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Tune Identifier:"^crenim_chope$"

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CRENIM

Appears in 2 hymnals Composer and/or Arranger: R. R. Chope Tune Key: G Major or modal Incipit: 54321 27512 33255 Used With Text: Deep Penitence

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Deep Penitence

Author: Samuel Stennett Appears in 235 hymnals First Line: Prostrate, dear Jesus, at thy feet Lyrics: 1 Prostrate, dear Jesus, at thy feet, A guilty rebel lies; And upwards, to thy mercy-seat, Presumes to lift his eyes. 2 Let not thy justice frown me hence; Oh, stay the vengeful storm; Forbid it, that Omnipotence Should crush a feeble worm. 3 If tears of sorrow could suffice To pay the debt I owe, Tears should, from both my weeping eyes, In ceaseless currents flow. 4 But no such sacrifice I plead To expiate my guilt; No tears, but those which thou hast shed,-- No blood, but thou hast spilt. 5 Think of thy sorrows, dearest Lord! And all my sins forgive, Then justice will approve the word, That bids the sinner lives. Topics: Atonement Accepted; Backsliding; Conflict With Sin Used With Tune: CRENIM

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Deep Penitence

Author: Samuel Stennett Hymnal: Laudes Domini #309 (1888) First Line: Prostrate, dear Jesus, at thy feet Lyrics: 1 Prostrate, dear Jesus, at thy feet, A guilty rebel lies; And upwards, to thy mercy-seat, Presumes to lift his eyes. 2 Let not thy justice frown me hence; Oh, stay the vengeful storm; Forbid it, that Omnipotence Should crush a feeble worm. 3 If tears of sorrow could suffice To pay the debt I owe, Tears should, from both my weeping eyes, In ceaseless currents flow. 4 But no such sacrifice I plead To expiate my guilt; No tears, but those which thou hast shed,-- No blood, but thou hast spilt. 5 Think of thy sorrows, dearest Lord! And all my sins forgive, Then justice will approve the word, That bids the sinner lives. Topics: Atonement Accepted; Backsliding; Conflict With Sin Languages: English Tune Title: CRENIM
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Deep Penitence

Hymnal: Laudes Domini #642 (1884) First Line: Prostrate, dear Jesus, at thy feet Lyrics: 1 Prostrate, dear Jesus, at thy feet, A guilty rebel lies; And upwards, to thy mercy-seat, Presumes to lift his eyes. 2 Let not thy justice frown me hence; Oh, stay the vengeful storm; Forbid it, that Omnipotence Should crush a feeble worm. 3 If tears of sorrow could suffice To pay the debt I owe, Tears should, from both my weeping eyes, In ceaseless currents flow. 4 But no such sacrifice I plead To expiate my guilt; No tears, but those which thou hast shed,-- No blood, but thou hast spilt. 5 Think of thy sorrows, dearest Lord! And all my sins forgive, Then justice will approve the word, That bids the sinner live. Languages: English Tune Title: CRENIM

