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O Day Of Resurrection
Author: Frederic W. Eickhoff Meter: 7.6.7.6.7.6 D Appears in 2 hymnals Refrain First Line: Then sing again, ye people Lyrics: 1 O day of resurrection,
Sing out the glad refrain!
And tell to every nation
That Christ has ris’n again.
No more shall powers of darkness
Hold sway o’er those who fall,
If they but rise, confess Him,
Proclaim Him Lord of all.
Refrain:
Then sing again, ye people,
Rejoice forevermore;
For Jesus Christ is risen,
Our Savior, King and Lord.
2 O day of resurrection,
We hail thy glad return,
And pray that God Eternal
Will make our hearts to burn.
We hearken to thy accents,
All times, so calm, so still,
And listening, hear the message
From God’s most Holy Hill. [Refrain]
3 O day of resurrection,
Let hearts with voices blend,
For Christ the Lord is risen,
Our hope that hath no end.
Sing to the lands in darkness
The resurrection light,
That they may have the gladness
Of victory over night. [Refrain] Used With Tune: PRIJEDOR Text Sources: Hymns We Love by Adam Geibel and Frederic W. Eickhoff (Philadelphia: Adam Geibel Music, 1907)
O Day Of Resurrection
Ruth The Gleaner
Author: Julia H. Johnston Meter: 7.6.7.6.7.6 D Appears in 2 hymnals First Line: Long ago to Bethlehem Refrain First Line: See the reapers bending low Lyrics: 1 Long ago to Bethlehem,
From afar returning,
Came Naomi, sore bereaved,
For the homeland yearning.
Ruth, her daughter, clave to her,
Idol gods forsaking;
Lo, she seeks the harvest field,
As the day is breaking.
Refrain:
See the reapers bending low,
See the wheat sheaves leaning;
See the Moabitess go,
Gleaning, gleaning, gleaning.
2 Happy Ruth with ready hands,
Gleans along the borders,
Let some handfuls fall for her,
Hear the master’s orders.
Sweet, unselfish, trustful one,
When the shadows lengthen,
Rich reward awaiteth thee,
Faith and hope to strengthen. [Refrain]
3 Like this gleaner may we be,
Faithful in our calling;
Other hands may bind the sheaves
Where the wheat is falling.
But the gleaners have their place,
Precious handfuls saving,
In the golden harvest fields,
Where the grain is waving. [Refrain] Used With Tune: EMBARCADERO Text Sources: Bible Study Songs, by Bertha F. Vella and Daniel. B. Towner (Boston: The Pilgrim Press, 1899)
Ruth The Gleaner
The Sower Went Forth Sowing
Author: William S. Bourne Meter: 7.6.7.6.7.6 D Appears in 24 hymnals Lyrics: 1. The sower went forth sowing,
The seed in secret slept
Through weeks of faith and patience,
Till out the green blade crept;
And warmed by golden sunshine,
And fed by silver rain,
At last the fields were whitened
To harvest once again.
O praise the heavenly Sower,
Who gave the fruitful seed,
And watched and watered duly,
And ripened for our need.
2. Behold! the heavenly Sower
Goes forth with better seed,
The Word of sure salvation,
With feet and hands that bleed;
Here in His Church ’tis scattered,
Our spirits are the soil;
Then let an ample fruitage
Repay His pain and toil.
Oh, beauteous is the harvest,
Wherein all goodness thrives,
And this the true thanksgiving,
The first fruits of our lives.
3. Within a hallowed acre
He sows yet other grain,
When peaceful earth receiveth
The dead He died to gain;
For though the growth be hidden,
We know that they shall rise;
Yea even now they ripen
In sunny Paradise.
O summer land of harvest,
O fields forever white
With souls that wear Christ’s raiment,
With crowns of golden light.
4. One day the heavenly Sower
Shall reap where He hath sown,
And come again rejoicing,
And with Him bring His own;
And then the fan of judgment
Shall winnow from His floor
The chaff into the furnace
That flameth evermore.
