Our God Reigns, World Communion Sunday, October 5, 2025
On this special Sunday at Pender United Methodist Church, the opening hymn was “Our God Reigns” by Leonard Smith. It was joyfully sung by the Pender Sanctuary Choir and congregation under the direction of Patrick King, Director of Music Ministries, accompanied by Wenru Yang on piano.
This uplifting hymn reminds us of God’s sovereignty and grace that unites believers around the world. On this 17th Sunday after Pentecost, we join Christians everywhere in proclaiming: Our God reigns!
“How lovely on the mountains are the feet of him who brings good news, who proclaims peace, who brings glad tidings, who proclaims salvation, who says to Zion, ‘Your God reigns!’” — Isaiah 52:7
May this song inspire gratitude and unity as we remember that God reigns over all nations, all people, and all hearts.
“Our God Reigns” | Offertory at Pender UMC | January 5, 2025
On January 5, 2025, during a special Epiphany service at Pender United Methodist Church, the offertory featured a moving performance of “Our God Reigns” by Leonard Smith.
The anthem was beautifully sung by the Pender UMC Sanctuary Choir, under the direction of Patrick King, Pender’s Director of Music Ministries, accompanied by Abe Garver on cello and Heidi Jacobs on piano. This heartfelt rendition reminded us of the power and majesty of God’s reign, adding a deeply spiritual element to the worship service.
We are grateful to our singers, Patrick, Abe, and Heidi for sharing their incredible talents and inspiring us through this timeless anthem.
Pender UMC Sanctuary Choir Presented “Our God Reigns”
On August 25, 2024, the Pender UMC Sanctuary Choir, under the direction of Patrick King, delivered a powerful performance of “Our God Reigns” by Leonard E. Smith, Jr., inspired by Isaiah 52:7. This uplifting song, celebrating the message of salvation and God’s sovereignty, was beautifully accompanied by Mark Severeniuk on tuba and Heidi Jacobs on piano.
Isaiah 52:7 speaks of “good news,” originally referring to Israel’s delivery from captivity and return to Jerusalem. Today, Christians sing these words to celebrate our delivery from sin through Christ (Romans 10:15-16), who brings salvation and a restoration of God’s rule, resulting in peace and happiness. The song text skillfully combines Isaiah’s message with the timeless theme from the Psalms: Our God reigns!
Join us in this celebration of faith and let the music remind you of the everlasting reign of our God.
How lovely on the mountains are the feet of him
who brings good news, good news;
Announcing peace, proclaiming news of happiness:
our God reigns, our God reigns!
Refrain:
Our God reigns, our God reigns, our God reigns,
our God reigns, our God reigns!
Leonard E. Smith, Jr., (b. Philadelphia, PA, 1942) composed this song in 1973 in Riverton, New Jersey. Educated at Mount St. Mary’s Seminary in Emmitsburg, Maryland, where he received a BA in philosophy, Smith first taught in public high schools, but his evangelical efforts in the schools created problems, resulting in his dismissal. He then began painting houses to support his family.
One night as he was reading Isaiah 52 he was overwhelmed by the conviction that God was in control of his life and of all creation; he wrote this song that night in just five minutes. The song was first sung at New Covenant Community Church, where Smith served as worship leader. Though not published for some time, it became known internationally when evangelist Bob Mumford included it in his crusades. It was first published in a Servant Publications hymnal, Songs of Praise (vol. 2, 1977). In 1978 Smith added four additional verses. He has published over 130 Scripture songs with New Jerusalem Music Co.
Sometimes you have to reach bottom before you look up to see God at work. Back in 1973, I was out of work again and depressed — actually very depressed. My wife and I had a son, an apartment, a car, and lots of bills to pay. I had also made myself unemployable as a high school teacher with just too much Jesus talk in class. I guess I was naive to think that talking about Jesus was more important than teaching Latin or English literature.
One morning I was reading the Bible and came to Isaiah 52:7: “How lovely on the mountains are the feet of Him Who brings good news, announcing peace, proclaiming news of happiness: your God reigns.” My heart began pounding in my chest because, through what I read, God spoke to me: “You’re going to get through this, and you will be fine. In fact, you’ll do very well.” I just felt the dark cloud lift off me. I picked up my guitar and, in a few minutes, Our God Reigns was born! I had one verse and the chorus. It wasn’t so much that I wrote it as I received it!
How lovely on the mountains are the feet of Him Who brings good news, good news Announcing peace, proclaiming new of happiness Our God reigns, Our God reigns! Our God reigns! Our God reigns! Our God reigns!
A couple of months later, a traveling evangelist visited our church, heard the song, and taught it as he went from church to church. It took me three more years to complete the other verses that made this Scripture chorus into a hymn that went around the world.
