pietatis Melica, 1648.
translated by August Montague Toplady (author of "Rock of Ages")
ABOUT
I am pastor of Old Prospect, a Baptist Church that meets near Mt. Enterprise, Texas. My wife and I have two adult children and two grandchildren. I was ordained to the ministry in 1983, am a tent-making minister, and worked in the education industry (now retired). In addition to family, church, and work, I am active in Sacred Harp singing, and also write songs in this style. I have a long-time interest in history and genealogy. I am the former editor of a Baptist newsletter styled The Baptist Waymark and a founding editor of The Trumpet (no longer in publication). To some extent Seeking the Old Paths blog functions as an electronic successor to The Baptist Waymark.
Two important mentors to me were Louis Asher and J. W. Griffith, both of whom were once my pastors. They were historians and seminary professors who had much to do with nurturing my predisposition toward things historical. Though I rejected the seminary path as outside the pale of New Testament orthopraxy, I hold them in very high esteem as men, preachers, teachers, and historians. Above all in the flesh, I honor my father as the great influence in my life.
PUBLICATIONS
• “The Noted Singer and Music Instructor”: A. N. Whitten and the Harp of Ages, 2020
• Angus McAllister Stewart: “Man of God, Friend of All Mankind,” and the Founding Father of the Free Will Baptist Church in Texas, 2017
• Songs Before Unknown: a Companion to The Sacred Harp, Revised Cooper Edition 2012, 2015
• Thaptology: Toward a Christian Theology of the Disposition of the Dead, 2015
• History of the Old Prospect Baptist Church, Sand Flat, Rusk Co, Texas, 2014
• Rethinkin’ Our Thinkin’: Thoughts on Sacred Harp ‘Myths’, 2013
• A Sheaf of Psalms and Hymns and Spiritual Songs, 2009
• A History of Smyrna Baptist Church 1873-2008, (with J. W. Griffith) 2009
• A Better Paradigm for the Study of Baptist History? (with Nathan Finn, Mark Osgatharp) 2009
• Materials Toward a History of Feet Washing among the Baptists, 2008
• Minutes of the Mt. Carmel Baptist Church, Rusk County, Texas: Oct 1868–Nov 1871, 2006
• Approaching 150: a Brief History of the East Texas Musical Convention, 2005
• Unaffiliated Landmark Baptist Churches Survey: a Listing of Unaffiliated Independent Landmark Baptist Churches, 2001
• American Baptist Association: a Survey and Census of its Churches and Associations, 2001
• Georgia Baptist Historical Society (now defunct)
• J. H. Spencer Historical Society
• Texas Baptist Historical Society
• (lapsed member of the) Association of Statisticians of American Religious Bodies
CONTACT
rl_vaughn -AT- yahoo.com
PURPOSE
The purpose of this blog is glorify Jesus Christ while posting thoughts about things that interest me. The main themes of the blog, based on my interests, will be the Bible and Baptists, songs, hymns, and history. Announcements, current events, and such like will creep in from time to time.
VERY BRIEF DOCTRINAL STATEMENT
Foundational truths
All fundamental doctrines grow from two foundational truths – that God is and that He has revealed Himself in the sixty-six books we call the Holy Bible. God is. The Bible is inspired.
Fundamental doctrines
(If you wish to know more about my doctrinal statement or other matters, please contact me by e-mail.)
Two important mentors to me were Louis Asher and J. W. Griffith, both of whom were once my pastors. They were historians and seminary professors who had much to do with nurturing my predisposition toward things historical. Though I rejected the seminary path as outside the pale of New Testament orthopraxy, I hold them in very high esteem as men, preachers, teachers, and historians. Above all in the flesh, I honor my father as the great influence in my life.
