‘Tis So Sweet to Trust in Jesus

‘Tis So Sweet to Trust in Jesus

Text by: Louisa M Stead 1882

Tune:  by William J Kirkpatrick

Source: Broadman 1940 Hymnal #284

Here is my recording of ‘Tis so Sweet to Trust in Jesus:

https://youtu.be/50oWVAq_Fxk

1 ’Tis so sweet to trust in Jesus,
And to take Him at His word;
Just to rest upon His promise,
And to know, Thus says the Lord!

Refrain

Jesus, Jesus, how I trust Him!
How I’ve proved Him o’er and o’er;
Jesus, Jesus, precious Jesus!
O for grace to trust Him more!

2 O how sweet to trust in Jesus,
Just to trust His cleansing blood;
And in simple faith to plunge me
’Neath the healing, cleansing flood!

Refrain

3 Yes, ’tis sweet to trust in Jesus,
Just from sin and self to cease;
Just from Jesus simply taking
Life and rest, and joy and peace.

Refrain

4 I’m so glad I learned to trust Thee,
Precious Jesus, Savior, friend;
And I know that Thou art with me,
Wilt be with me to the end.

Refrain

 

“Mommy, Mommy, let’s go!!” Lili was so anxious to go to the beach for a picnic with her father and me. She is only four and gets so excited whenever her father is home during the day she can hardly contain herself. The sun is out and it is a most beautiful and glorious day. It is indeed a wonderful day for a picnic and I praise God for the sun, my wonderful husband, and my precious daughter. I feel well today, even though it had been a hard winter and some days I could barely drag myself out of bed to attend to my duties, I am thankful for today.

 

We arrived at the beach and set up our picnic under the shade of a maple tree. After thanking the Lord for his bounty, we started to eat and enjoy the sun and each other’s company. No sooner than I had taken my first bite of lunch than we heard frantic screams from the water. We looked out and saw a boy caught in the tow, struggling to get to shore. My dear husband, without a moment’s hesitation, put his sandwich down and ran to the water. He dove and swam out to the panicked boy. My husband tried vainly to try to calm the boy down but as soon as he was close the boy grabbed him and pulled him under the water.

 

In a moment our day of joy turned to a day of agony. My dear husband, along with this poor boy drowned that day.

 

Lili was inconsolable. She cried for days. What child should see her father die? How can she understand what happened?

 

We have no money. I have been sick most of my life and have no means of supporting Lili and myself.

 

Yesterday, someone backed us a Shepherd’s Pie! It is enough to last Lili and me three days! The Lord is so good and gracious.

 

Since I was a child I have yearned to serve our Lord in the mission field. In His mercy, he has provided such an opportunity. Lili and I leave for Cape Colony, South Africa next week!

 

Luisa Stead worked as a missionary for another 15 years. She met and married Robert Wodehouse, a native of South Africa. Because of her poor health the couple returned to the US and Mr. Wodehouse served a Methodist church. In 1900 they returned to Umtali which was in Southern Rhodesia which is now Zimbabwe.

 

Luisa Stead passed away in 1917 in her home near the Mutambara Mission, about 50 miles from Umtali. Her daughter, Lili continued to work in the mission field in southern Africa.

 

‘Tis so Sweet to Trust in Jesus was written shortly after her first husband’s death and reflects her strong trust that despite all of her hardships, Jesus was ever faithful.

 

 


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Rock of Ages, Cleft for Me – Vano

Rock of Ages, Cleft for Me

Text by: Augustus Toplady

Music by: Ruth Coberly

Here is my recording of this new hymn:  https://youtu.be/x9DBAYb9vuY

Rock of Ages, cleft for me,
Let me hide myself in Thee;
Let the water and the blood,
From Thy wounded side which flowed,
Be of sin the double cure;
Save from wrath and make me pure.

Could my tears forever flow,
could my zeal no langour know,
These for sin could not atone.
In my hand no price I bring,
Simply to thy cross I cling.