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Samuel Stennett

1727 - 1795 Author of "Deep Penitence " in Laudes Domini Samuel Stennett was born at Exeter, in 1727. His father was pastor of a Baptist congregation in that city; afterwards of the Baptist Chapel, Little Wild Street, London. In this latter pastorate the son succeeded the father in 1758. He died in 1795. Dr. Stennett was the author of several doctrinal works, and a few hymns. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ====================== Stennett, Samuel, D.D., grandson of Joseph Stennett, named above, and son of the Rev. Joseph Stennett, D.D., was born most pro;bably in 1727, at Exeter, where his father was at that time a Baptist minister. When quite young he removed to London, his father having become pastor of the Baptist Church in Little Wild Street, Lincoln's Inn Fields. In 1748, Samuel Stennett became assistant to his father in the ministry, and in 1758 succeeded him in the pastoral office at Little Wild Street. From that time until his death, on Aug. 24, 1795, he held a very prominent position among the Dissenting ministers of London. He was much respected by some of the statesmen of the time, and used his influence with them in support of the principles of religious freedom. The celebrated John Howard was a member of his congregation and an attached friend. In 1763, the University of Aberdeen conferred on him the degree of D.D. Dr. S. Stennett's prose publications consist of volumes of sermons, and pamphlets on Baptism and on Nonconformist Disabilities. He wrote one or two short poems, and contributed 38 hymns to the collection of his friend, Dr. Rippon (1787). His poetical genius was not of the highest order, and his best hymns have neither the originality nor the vigour of some of his grandfather's. The following, however, are pleasing in sentiment and expression, and are in common use more especially in Baptist congregations:— 1. And have I, Christ, no love for Thee? Love for Christ desired. 2. And will the offended God again? The Body the Temple of the Holy Ghost. 3. As on the Cross the Saviour hung. The Thief on the Cross. 4. Behold the leprous Jew. The healing of the Leper. 5. Come, every pious heart. Praise to Christ. 6. Father, at Thy call, I come. Lent. 7. Great God, amid the darksome night. God, a Sun. 8. Great God, what hosts of angels stand. Ministry of Angels. 9. Here at Thy Table, Lord, we meet. Holy Communion. 10. How charming is the place. Public Worship. 11. How shall the sons of men appear? Acceptance through Christ alone. 12. How soft the words my [the] Saviour speaks. Early Piety. 13. How various and how new. Divine Providence. 14. Not all the nobles of the earth. Christians as Sons of God. 15. On Jordan's stormy banks I stand. Heaven anticipated. 16. Prostrate, dear Jesus, at thy feet. Lent. Sometimes, "Dear Saviour, prostrate at Thy feet." 17. Should bounteous nature kindly pour. The greatest of these is Love. From this, "Had I the gift of tongues," st. iii., is taken. 18. Thy counsels of redeeming grace. Holy Scripture. From "Let avarice, from shore to shore." 19. Thy life 1 read, my dearest Lord. Death in Infancy. From this "'Tis Jesus speaks, I fold, says He." 20. 'Tis finished! so the Saviour cried. Good Friday. 21. To Christ, the Lord, let every tongue. Praise of Christ. From this,"Majestic sweetness sits enthroned," st. iii., is taken. 22. To God, my Saviour, and my King. Renewing Grace. 23. To God, the universal King. Praise to God. 24. What wisdom, majesty, and grace. The Gospel. Sometimes, “What majesty and grace." 25. Where two or three with sweet accord. Before the Sermon. 26. Why should a living man complain? Affliction. From this, "Lord, see what floods of sorrow rise," st. iii., is taken. 27. With tears of anguish I lament. Lent. 28. Yonder amazing sight I see. Good Friday. All these hymns, with others by Stennett, were given in Rippon's Baptist Selection, 1787, a few having previously appeared in A Collection of Hymns for the use of Christians of all Denominations, London. Printed for the Booksellers, 1782; and No. 16, in the 1778 Supplement to the 3rd edition of the Bristol Baptist Selection of Ash and Evans. The whole of Stennett's poetical pieces and hymns were included in vol. ii. of his Works, together with a Memoir, by W. J. Jones. 4 vols., 1824. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Richard R. Chope

1830 - 1928 Person Name: R. R. Chope Composer of "CRENIM" in Laudes Domini Chope, Richard Robert, M.A., born Sept. 21, 1830, educated at Exeter College, Oxford, B.A., 1855, and took Holy Orders as Curate of Stapleton, 1856. During his residence at Stapleton the necessities of the Choir led him to plan his Congregational Hymn and Tune Book, published in 1857. In 1858 he took the Curacy of Sherborne, Dorset; in the following year that of Upton Scudamore, where he undertook the training of the Chorus of the Warminster district for the first Choral Festival in Salisbury Cathedral; and in 1861 that of Brompton. The enlarged edition of The Congregational Hymn Book was published 1862, and The Canticles, Psalter, &c, of the Prayer Book, Noted and Pointed, during the same year. In 1865 he was preferred to the parish of St. Augustine's, Queen's Gate, South Kensington, and subsequently published Carols for Use in Church during Christmas and Epiphany, 1875; Carols for Easier and Other Tides, 1887; and other works. Mr. Chope has been one of the leaders in the revival and reform of Church Music as adapted to the Public Services. He was one of the originators of The Choir and Musical Record, and was for some time the proprietor and assistant editor of the Literary Churchman. --John Julian, Dictionary of Hymnology (1907)
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