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Day of judgement! Day of wonder!
Author: John Newton, 1725-1807; Norman Wallwork, b. 1946 Meter: 8.7.8.7.8.7 Appears in 341 hymnals Topics: Death, Judgement and Eternal Life Scripture: 1 Corinthians 15:52 Used With Tune: RHUDDLAN
Day of judgement! Day of wonder!
Rock of ages, cleft for me
Author: Augustus Montague Toplady (1740-1778) Meter: 7.7.7.7.7.7 Appears in 2,901 hymnals Topics: God in judgement and justice; Judgement Lyrics: 1 Rock of ages, cleft for me,
let me hide myself in thee;
let the water and the blood,
from thy riven side which flowed,
be of sin the double cure:
cleanse me from its guilt and power.
2 Not the labours of my hands
can fulfil thy law's demands;
could my zeal no respite know,
could my tears for ever flow,
all for sin could not atone:
thou must save, and thou alone.
3 Nothing in my hand I bring,
simply to thy cross I cling;
naked, come to thee for dress;
helpless, look to thee for grace;
foul, I to the fountain fly;
wash me, Saviour, or I die.
4 While I draw this fleeting breath,
when my eyelids close in death,
when I soar through tracts unknown,
see thee on thy judgement throne;
Rock of ages, cleft for me,
let me hide myself in thee. Scripture: Exodus 33:12-23 Used With Tune: PETRA
Rock of ages, cleft for me
Lift up your heart, lift up your voice
Author: Charles Wesley (1707-1788) Meter: 6.6.6.6.8.8 Appears in 742 hymnals Topics: God in judgement and justice First Line: Rejoice! The Lord is King Lyrics: 1 Rejoice! The Lord is King,
your Lord and King adore;
mortals, give thanks and sing,
and triumph evermore:
Refrain:
Lift up your heart, lift up your voice;
rejoice, again I say, rejoice.
2 Jesus the Saviour reigns,
the God of truth and love;
when he had purged our stains,
he took his seat above: [Refrain]
3 His kingdom cannot fail;
he rules o'er earth and heaven;
the keys of death and hell
are to our Jesus given: [Refrain]
4 He sits at God's right hand
till all his foes submit,
and bow to his command,
and fall beneath his feet: [Refrain]
5 Rejoice in glorious hope;
Jesus the judge shall come,
and take his servants up
to their eternal home: [Refrain]
Refrain:
We soon shall hear the archangel's voice;
the trump of God shall sound: rejoice! Scripture: 1 Corinthians 15:24-28 Used With Tune: GOPSAL
Lift up your heart, lift up your voice
BATTLE HYMN OF THE REPUBLIC
Meter: Irregular Appears in 445 hymnals Composer and/or Arranger: William Steffe Topics: God in judgement and justice Tune Key: B Flat Major Incipit: 55554 35123 33211 Used With Text: Glory, glory, Hallelujah
BATTLE HYMN OF THE REPUBLIC
Wrath and Mercy from the Judgement Seat
Hymnal: Doctor Watts's Imitation of the Psalms of David, corrected and enlarged, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (2nd ed.) #22a (1786) Topics: Judgement and Mercy; Judgement Seat of God; Wrath and Mercy from the Judgement-Seat; Judgement and Mercy; Judgement Seat of God; Wrath and Mercy from the Judgement-Seat First Line: With my whole heart I'll raise my song Lyrics: 1 With my whole heart I'll raise my song,
Thy wonders I'll proclaim;
Thou sovereign judge of right and wrong
Wilt put my foes to shame.
2 I'll sing thy majesty and grace;
My God prepares his throne
To judge the world in righteousness,
And make his vengeance known.
3 Then shall the Lord a refuge prove
For all the poor opprest;
To save the people of his love,
And give the weary rest.
4 The men that know thy name will trust
In thy abundant grace;
For thou hast ne'er forsook the just,
Who humbly seek thy face.
5 Sing praises to the righteous Lord,
Who dwells on Zion's Hill,
Who executes his threat'ning word,
Whose works his grace fulfil. Scripture: Psalm 98 Languages: English
Wrath and Mercy from the Judgement Seat
Herald! Sound the note of judgement
Author: Moir A. J. Waters, 1906-1980 Hymnal: The Book of Praise #117 (1997) Meter: 8.7.8.7.8.7 Topics: Judgement Scripture: Matthew 3:1-12 Languages: English Tune Title: UNSER HERRSCHER
Herald! Sound the note of judgement
The Wisdom and Equity of Providence
Hymnal: Doctor Watts's imitation of the Psalms of David, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (3rd ed.) #19 (1786) Topics: Judgement and Mercy; Judgement Seat of God; Wrath and Mercy from the Judgement-Seat; Judgement and Mercy; Judgement Seat of God; Wrath and Mercy from the Judgement-Seat First Line: When the great Judge, supreme and just Lyrics: 1 When the great Judge, supreme and just
Shall once enquire for blood;
The humble souls that mourn in dust,
Shall find a faithful God.
2 He from the dreadful gates of death
Does his own children raise:
In Zion’s gates, with cheerful breath,
They sing their Father’s praise.
3 His foes shall fall, with heedless feet,
Into the pit they made;
And sinners perish in the net
That their own hands have spread.
4 Thus by thy judgements, mighty God,
Are thy deep counsels known:
When men of mischief are destroyed,
In snares that were their own.
Pause.
5 The wicked shall sink down to hell;
Thy wrath devour the lands
That dare forget thee, or rebel
Against thy known commands.
6 Though saints to sore distress are brought,
And wait, and long complain,
Their cries shall never be forgot,
Nor shall their hopes be vain.
7 [Rise, great Redeemer, from thy seat,
To judge and save the poor;
Let nations tremble at thy feet,
And man prevail no more.
8 Thy thunder shall affright the proud,
And put their hearts to pain,
Make them confess that thou art GOD,
And they but feeble men.] Scripture: Psalm 9:12 Languages: English
The Wisdom and Equity of Providence
George Frideric Handel
1685 - 1759 Person Name: Handel Topics: The Christian Life Death, Judgement, Future Life Composer of "GOPSAL" in The Methodist Hymn-Book with Tunes George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.”
Bert Polman
George Frideric Handel
John Darwall
1732 - 1789 Person Name: John Darwall, 1731-1789 Topics: Judgement Composer of "DARWALL'S 148TH" in The Book of Praise John Darwall (b. Haughton, Staffordshire, England, 1731; d. Walsall, Staffordshire, England, 1789) The son of a pastor, he attended Manchester Grammar School and Brasenose College, Oxford, England (1752-1756). He became the curate and later the vicar of St. Matthew's Parish Church in Walsall, where he remained until his death. Darwall was a poet and amateur musician. He composed a soprano tune and bass line for each of the 150 psalm versifications in the Tate and Brady New Version of the Psalms of David (l696). In an organ dedication speech in 1773 Darwall advocated singing the "Psalm tunes in quicker time than common [in order that] six verses might be sung in the same space of time that four generally are."
Bert Polman
John Darwall
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny Topics: The Christian Life Death, Judgement, Future Life Author of "Brief life is here our portion" in The Methodist Hymn-Book with Tunes 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
