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CONTRITION
Appears in 5 hymnals Composer and/or Arranger: Edwin Barnes Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Tune Key: c minor or modal Incipit: 51563 45551 321 Used With Text: Ah! whither should I go
CONTRITION
Shall Our Cheeks Be Dry?
Author: Beddome Appears in 420 hymnals Hymnal Title: Christ in Song First Line: Did Christ o'er sinners weep? Lyrics: 1 Did Christ o'er sinners weep?
And shall our cheeks be dry?
Let floods of penitential grief
Burst forth from ev'ry eye.
2 The Son of God in tears,
The wond'ring angels see!
Be thou astonished, O my soul!
He shed those tears for thee.
3 He wept; shall we not weep?
He died; shall we not die?
He rose; shall we not rise from sleep,
To reign with him on high? Used With Tune: CONTRITION
Shall Our Cheeks Be Dry?
Ah! whither should I go
Author: Charles Wesley Appears in 193 hymnals Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Lyrics: 1 Ah! whither should I go,
Burdened and sick, and faint!
To whom should I my trouble show,
And pour out my complaint!
2 My Saviour bids me come;
Ah! why do I delay?
He calls the weary sinner home,
And yet from him I stay.
3 What is it keeps me back,
From which I cannot part,
Which will not let the Saviour take
Possession of my heart?
4 Searcher of hearts, in mine
Thy trying power display;
Into its darkest corners shine,
And take all sin awy. Topics: The Sinner Repentance and Acceptance Used With Tune: CONTRITION
Ah! whither should I go
In mercy, not in wrath
Author: Anon. Appears in 43 hymnals Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Lyrics: 1 In mercy, not in wrath,
Rebuke me, gracious God!
Lest, if thy whole displeasure rise,
I sink beneath thy rod.
2 Touched by thy quickening power,
My load of guilt I feel;
The wounds thy Spirit hath unclosed
O let that Spirit heal!
3 In trouble and in gloom,
Must I forever mourn?
And wilt thou not at length, O God,
In pitying love return?
4 O come; ere life expire,
Send down thy power to save;
For who shall sing thy name in death,
Or praise thee in the grave? Topics: The Sinner Repentance and Acceptance Used With Tune: CONTRITION
In mercy, not in wrath
Shall Our Cheeks Be Dry?
Author: Beddome Hymnal: Christ in Song #159 (1908) Hymnal Title: Christ in Song First Line: Did Christ o'er sinners weep? Lyrics: 1 Did Christ o'er sinners weep?
And shall our cheeks be dry?
Let floods of penitential grief
Burst forth from ev'ry eye.
2 The Son of God in tears,
The wond'ring angels see!
Be thou astonished, O my soul!
He shed those tears for thee.
3 He wept; shall we not weep?
He died; shall we not die?
He rose; shall we not rise from sleep,
To reign with him on high? Languages: English Tune Title: CONTRITION
Shall Our Cheeks Be Dry?
Ah! whither should I go
Author: Charles Wesley Hymnal: The Seventh-Day Adventist Hymn and Tune Book #453 (1886) Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Lyrics: 1 Ah! whither should I go,
Burdened and sick, and faint!
To whom should I my trouble show,
And pour out my complaint!
2 My Saviour bids me come;
Ah! why do I delay?
He calls the weary sinner home,
And yet from him I stay.
3 What is it keeps me back,
From which I cannot part,
Which will not let the Saviour take
Possession of my heart?
4 Searcher of hearts, in mine
Thy trying power display;
Into its darkest corners shine,
And take all sin awy. Topics: The Sinner Repentance and Acceptance Tune Title: CONTRITION
Ah! whither should I go
In mercy, not in wrath
Author: Anon. Hymnal: The Seventh-Day Adventist Hymn and Tune Book #454 (1886) Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Lyrics: 1 In mercy, not in wrath,
Rebuke me, gracious God!
Lest, if thy whole displeasure rise,
I sink beneath thy rod.