While I draw this fleeting breath,
When mine eyes shall close in death,
When I rise to worlds unknown,
And behold thee on thy throne,
Rock of Ages, cleft for me,
Let me hide myself in Thee.

This summer, my friend Ruth Coberly shared with me her new setting of the Augustus Toplady’s hymn, Rock of Ages. She named the new tune “Vano” and dedicated the work in honor of her friend Vano Kiboko, a United Methodist evangelist, currently being held prisoner in Makala Prison in the city of Kinshasa, in the Democratic Republic of Congo. His crime: condemning the injustice of the shooting of an unarmed woman engaged in a non-violent protest last December 8th. On September 15th, Vano was sentenced to 3 years in prison for his crime. The prison he is being housed in was built to hold 2000 people, it currently houses about 8000 people. Food is only provided for 2000 and medical care is virtually non-existent. Vano has effectively been sentenced to death by starvation.

However, like the Apostle Paul, who used his extended imprisonment to preach the Gospel to fellow inmates and his jailors alike, Vano has not been idle. In the 8 months of his confinement he has not stopped proclaiming the Good News. The last count we have is that 800 men have surrendered their lives to Christ and have been baptized. And in recent weeks, Vano has been allowed to begin preaching in the women’s prison where his wife has been holding regular Bible studies. We have a report of 50 women committing their lives to God and are awaiting Baptism into the body of Christ. What Satan intended for evil, God has used as a blessing to hundreds and soon thousands. Out of the darkness of Makala Prison, a blinding light has shown forth.

This new setting of Rock of Ages has become a theme song of this budding church. A recording done by a local chamber choir in the Denver, CO area can be heard every day in the prison and the hymn is sung daily by the inmates.

Vano’s local church struggles to bring in food for an Agape feast and regular meals, and to provide whatever medical care they can. However, the poorest amongst us are wealthy beyond imagination to these people. They dream of owning a bible, we leave our sitting unopened, buried on a shelf someplace.

Vano’s efforts come from his earnest desire to be obedient, even if it means he will perish. I was humbled as I learned about Ruth’s friend and his faith in the presence of the evil one. He is feeding the lost sheep and bringing them to the Lord. Well done, good and faithful servant.

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Hymn Project Reaches 1000 Hymns.

What started about a year ago as a gift to my father, a retired Presbyterian pastor, who missed singing all of old hymns has now grown into a collection of over 1000 recordings. Many of these hymns are understandably in the dust bin of history. And I have found there have been many composers who seem to think that 3/4 and 6/8 are the only meters in the universe (a trend we still see today).

More importantly, I have found how our hymns reflect our cultures more than we may ever imagine. I have had conversations with people comparing texts and tunes where the texts were nearly identical in content but had such different cultural roots (one Baptist and the other Episcopalian) that despite their textual similarities, they would never be used by the other church.
This has given me a bit more tolerance for the CCM world of music and with it a better understanding how this musical genre reflects the strengths and weaknesses of contemporary culture. I don’t have an appreciation of CCM, just an understanding.

I have been struck by the enormous richness of our musical heritage. It is possible to find a hymn which either directly quotes, references, or swerves nearby to just about any scripture used in a service. (Hard to say that about CCM). The more I have explored our vast treasure, the more I have come to appreciate it in all of its glory and warts.

This is the 1000th hymn. A great example of late 19th century middle-American Baptist hymn. It may not appeal to you, but it is one of our’s nonetheless.

Sweet By and By

https://youtu.be/-uVT6DH3HCw

 

 


Praise the Lord, God’s Glories Show

Praise the Lord, God’s Glories Show

By: Henry Francis Lyte 1793-1847

Tune usually associated: Llanfair by Robert Williams 1817

Here is a link to my YouTube recording:

https://youtu.be/fy-JBN4NFVM

1 Praise the Lord, God’s glories show, Alleluia!
Saints within God’s courts below, Alleluia!
Angels round the throne above, Alleluia!
All that see and share God’s love, Alleluia!