PUBLICATIONS
• “The Noted Singer and Music Instructor”: A. N. Whitten and the Harp of Ages, 2020
• Angus McAllister Stewart: “Man of God, Friend of All Mankind,” and the Founding Father of the Free Will Baptist Church in Texas, 2017
• Songs Before Unknown: a Companion to The Sacred Harp, Revised Cooper Edition 2012, 2015
• Thaptology: Toward a Christian Theology of the Disposition of the Dead, 2015
• History of the Old Prospect Baptist Church, Sand Flat, Rusk Co, Texas, 2014
• Rethinkin’ Our Thinkin’: Thoughts on Sacred Harp ‘Myths’, 2013
• A Sheaf of Psalms and Hymns and Spiritual Songs, 2009
• A History of Smyrna Baptist Church 1873-2008, (with J. W. Griffith) 2009
• A Better Paradigm for the Study of Baptist History? (with Nathan Finn, Mark Osgatharp) 2009
• Materials Toward a History of Feet Washing among the Baptists, 2008
• Minutes of the Mt. Carmel Baptist Church, Rusk County, Texas: Oct 1868–Nov 1871, 2006
• Approaching 150: a Brief History of the East Texas Musical Convention, 2005
• Unaffiliated Landmark Baptist Churches Survey: a Listing of Unaffiliated Independent Landmark Baptist Churches, 2001
• American Baptist Association: a Survey and Census of its Churches and Associations, 2001
- Washing the Saints’ Feet in Hymning the Lamb: Hymns on Feet Washing written by or used among the Baptists, 2013 (manuscript, not printed)
• Georgia Baptist Historical Society (now defunct)
• J. H. Spencer Historical Society
• Texas Baptist Historical Society
• (lapsed member of the) Association of Statisticians of American Religious Bodies
CONTACT
rl_vaughn -AT- yahoo.com
PURPOSE
The purpose of this blog is glorify Jesus Christ while posting thoughts about things that interest me. The main themes of the blog, based on my interests, will be the Bible and Baptists, songs, hymns, and history. Announcements, current events, and such like will creep in from time to time.
VERY BRIEF DOCTRINAL STATEMENT
Foundational truths
All fundamental doctrines grow from two foundational truths – that God is and that He has revealed Himself in the sixty-six books we call the Holy Bible. God is. The Bible is inspired.
Fundamental doctrines
- All things were created by and exist by God, who reveals Himself as the Father, the Son, and the Holy Spirit.
- The work of God in the world through Jesus Christ is the central truth of the Bible.
- Salvation is a need of man and a work of God.
- The gospel is how that Christ died for our sins according to the Scriptures, that He was buried, and that He rose again the third day according to the Scriptures.
- The gospel is to be preached throughout the world.
- The Son of God was born into this world of a virgin, lived sinlessly in the flesh, died on the cross and rose from the grave. He has promised to return again.
No rights reserved. All content on this website (except that owned by a third-party) is public domain.
Saturday, December 25, 2010
Praise for the incarnation
Praise for the incarnation.
Sweeter sounds than music knows
Charm me, in EMMANUEL'S name;
All her hopes my spirit owes
To his birth, and cross, and shame.
When he came the angels sang
"Glory be to GOD on high,"
Lord, unloose my stamm'ring tongue,
Who should louder sing than I.
Did the Lord a man become
That he might the law fulfill,
Bleed and suffer in my room,
And canst thou, my tongue, be still?
No, I must my praises bring,
Though they worthless are, and weak;
For should I refuse to sing
Sure the very stones would speak.
O my Savior, Shield, and Sun,
Shepherd, Brother, Husband, Friend,
Every precious name in one;
I will love thee without end.
John Newton (1725-1807)
Olney Hymns, 1779
Sweeter sounds than music knows
Charm me, in EMMANUEL'S name;
All her hopes my spirit owes
To his birth, and cross, and shame.
When he came the angels sang
"Glory be to GOD on high,"
Lord, unloose my stamm'ring tongue,
Who should louder sing than I.
Did the Lord a man become
That he might the law fulfill,
Bleed and suffer in my room,
And canst thou, my tongue, be still?
No, I must my praises bring,
Though they worthless are, and weak;
For should I refuse to sing
Sure the very stones would speak.
O my Savior, Shield, and Sun,
Shepherd, Brother, Husband, Friend,
Every precious name in one;
I will love thee without end.
John Newton (1725-1807)
Olney Hymns, 1779
Friday, December 24, 2010
Mary's song
From HYMN 60 L. M.
The Virgin Mary's song. Luke 1:46ff.
He spake to Abram and his seed,
"In thee shall all the earth be blessed;"
The memory of that ancient word
Lay long in his eternal breast.
But now no more shall Isr'el wait,
No more the Gentiles lie forlorn:
Lo, the desire of nations comes;
Behold, the promised seed is born!
Isaac Watts (1674-1748)
Hymns and Spiritual Songs, 1707
The Virgin Mary's song. Luke 1:46ff.
He spake to Abram and his seed,
"In thee shall all the earth be blessed;"
The memory of that ancient word
Lay long in his eternal breast.
But now no more shall Isr'el wait,
No more the Gentiles lie forlorn:
Lo, the desire of nations comes;
Behold, the promised seed is born!