2 Touched by thy quickening power,
My load of guilt I feel;
The wounds thy Spirit hath unclosed
O let that Spirit heal!
3 In trouble and in gloom,
Must I forever mourn?
And wilt thou not at length, O God,
In pitying love return?
4 O come; ere life expire,
Send down thy power to save;
For who shall sing thy name in death,
Or praise thee in the grave? Topics: The Sinner Repentance and Acceptance Tune Title: CONTRITION
In mercy, not in wrath
Benjamin Beddome
1717 - 1795 Person Name: Beddome Hymnal Title: Christ in Song Arranger of "Shall Our Cheeks Be Dry?" in Christ in Song Benjamin Beddome was born at Henley-in Arden, Warwickshire, January 23, 1717. His father was a Baptist minister. He studied at various places, and began preaching in 1740. He was pastor of a Baptist society at Bourton-on-the-Water, Gloucestershire, until his death in 1795. In 1770, he received the degree of M.A. from the Baptist College in Providence, Rhode Island. He published several discourses and hymns. "His hymns, to the number of 830, were published in 1818, with a recommendation from Robert Hall." Montgomery speaks of him as a "writer worthy of honour both for the quantity and the quality of his hymns."
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
=========================
Beddome, Benjamin , M.A. This prolific hymnwriter was born at Henley-in-Arden, Warwickshire, Jan. 23, 1717, where his father, the Rev. John Beddome, was atthat time Baptist Minister. He was apprenticed to a surgeon in Bristol, but removing to London, he joined, in 1739, the Baptist church in Prescott St. At the call of this church he devoted himself to the work of the Christian ministry, and in 1740 began to preach at Bourton-on-the-Water, in Gloucestershire. Declining invitations to remove to London or elsewhere, he continued pastor at Bourton until his death, on Sep. 3, 1795, at the age of 78. Mr. Beddome was for many years one of the most respected Baptist ministers in the West of England. He was a man of some literary culture. In 1770 he received the degree of M.A. from Providence College, Rhode Island. He was the author of an Exposition of the Baptist Catechism, 1752, in great repute at the time, and reprinted by Dr. C. Evans in 1772. It was his practice to prepare a hymn every week to be sung after his Sunday morning sermon. Though not originally intended for publication, he allowed thirteen of these to appear in the Bristol Baptist Collection of Ash & Evans (1769), and thirty-six in Dr. Rippon's Baptist Selection (1787), whence a number of them found their way into the General Baptist Hymn Book of 1793 and other collections. In 1817, a posthumous collection of his hymns was published, containing 830 pieces, with an introduction by the Rev. Robert Hall, and entitled "Hymns adapted to Public Worship or Family Devotion, now first published from the Manuscripts of the late Rev. B. Beddome, M.A."
Preface dated "Leicester, Nov. 10, 1817." Some of the early copies bear the same date on the title page. Copies bearing both the 1817 and 1818 dates are in the British Museum. The date usually given is 1818. Some hymns are also appended to his Sermons, seven volumes of which were published l805—1819; and over twenty are given in the Baptist Register of various dates.
Beddome's hymns were commended by Montgomery as embodying one central idea, "always important, often striking, and sometimes ingeniously brought out." Robert Hall's opinion is just, when in his "Recommendatory Preface" to the Hymns, &c, he says, p. vii.:—
"The man of taste will be gratified with the beauty and original turns of thought which many of them ex¬hibit, while the experimental Christian will often perceive the most secret movements of his soul strikingly delineated, and sentiments pourtrayed which will find their echo in every heart."
With the exception of a few composed for Baptisms and other special occasions, their present use in Great Britain is limited, but in America somewhat extensive. One of the best is the Ordination Hymn, "Father of Mercies, bow Thine ear." Another favourite is “ My times of sorrow and of joy," composed, by a singular coincidence, to be sung on Sunday, Jan. 14, 1778, the day on which his son died, most unexpectedly, in Edinburgh. "Let party names no more," is very popular both in Great Brit, and America. "Faith, His a precious gift," "Witness, ye men and angels, now," and the hymn for Holy Baptism, "Buried beneath the yielding wave," are also found in many collections. Beddome's popularity is, however, now mainly in America.