2 Earth to Heaven and Heaven to earth, Alleluia!
Tell the wonders, sing God’s worth, Alleluia!
Age to age and shore to shore, Alleluia!
Praise God, praise forevermore! Alleluia!

3 Praise the Lord, great mercies trace, Alleluia!
Praise His providence and grace, Alleluia!
All that God for us has done, Alleluia!
All God sends us through the Son. Alleluia!

4 Strings and voices, hands and hearts, Alleluia!
In the concert bear your parts, Alleluia!
All that breathe, your Lord adore, Alleluia!
Praise Him, praise Him evermore!

The final two lines provide a complete summary of the hymn: All that breathe, you Lord adore, Praise Him, Praise Him evermore!  Each line of this hymn is embraced by every corner of Christendom. While Lyte captures the universal truths of our faith, from today’s perspective, he found within his own life and ministry much division and contradictions.

Early in his ministry he took a parish in Lower Brixham; a fishing village in the southwest corner of Great Britain. While there, he began the first Sunday school ever in the area. In addition to the children’s school he started a Sailor’s Sunday School. The enrollment usually ran into the hundreds. While religious education was ostensibly the purpose of this school, the school usually provided the only educational opportunity for the area residence, who were mostly illiterate. He would also organize an Annual Treat for area children which included a short worship service followed by food and field games.

Lyte was, in today’s parlance, a Conservative Evangelical Christian. He worked tirelessly for his ever growing congregation who were mostly illiterate fishermen and their families. He would often visit them in their homes and on their vessels, making sure that each ship had at least one Bible on board. Yet, this man who had a deep care for his own people opposed Catholic Emancipation. Catholic Emancipation was an effort to relieve the Catholics of Great Britain of the many regulations which were imposed upon them two centuries earlier with the ascension of Protestant rulers. Yet, he worked for the end of slavery and the emancipation of all slaves in Britain and was very active in the abolition movement in England.

As the Non-conformist, also known as the Dissenter churches, such as Plymouth Brethren gained influence in England, Lyte strongly promoted allegiance to the Church of England. At one time he lost a sizeable portion of his congregation (including most of his choir) because of his position.

However contradictory aspects of Henry Lyte’s life and work may appear to us living in the early 21st century, we should hold off making any judgements. We nede to understand the historical context of his life in same understanding we would hope historians of the 23rd century would use in looking at our own time. For most of human history prior to time of the American and French revolutions, the Church and State were deeply intertwined. Various factions would join forces and compete for power and resources as seen in the English monarchy switching between Catholic and Protestant affiliations. Unlike what we experience today, these political/religious power transitions were often very violent affairs with the common people bearing the brunt of the chaos and loss. For a person of political or religious influence to oppose other branches of the church was as much of an existential argument as anything else. Based upon historical precedent, if the Catholics were allowed to come to power, it could mean the loss of Protestant lives.  The same could be said when the power structure shifted from Catholic to Protestant, Catholic lives were at risk.

This is how Lyte could advocate the freeing of African slaves and not the relief of Catholic oppression. One group (slaves) posed no historical threat, but the other (Catholics) had a history of violent oppression of Protestants. (And the Catholics would have a similar opinion of the Protestants.)  The experiment of a politically powerless church had only just begun in the Americas. By the end of Lyte’s life the experiment would have been proven and the political power of Church was in rapid decline. But this was not the history he was born into. I often wonder what ideas we take for granted as truth today, will be seen 200 years from now as foolish if not outright evil.

 

 


New Hymn Videos

I have just started recording the Broadman Hymnbook. This hymnbook is out of the Baptist/Revival tradition.

