03-01-2007, 12:51 PM
When I Survey the Wondrous Cross
One Sunday afternoon the young Isaac Watts (1674-1748) was complaining about the deplorable hymns that were sung at church. At that time, metered renditions of the Psalms were intoned by a cantor and then repeated (none too fervently, Watts would add) by the congregation. His father, the pastor of the church, rebuked him with "I'd like to see you write something better!" As legend has it, Isaac retired to his room and appeared several hours later with his first hymn, and it was enthusiastically received at the Sunday evening service the same night.
Although the tale probably is more legend than fact, it does illustrate the point that the songs of the church need constant infusion of new life, of new generation's praises. With over 600 hymns to his credit, many of them classics like "When I Survey the Wondrous Cross" Isaac Watts has rightfully earned the title, "the father of English hymnody." This hymn, which is known as Watts' crowning achievement, was first published in Hymns and Spiritual Songs, 1707 and was matched with such tunes as "Tombstone" and an altered version of Tallis' canon called "St. Lukes." For many years it was sung to "Rockingham" written by Edward Miller, the son of a stone mason who ran away from home to become a musician, later becoming a flutist in Handel's orchestra. In recent history the hymn text has settled in with Lowell Mason's "Hamburg," an adaptation of a five note (count them!) plainchant melody. Besides writing thousands of hymn tunes he was a church choir director, the president of Boston's Handel and Haydn Society, and a leading figure in music education.
Though When I Survey the Wondrous Cross was intended originally as a communion hymn, it gives us plenty to contemplate during this Lenten season as our focus is on the cross of Christ. The hymn is said to be based on Galatians 6:14 (May I never boast except in the cross of our Lord Jesus Christ, through which the world has been crucified to me, and I to the world. which is evident in a verse that Watts eliminated from later editions of the hymn:
His dying crimson, like a robe,
Spreads o'er his body on the tree;
Then am I dead to all the globe,
And all the globe is dead to me.
Perhaps Watts eliminated this verse in order to focus more attention on our response to Christ's crucifixion than the crucifixion itself. Notice how he starts with contemplation of the cross and the fact that all our worldly achievements and possessions pale in comparison. Next he shows that Christ went to the cross out of love for us. In the most powerful image of the hymn, he affirms the deity of the suffering Christ with the brilliant juxtaposition: "Did e'er such love and sorrow meet, Or thorns compose so rich a crown?" And the last verse shows that the only proper response to this amazing love is complete devotion.
Take some time during Lent to meditate upon, or even memorize, the words of this hymn and see if it works in you a new understanding of the depth of Christ's love. Here are some related verses:
Phil. 3:7: But whatever was to my profit I now consider loss for the sake of Christ.
Gal. 2:20: I have been crucified with Christ and I no longer live, but Christ lives in me. The life I live in the body, I live by faith in the Son of God, who loved me and gave himself for me.
When I survey the wondrous cross
On which the Prince of glory died,
My richest gain I count but loss,
And pour contempt on all my pride.
Forbid it, Lord, that I should boast,
Save in the death of Christ my God!
All the vain things that charm me most,
I sacrifice them to His blood.
See from His head, His hands, His feet,
Sorrow and love flow mingled down!
Did e'er such love and sorrow meet,
Or thorns compose so rich a crown?
Were the whole realm of nature mine,
That were a present far too small;
Love so amazing, so divine,
Demands my soul, my life, my all.
One Sunday afternoon the young Isaac Watts (1674-1748) was complaining about the deplorable hymns that were sung at church. At that time, metered renditions of the Psalms were intoned by a cantor and then repeated (none too fervently, Watts would add) by the congregation. His father, the pastor of the church, rebuked him with "I'd like to see you write something better!" As legend has it, Isaac retired to his room and appeared several hours later with his first hymn, and it was enthusiastically received at the Sunday evening service the same night.
Although the tale probably is more legend than fact, it does illustrate the point that the songs of the church need constant infusion of new life, of new generation's praises. With over 600 hymns to his credit, many of them classics like "When I Survey the Wondrous Cross" Isaac Watts has rightfully earned the title, "the father of English hymnody." This hymn, which is known as Watts' crowning achievement, was first published in Hymns and Spiritual Songs, 1707 and was matched with such tunes as "Tombstone" and an altered version of Tallis' canon called "St. Lukes." For many years it was sung to "Rockingham" written by Edward Miller, the son of a stone mason who ran away from home to become a musician, later becoming a flutist in Handel's orchestra. In recent history the hymn text has settled in with Lowell Mason's "Hamburg," an adaptation of a five note (count them!) plainchant melody. Besides writing thousands of hymn tunes he was a church choir director, the president of Boston's Handel and Haydn Society, and a leading figure in music education.
Though When I Survey the Wondrous Cross was intended originally as a communion hymn, it gives us plenty to contemplate during this Lenten season as our focus is on the cross of Christ. The hymn is said to be based on Galatians 6:14 (May I never boast except in the cross of our Lord Jesus Christ, through which the world has been crucified to me, and I to the world. which is evident in a verse that Watts eliminated from later editions of the hymn:
His dying crimson, like a robe,
Spreads o'er his body on the tree;
Then am I dead to all the globe,
And all the globe is dead to me.
Perhaps Watts eliminated this verse in order to focus more attention on our response to Christ's crucifixion than the crucifixion itself. Notice how he starts with contemplation of the cross and the fact that all our worldly achievements and possessions pale in comparison. Next he shows that Christ went to the cross out of love for us. In the most powerful image of the hymn, he affirms the deity of the suffering Christ with the brilliant juxtaposition: "Did e'er such love and sorrow meet, Or thorns compose so rich a crown?" And the last verse shows that the only proper response to this amazing love is complete devotion.
Take some time during Lent to meditate upon, or even memorize, the words of this hymn and see if it works in you a new understanding of the depth of Christ's love. Here are some related verses:
Phil. 3:7: But whatever was to my profit I now consider loss for the sake of Christ.
Gal. 2:20: I have been crucified with Christ and I no longer live, but Christ lives in me. The life I live in the body, I live by faith in the Son of God, who loved me and gave himself for me.
When I survey the wondrous cross
On which the Prince of glory died,
My richest gain I count but loss,
And pour contempt on all my pride.
Forbid it, Lord, that I should boast,
Save in the death of Christ my God!
All the vain things that charm me most,
I sacrifice them to His blood.
See from His head, His hands, His feet,
Sorrow and love flow mingled down!
Did e'er such love and sorrow meet,
Or thorns compose so rich a crown?
Were the whole realm of nature mine,
That were a present far too small;
Love so amazing, so divine,
Demands my soul, my life, my all.