[Rev. W. R. Stevenson, M.A.]
Beddome is thus seen to be in common use to the extent of about 100 hymns. In this respect he exceeds every other Baptist hymnwriter; Miss Steele ranking second.
The authorities for Beddome's hymns are: (1) A Collection of Hymns adapted to Public Worship, Bristol, W. Pine, 1769, the Collection of Ash & Evans; (2) Dr. Rippon's Selections 1787, and later editions; (3) Sermons printed from the Manuscripts of the late Rev. Benjamin Beddome, M.A.,... with brief Memoir of the Author, Dunstable & Lond., 1805-1819; (4) Dr. Rippon's Baptist Register, 1795, &c.; (5) The Beddome Manuscripts, in the Baptist College, Bristol; (6) and Hymns adapted to Public Worship, or Family Devotion now first published, from Manuscripts of the late Rev. B. Beddome, A.M. With a Recommendatory Preface by the Rev. R. Hall, A.M. Lond., 1817. In his Preface, Mr. Hall gives this account of the Beddome Manuscript:— "The present Editor was entrusted several years ago with the MSS, both in prose and verse, with permission from the late Messrs. S. & B. Beddome, sons of the Author, to publish such parts of them as he might deem proper. He is also indebted to a descendant of the Rev. W. Christian, formerly pastor of the Baptist Church at Sheepshead, Leicestershire, for some of the Author's valuable hymns, which had been carefully preserved in the family. From both these sources, as well as others of less consequence, the present interesting volume has been derived."
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
=======================
Beddome, Benjamin, pp. 121-124. Other hymns in common use:—
1. Great God, before Thy mercy-seat. (1817). Lent.
2. Great God, oppressed with grief and fear. (1787.) Reading H. Scripture.
3. How glorious is Thy word, 0 God. Holy Scripture. From "When Israel, &c," p. 124, i.
4. In God I ever will rejoice. Morning. From his Hymns, &c, 1817.
5. Jesus, my Lord, divinely fair. (1817.) Jesus the King of Saints. Begins with stanza ii. of “Listen, ye mortals, while I sing."
6. Rejoice, for Christ the Saviour reigns. Missions. Altered form of "Shout, for the blessed, &c," p. 123, ii.
7. Satan, the world, and sin. (1817.) In Temptation.
8. Thou, Lord of all above. (1817.) Lent.
9. Unto Thine altar, Lord. (1787.) Lent.
10. Ye saints of every rank, with joy. (1800.) Public Worship.
The dates given above are, 1787 and 1800, Rippon's Selection; and 1817 Beddome's Hymns.
--John Julian, Dictionary of Hymnology, Appendix, Part II
Benjamin Beddome
Edwin Barnes
1864 - 1930 Hymnal Title: Christ in Song Composer of "CONTRITION" in Christ in Song Edwin Barnes was born on March 15, 1864 in Shirley, Southampton, England. In 1881, Barnes moved to Battle Creek, Michigan, to attend Battle Creek College and play the organ at the Seventh-day Adventist church there. He eventually served as head of the Battle Creek College music department for almost 20 years. He also formed an amateur music club, helped found an annual spring music festival in Battle Creek, ran the Battle Creek Conservatory of Music (until 1926), and was organist and choir director at the First Congregational Church in Battle Creek. Hillsdale College, Michigan, awarded him an honorary doctorate degree in 1920. He died on April 11, 1930 in Battle Creek, Michigan.
© The Cyber Hymnal™ (www.hymntime.com/tch)
Edwin Barnes
Charles Wesley
1707 - 1788 Hymnal Title: The Seventh-Day Adventist Hymn and Tune Book Author of "Ah! whither should I go" in The Seventh-Day Adventist Hymn and Tune Book Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists."
In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley.
As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.
It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works.
The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
==================
Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
Charles Wesley