Here are are few new recordings: (Skipped hymns have already been recorded and in The Hymnbook 1955)

 

We’re Marching to Zion Marching to Zion http://youtu.be/G5gYPyrrn8Q
Whiter Than Snow Whiter Than Snow http://youtu.be/63wy6FYnBwI
Seeking for Me Seeking for Me http://youtu.be/JPOkGJJLf8Q
When I Can Read My Title Clear Pisgah http://youtu.be/kbawNjYjZNE
I Saw the Cross of Jesus Whitfield http://youtu.be/qSb_D5hirDU




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The Hymnbook 1955 – Complete Recording

It all began on a Saturday in September almost 45 years ago. My mother walked with me from our home in Bad Axe, Michigan on North Port Crescent south a couple of blocks to South St and then west one house and introduced me to my first piano teacher: Mrs. Snodden. Fast forward to the fall of 2014. After hearing my parents mention several times that no one sang the old hymns anymore, I decided to record a CD’s worth of hymns out of The Hymnbook (Presbyterian 1955) which was used in the church I grew up in. Initially, I thought I would just pick 50 or so of the hymns I remember singing as a child. As it turned out, I couldn’t always remember if I had played or sang the hymns as a child or as an adult at one of the several churches I have worked through the years. And besides, 50 was just not nearly enough to even start with. So began a 6 month journey through the entire hymn book. I have played hymns I haven’t heard for 35 years and many I have never heard before; wondering why such gems had suffered such neglect.

So the journey is complete and I once more arrive at where I began and know it again for the first time. Such a journey is not unlike reading the Bible from cover to cover. You see such an overarching vista of God’s work that the imponderable and un-understandable mysteries which might have caused you to question your faith fade into the very fabric of your faith. You learn that faith is not in the knowing the answer but rather in the acceptance of the question. The final hymn speaks to the mercies of the night and God’s presence throughout our days. In the end of our days and the end or our faith, this is where we arrive, utterly dependent upon the Grace and Mercy of our Father.

 

Here is a link to the entire list of recordings I have done so far with links to all of the recordings:

http://andrewremillard.com/recording-list/




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Thee, Thine, Thou, and Thy

One of the frequent conversations held inside the esoteric world of hymn book editing is the use of supposedly archaic words such as: Thee, Thine, Thou and Thy. This issue reflects the general flattening of our language when it comes to the distinction between levels of personal intimacy. Most recently this has shown up in children and teen’s addressing of adults; especially in addressing their teachers by some form of their first name, whether or not it is proceeded with a Ms., or Mr. This over familiarity has blurred the line which once demarcated the youth from the adult. In several European languages there still exists a clear form of addressing a close friend or family member which is distinctively different from an address towards anybody else. And culturally, it requires a direct invitation to address someone with the intimate form.

One might assume that words such as: Thee, Thine, Thou and Thy, are a hyper formal form of address which is reserved only for religious usage. Nothing could be further from the truth. As our language has changed, we have not made everybody more intimate in our address (school children being excepted). Rather, we have made our intimate relationships no different in address than what is used for a total stranger. An address of “Thou” marked the greatest intimacy. It was reserved only for a lover, spouse, family member, or very close personal friend.

A true “Thou” intimacy is very rare in our lives, we may only have a handful during our entire lifetime. I had a “Thou” with my late, best friend Ralph Bus. Ours was a relationship built upon a complete openness and honesty and uncompromising love for each other. And yet we were as different as two men could be. He loved jazz, and well, I didn’t, but we shared a love of learning and exploring, so when I started to rent pianos to area jazz musicians, Ralph came along and loved getting to go behind the scenes. He also attended every concert I gave without fail.

“Thou” is characterized by a deathbed presence. When I received the call that Ralph had been taken to the Elmhurst hospital and was probably not going to survive the day, I raced to the hospital; getting my first speeding ticket of my life! If my dear friend had been awake, he would have died from laughing at me! But, alas, thou, my friend, we will have to wait for eternity to continue our exploration of our faith and what it means.