Isaac Watts (1674-1748)
Hymns and Spiritual Songs, 1707
Saturday, December 18, 2010
The chalice or the basin
"I protest that I have no choice whether to be the chalice or the basin. Fain would I be whichever the Lord wills so long as He will but use me...So you, my brother, you may be the cup, and I will be the basin; but let the cup be a cup, and the basin a basin, and each one of us just what he is fitted to be. Be yourself, dear brother, for, if you are not yourself, you cannot be anybody else; and so, you see, you must be nobody...Do not be a mere copyist, a borrower, a spoiler of other men's notes. Say what God has said to you, and say it in your own way; and when it is so said, plead personally for the Lord's blessing upon it" -- (Charles H. Spurgeon, An All Round Ministry, pp. 73-74)
Friday, December 17, 2010
Rest for weary souls
Does the gospel-word proclaim
Rest, for those who weary be?
Then, my soul, put in thy claim,
Sure that promise speaks to thee:
Marks of grace I cannot show,
All polluted is my best;
Yet I weary am, I know,
And the weary long for rest.
In the ark, the weary dove
Found a welcome resting-place;
Thus my spirit longs to prove
Rest in CHRIST, the ark of grace:
Tempest-tossed I long have been,
And the flood increases fast;
Open, LORD, and take me in,
Till the storm be overpast.
From "Rest for weary souls", by John Newton (1725-1807)
Olney Hymns, 1779
Rest, for those who weary be?
Then, my soul, put in thy claim,
Sure that promise speaks to thee:
Marks of grace I cannot show,
All polluted is my best;
Yet I weary am, I know,
And the weary long for rest.
In the ark, the weary dove
Found a welcome resting-place;
Thus my spirit longs to prove
Rest in CHRIST, the ark of grace:
Tempest-tossed I long have been,
And the flood increases fast;
Open, LORD, and take me in,
Till the storm be overpast.
From "Rest for weary souls", by John Newton (1725-1807)
Olney Hymns, 1779
Wednesday, December 15, 2010
Saturday, December 11, 2010
The works of creation
Psalm 135 Part 2 v.5-12. L. M.
The works of creation, providence, redemption of Israel, and destruction of enemies.
Great is the Lord, exalted high
Above all powers and every throne:
Whate'er he please, in earth or sea,
Or heav'n or hell, his hand hath done.
At his command the vapors rise,
The lightnings flash, the thunders roar;
He pours the rain, he brings the wind
And tempest from his airy store.
'Twas he those dreadful tokens sent,
O Egypt, through thy stubborn land,
When all thy first-born, beasts and men,
Fell dead by his avenging hand.
What mighty nations, mighty kings,
He slew, and their whole country gave
To Isr'el, whom his hand redeemed,
No more to be proud Pharaoh's slave!
His power the same, the same his grace,
That saves us from the hosts of hell;
And heav'n he gives us to possess,
Whence those apostate angels fell.
Isaac Watts (1674-1748)
The Psalms of David, 1719
The works of creation, providence, redemption of Israel, and destruction of enemies.
Great is the Lord, exalted high
Above all powers and every throne:
Whate'er he please, in earth or sea,
Or heav'n or hell, his hand hath done.
At his command the vapors rise,
The lightnings flash, the thunders roar;
He pours the rain, he brings the wind
And tempest from his airy store.
'Twas he those dreadful tokens sent,
O Egypt, through thy stubborn land,
When all thy first-born, beasts and men,
Fell dead by his avenging hand.
What mighty nations, mighty kings,
He slew, and their whole country gave
To Isr'el, whom his hand redeemed,
No more to be proud Pharaoh's slave!
His power the same, the same his grace,
That saves us from the hosts of hell;
And heav'n he gives us to possess,
Whence those apostate angels fell.
Isaac Watts (1674-1748)
The Psalms of David, 1719
Saturday, December 04, 2010
Friday, December 03, 2010
Jesus lived and loved
William Gadsby, # 584 7s.
Jesus lived, and loved, and died,
Rose, and lives to intercede;
And with Zion on His breast,
He has said He’ll ever rest.
Long before this world was made,
Or that monster, Sin, appeared,
God was love, and loved the men
He ordained and then redeemed.
Love constrained the Lamb to die,
For a wretch so vile as I;
Love, immensely great and free,
Christ has shown to worthless me.
Once I rolled in guilt and sin,
Heeded not a heart unclean;
But I now with wonder tell,
Jesus saved my soul from hell.
Jesus lived, and loved, and died,
Rose, and lives to intercede;
And with Zion on His breast,
He has said He’ll ever rest.
Long before this world was made,
Or that monster, Sin, appeared,
God was love, and loved the men
He ordained and then redeemed.
Love constrained the Lamb to die,
For a wretch so vile as I;
Love, immensely great and free,
Christ has shown to worthless me.
Once I rolled in guilt and sin,
Heeded not a heart unclean;
But I now with wonder tell,
Jesus saved my soul from hell.
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