Prayer heard, and Saints saved; or Pride, Atheism and Oppression punished

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Why doth the Lord stand off so far?

Author: Isaac Watts
Published in 52 hymnals

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Piano/Organ
	The Organist's Library, Vol. 51

Representative Text

1 Why does the LORD stand off so far?
And why conceal His face,
When great calamaties appear
And times of deep distress?

2 LORD, shall the wicked still deride
Thy justice and Thy pow'r?
Shall they advance their heads in pride
And still Thy saints devour?

3 They put Thy judgements from their sight
And then insult the poor:
They boast in their exalted height,
That they shall fall no more.

4 Arise O God, lift up Your hand,
Attend our humble cry;
No enemy shall dare to stand
When God ascends on high.

Source: Psalms of Grace #10b

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Author: Isaac Watts

Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary… Go to person page >

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First Line:	Why doth the Lord stand off so far?
Title:	Prayer heard, and Saints saved; or Pride, Atheism and Oppression punished
Author:	Isaac Watts
Meter:	8.6.8.6
Language:	English
Copyright:	Public Domain

Psalm 10
(hymns)

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Tune

BALLERMA (Barthélemon)

BANGOR (Tansur)

Traditionally used for Montgomery's text and for Peter Abelard's "Alone Thou Goest Forth, O Lord," BANGOR comes from William Tans'ur's A Compleat Melody: or the Harmony of Syon (the preface of which is dated 1734). In that collection the tune was a three-part setting for Psalm 12 (and for Psalm 11 i…

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