As rare as a true “thou” may be, we all have at least one “thou” and that is our Father who knows us better than we know ourselves. The use of Thee, Thine, Thou, and Thy in our hymns is not a religious formality, but a reflection of the greatest of intimacies. An intimacy which burrows into our very being and holds our heart in the strongest and gentlest of hands. So use the “Thou” to address our most intimate of friends, it is the most appropriate way to address the one who loved us so much, the gave his only begotten Son to the cross, so that all may know the love which passes all understanding. Amen.




O Sing a Song of Bethlehem

O Sing a Song of Bethlehem

Text by: Louis F Benson 1899

Generally sung to: Kingsfold, a traditional English melody

Here is a YouTube recording: http://youtu.be/nRXvyIjWEHQ

O sing a song of Bethlehem, of shepherds watching there,
And of the news that came to them from angels in the air.
The light that shone on Bethlehem fills all the world today;
Of Jesus’ birth and peace on earth the angels sing alway.

O sing a song of Nazareth, of sunny days of joy;
O sing of fragrant flowers’ breath, and of the sinless Boy.
For now the flowers of Nazareth in every heart may grow;
Now spreads the fame of His dear Name on all the winds that blow.

O sing a song of Galilee, of lake and woods and hill,
Of Him Who walked upon the sea and bade the waves be still.
For though like waves on Galilee, dark seas of trouble roll,
When faith has heard the Master’s Word, falls peace upon the soul.

O sing a song of Calvary, its glory and dismay,
Of Him Who hung upon the tree, and took our sins away.
For He Who died on Calvary is risen from the grave,
And Christ, our Lord, by Heaven adored, is mighty now to save.

 

Louis F Benson (1855-1930) was born and lived most of his life in Philadelphia, PA. He attended the University of Pennsylvania and was admitted to the Bar in 1877 and practiced law until about 1884 when left the legal profession and started his theological studies. He was ordained as a Presbyterian Minister in 1888. In 1894 he resigned his position and devoted the rest of his life to literary efforts. He is most well-known for his work on hymnody, writing several books about the history of various hymns, collections of hymns, and translations of hymns. His personal library numbered over 9000 volumes upon his death.

Benson spent a considerable effort in editing the text of the most commonly used hymns in the English speaking churches. Before his work, changes and revisions had been made to many hymns to such an extent the original meanings and theology were often completely altered; as it continues to this day. He listed five characteristics which define a good hymn: 1) lyrical quality; 2) literary excellence; 3) liturgical propriety; 4) a tone of reverence; 5) spiritual reality. His editorial efforts were directed to returning the hymn text to their original versions as much as possible. He would allow for some alterations but demanded the changes fit his criteria of a “good hymn” and did no damage to the author’s original text.

While this hymn is often used exclusively during the Advent and Christmas seasons, it can just as easily be used throughout the year. Within its four short stanzas it traces the ministry of Christ from his birth in Bethlehem, life in Nazareth, his work in Galilee, and finally his death at Calvary.

 




Fairest Lord Jesus

Fairest Lord Jesus

Author unknown

Generally sung to “Crusader’s March” This tune is sometimes known as St. Elizabeth. Composer of tune unknown. It first appeared in Schlesische Volkslieder (Sicilian Folk Songs) in 1842.

Here is a link for a YouTube recording:

“Crusader’s March” http://youtu.be/XW5bkIUQqZc

“Schonster Herr Jesu”  http://youtu.be/zxC2VlKjZC4 (a less commonly used tune)

1 Fairest Lord Jesus,
ruler of all nature,
O thou of God and man the Son,
Thee will I cherish,
Thee will I honor,
thou, my soul’s glory, joy, and crown.

2 Fair are the meadows,
fairer still the woodlands,
robed in the blooming garb of spring:
Jesus is fairer,
Jesus is purer
who makes the woeful heart to sing.

3 Fair is the sunshine,
fairer still the moonlight,
and all the twinkling starry host:
Jesus shines brighter,
Jesus shines purer
than all the angels heaven can boast.