O holy, awful Reaper,
Have mercy in the day,
Thou puttest in the sickle,
And cast us not away. Used With Tune: ST. BEATRICE
The Sower Went Forth Sowing
GLASTONBURY
Meter: 7.6.7.6.7.6 D Appears in 21 hymnals Composer and/or Arranger: John Bacchus Dykes, 1823-1876 Tune Key: A Flat Major Incipit: 33216 15555 3212 Used With Text: Weary With My Load Of Sin
GLASTONBURY
Let Streams of Living Justice
Author: William Whitla Hymnal: Sing Justice! Do Justice! #12 (1998) Meter: 7.6.7.6.7.6 D First Line: Let streams of living justice flow down upon the earth Topics: Justice Victims of violence; Justice Freedom for all; Justice Healing of nations Scripture: Amos 5:23-24 Languages: English Tune Title: THAXTER
Let Streams of Living Justice
The Face of Jesus
Author: W. Spencer Walton Hymnal: Redemption Songs #438 (1937) Meter: 7.6.7.6.7.6 D First Line: I've seen the face of Jesus Refrain First Line: Oh! glorious face of beauty Topics: Christian Life and Service Languages: English Tune Title: WONDROUS SIGHT
The Face of Jesus
O God beyond All Praising
Author: Michael Perry, 1942-1996 Hymnal: Breaking Bread (Vol. 39) #536 (2019) Meter: 7.6.7.6.7.6 D Lyrics: 1 O God beyond all praising,
We worship you today
And sing the love amazing
That songs cannot repay;
For we can only wonder
At ev'ry gift you send,
At blessings without number
And mercies without end:
We lift our hearts before you
And wait upon your word,
We honor and adore you,
our great and mighty Lord.
2 Then hear, O gracious Savior,
Accept the love we bring,
That we who know your favor
May serve you as our King;
And whether our tomorrows
Be filled with good or ill,
We'll triumph through our sorrows
And rise to bless you still:
To marvel at your beauty
And glory in your ways,
And make a joyful duty
Our sacrifice of praise. Topics: General Music for Worship Peace Languages: English Tune Title: THAXTED
O God beyond All Praising
Michael Perry
1942 - 1996 Person Name: Michael Perry, 1942-1996 Meter: 7.6.7.6.7.6 D Author of "O God beyond All Praising" in One in Faith Initially studying mathematics and physics at Dulwich College, Michael A. Perry (b. Beckenham, Kent, England, 1942; d. England, 1996) was headed for a career in the sciences. However, after one year of study in physics at the University of London, he transferred to Oak Hill College to study theology. He also studied at Ridley Hall, Cambridge, and received a M.Phil. from the University of Southhampton in 1973. Ordained a priest in the Church of England in 1966, Perry served the parish of St. Helen's in Liverpool as a youth worker and evangelist. From 1972 to 1981 he was the vicar of Bitterne in Southhampton and from 1981 to 1989, rector of Eversley in Hampshire and chaplain at the Police Staff College. He then became vicar of Tonbridge in Kent, where he remained until his death from a brain tumor in 1996. Perry published widely in the areas of Bible study and worship. He edited Jubilate publications such as Hymns far Today's Church (1982), Carols far Today (1986), Come Rejoice! (1989), and Psalms for Today (1990). Composer of the musical drama Coming Home (1987), he also wrote more than two hundred hymns and Bible versifications.
Bert Polman
Michael Perry
Gustav Holst
1874 - 1934 Person Name: Gustav Holst, 1874-1934 Meter: 7.6.7.6.7.6 D Composer of "THAXTED" in Christian Worship (2008) Gustav Holst (b. Chelteham, Gloucestershire, England, September 21, 1874, d. London, England, May 25, 1934) was a renowned British composer and musician. Having studied at Cheltenham Grammar School, he soon obtained a professional position as an organist, and later as choirmaster. In 1892, Holst composed a two-act operetta, which so impressed his father that he borrowed the money to send Holst to the Royal College of Music. Severe neuritis in his right hand later caused him to give up the keyboard, and Holst turned to the trombone and composing. In 1895 Holst met Ralph Vaughan Williams, and the two became lifelong friends. Vaughan Williams helped Holst land his first job as a singing teacher. Holst became very interested in Indian and Hindu culture, and composed a number of operas translated from Sanksrit myths. These were not received well in England, however. Holst is best known for his composition, The Planets, as well as
Gustav Holst
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny, 12th century Meter: 7.6.7.6.7.6 D Author of "Jerusalem the Golden" in Christian Worship (2008) Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
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Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