4 Beautiful Savior!
Lord of all the nations!
Son of God and Son of Man!
Glory and honor,
praise, adoration,
now and forevermore be thine.

The first thing I would like to do, in this hyper-politically correct era, is deal with the title of the tune most commonly associated with this wonderful text. It is not, as the title might suggest, something which was sung by the crusaders on their way to liberate Israel.  The earliest evidence of the tune is from the Schlesische Volkslieder (Sicilian Folk Songs) which was published in 1842. Here the tune was known as: “Schönster Herr Jesu” (Most beautiful Lord Jesus).  Franz Liszt used the tune in his oratorio “The Legend of St. Elizabeth” (1862) for the Crusader’s March.  This is where the names “St. Elizabeth” and “Crusader’s March” originated.

As a song of adoration “Fairest Lord Jesus” is second to none. This hymn uses the physical world, and all of its beauty to set the beauty of the Lord Jesus as being even greater.

Here are some of the Scriptural references from the first stanza:

Psalm 27:4 One thing have I desired of the Lord, that will I seek after; that I may dwell in the house of the Lord all the days of my life, to behold the beauty of the Lord, and to enquire in his temple.

Mark 9:3 And his raiment became shining, exceeding white as snow; so as no fuller on earth can white them.

John 5:23 That all men should honor the Son, even as they honor the Father. He that honors not the Son honors not the Father which hath sent him.

These poetic expressions of the beauty of Christ are developed and expanded through the balance of the hymn.

There is an important development with the 4th and 5th lines of each stanza. 1) Thee will I cherish, Thee will I honor, 2) Jesus is fairer, Jesus is purer 3) Jesus shines brighter, Jesus shines purer and finally 4) Glory and honor, praise, adoration, now and forevermore be thine. The song moves from our reactions towards the Son to ever more powerful descriptions of Jesus, each one building upon the previous. In the final stanza the initial: “O thou of God and man the Son,” becomes: “Son of God and Son of Man!” And with this the declaration that all glory and honor, praise and adoration, are forever Jesus’.




All Hail the Power of Jesus’ Name!

All Hail the Power of Jesus’ Name!

Text by: Edward Perronet 1779 & 1780

Generally sung to: “Coronation” and “Miles’ Lane”

Here is a recording of “Coronation”:  http://youtu.be/UuWn5zpheFE

Here is a recording of “Miles’ Lane”:  http://youtu.be/FtyapsdCwMw

Here is a recording of “Diadem”: http://youtu.be/jqmDKgp4ExE

All hail the power of Jesus’ Name! Let angels prostrate fall;
Bring forth the royal diadem, and crown Him Lord of all.
Bring forth the royal diadem, and crown Him Lord of all.

Let highborn seraphs tune the lyre, and as they tune it, fall
Before His face Who tunes their choir, and crown Him Lord of all.
Before His face Who tunes their choir, and crown Him Lord of all.

Crown Him, ye morning stars of light, who fixed this floating ball;
Now hail the strength of Israel’s might, and crown Him Lord of all.
Now hail the strength of Israel’s might, and crown Him Lord of all.

Crown Him, ye martyrs of your God, who from His altar call;
Extol the Stem of Jesse’s Rod, and crown Him Lord of all.
Extol the Stem of Jesse’s Rod, and crown Him Lord of all.

Ye seed of Israel’s chosen race, ye ransomed from the fall,
Hail Him Who saves you by His grace, and crown Him Lord of all.
Hail Him Who saves you by His grace, and crown Him Lord of all.

Hail Him, ye heirs of David’s line, whom David Lord did call,
The God incarnate, Man divine, and crown Him Lord of all,
The God incarnate, Man divine, and crown Him Lord of all.

Sinners, whose love can ne’er forget the wormwood and the gall,
Go spread your trophies at His feet, and crown Him Lord of all.
Go spread your trophies at His feet, and crown Him Lord of all.

Let every tribe and every tongue before Him prostrate fall
And shout in universal song the crownèd Lord of all.
And shout in universal song the crownèd Lord of all.

All Hail The Power of Jesus’ Name has been described by some as the “National Anthem” of Christianity; as much for it unabashed declaration of the power the Name which is above all other names, but also that it has been translated into nearly every language found on earth. It can be found in almost 2800 different hymn books from around the world. The three tunes most commonly associated with this text also allow for a variety of musical traditions a comfortable musical context. The “Miles’ Lane” tune was actually written by a friend of Perronet, 19-year-old William Shrubside.

The Bible is replete with stories of misfits and the socially unacceptable being regularly used for God’s purposes.  Edward Perronet (1726-1792) came from a family of Huguenots who were refugees, fleeing France, first to Switzerland and then to England to escape religious persecution. Vincent Perronet, (Edward’s father) became a vicar of the Church of England and settled in Shoreham where he served for the rest of his long life. The family eventually came under the influence of Charles and John Wesley.

Edward also started his service within the Church of England, but his short temper and inability to submit to authority led to his separation from both the Church of England and eventually the Wesleys after the Methodist split from the Church of England. He settled with a congregation known as a “dissenter” congregation; a congregation which was independent of any denomination. So a man who could not fit into any of the larger socio-religious organizations of his time, wrote a hymn which transcends all socio-religious boundaries.

One of the challenges we experience in the 21st century while reading text written centuries earlier is the presence of unfamiliar words and phrases. Yet, it is these unfamiliar words which actually contain the most important ideas.

“All hail the power of Jesus’ Name! Let angels prostrate fall”

Philippians 2:10 “That at the name of Jesus every knee should bow, of things in heaven, and things in earth, and things under the earth;” The power of Jesus’ name is such that everything on the earth, under the earth, and in heaven will bow before Him. The angels falling prostrate shows their submission to their Lord, who is our Lord.

“Let highborn seraphs tune the lyre, and as they tune it, fall”

Isaiah 6:1-3 6 “In the year that king Uzziah died I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphims: each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried unto another, and said, Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory.” The seraphs or seraphim are considered the highest order of angels. In continuing with the first stanza, even the highest angels, whose function is to declare the holiness of God fall before the name of Jesus.

“Crown Him, ye martyrs of your God, who from His altar call;
Extol the Stem of Jesse’s Rod, and crown Him Lord of all.”

Isaiah 11:1-6 contains some of the most poetic references to the coming Messiah containing the reference to the “rod of Jesse:

1And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots: 2And the spirit of the LORD shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the LORD; 3And shall make him of quick understanding in the fear of the LORD: and he shall not judge after the sight of his eyes, neither reprove after the hearing of his ears: 4But with righteousness shall he judge the poor, and reprove with equity for the meek of the earth: and he shall smite the earth with the rod of his mouth, and with the breath of his lips shall he slay the wicked. 5And righteousness shall be the girdle of his loins, and faithfulness the girdle of his reins. 6The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.

The martyrs calling from the alter comes from Revelations 17:5-6 5”And upon her forehead was a name written, Mystery, Babylon the Great, The Mother of Harlots and Abominations of the Earth. 6And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus”

The “seed of Israel’s chosen race” declares that Christ is of the house of David. The rest of mankind are heirs to David’s line through God incarnate who is Man divine and is crowned Lord of all.

We are all sinners who love wormwood and gall. Wormwood is a plant whose leaves are used to add a bitter flavor to alcoholic drinks in the middle-east and gall is generally understood as the contents of the gall bladder, also known for its very bitter taste. In the same way an alcoholic will return to that which is destroying his life, we sinners, regularly return to the most bitter sins which separate us from the love of God.

Yet, in the end every tongue will confess and all of mankind, those above the earth and those beneath, those in heaven and those who are not, will confess the Name which is above all names as the one Crowned Lord.