After the three big Christian music publishers passed on publishing my song in the late ’70s, I decided to keep the copyright and establish New Jerusalem Music to manage my songs, as well as the songs of our friends and my son, Daniel C. Smith, of the group Danielson Family. The decision to create my own music company worked out incredibly well over the decades. This was the fulfillment of His promise all those years ago when He told me that I would do very well. I know we really do have a Good Shepherd who is guiding us, closing doors, and opening doors.
Every one of us has experienced disappointment and failure and had our hearts broken. But we don’t need to be bitter about it. If we look closely, we’ll see how God worked it out for our good. Over time, we become more understanding, more patient, and kinder to others who have been overlooked and forgotten. We must not forget that suffering is the very thing God uses to refine and strengthen us. Jesus set the pattern that crucifixion comes before resurrection.
I would never have taken up learning how to play the guitar in seminary in the ‘60s if I hadn’t been so desperately lonely for so long. And I would never have started writing Scripture songs if I hadn’t so deeply needed the comfort of the Psalms of David, who also knew something of loss and pain and heartbreak.
Looking back, I’m grateful I was fired from that last teaching job. It proved to be the door God closed before He opened a new door for me. That open door has allowed me to enter into a wonderful new world. Thank you, Lord, for being such a good, loving, kind, faithful Shepherd. I know I’m in Your good hands and that will never change.
“Standing on the Promises”
R. Kelso Carter UM Hymnal, No. 374
The Pender UMC Traditional Service Middle Hymn “Standing on the Promises”, Sunday February 25, 2024 was played by Hetty Jacobs on piano and sung by the Sanctuary Choir and congregation. This was the second Sunday in Lent.
“Standing on the Promises” was the middle hymn at Pender’s 9:00 am Traditional Service on June 18, 2023 It was sung by Pender’s congregation, accompanied on piano by Heidi Jacobs and guitar by Brian Stevenson.
The Pender UMC Traditional Service Opening Hymn “Standing on the Promises” on Sunday November 6, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and sung the Pender Sanctuary Choir and congregation.
Standing on the promises of Christ my King,
Through eternal ages let his praises ring;
Glory in the highest, I will shout and sing,
Standing on the promises of God.
Russell Kelso Carter (1849-1928) was a man of diverse interests and abilities. A native of Baltimore, Md., Carter was known as an outstanding athlete in his younger days. The Methodist Holiness camp meeting movement had a profound impact on his life and he was ordained into ministry in 1887.
Carter held a number of teaching posts at the Pennsylvania Military Academy including professor of chemistry, natural science, civil engineering and mathematics. Not only did he teach, but he also published text books in his various disciplines and even authored several novels. Other interests included sheep-raising and practicing medicine.
If this were not enough, Carter also edited hymnals. He assisted A.B. Simpson in the compilation of a hymnal for the Christian and Missionary Alliance Church, Hymns of the Christian Life (1891), a collection that contained 68 of his tunes and 52 of his texts.
“Standing on the Promises” was composed in 1886 while Carter was teaching at the military academy. He was a member of the first graduating class in 1867 and had a strong affinity for the school. Author Phil Kerr makes a connection between the music and the military academy in his book, Music in Evangelism, stating that Carter’s military experience was reflected in the martial musical style of the hymn.
Published the year it was written in the collection, Songs of Perfect Love, edited by John K. Sweeny and Carter, the original text had five stanzas. The missing stanza reads:
Standing on the promises I now can see
Perfect, present cleansing in the blood for me;
Standing in the liberty where Christ makes free,
Standing on the promises of God.
The second line of this stanza has a particular Wesleyan tone with its focus on perfection and cleansing blood. The Rev. Carlton Young, editor of the UM Hymnal, notes: “As in other single-theme evangelical hymns and songs of this period, the biblical source of the hymn is not clear. ‘Stand firm’ from Ephesians 6:14 has often been cited as the theme of the hymn, although the word ‘promise’ tends to be reinforced as well.”
Thus, two passages of Scripture seem to undergird the central premise of this gospel song: “Stand firm then, with the belt of truth buckled around your waist, with the breastplate of righteousness in place. . . .” (Ephesians 6:14). Several passages relate to the promises of God including 2 Samuel 22:31: “As for God, his way is perfect; the word of the LORD is tried; he is a buckler to all them that trust in him.”
Dr. Young points out that this hymn was not included in authorized hymnals for Methodists (or in the 1957 hymnal of the Evangelical United Brethren Church) until the current hymnal. He states, “Its place in our hymnal came from its inclusion in a list of hymns determined to be widely used by evangelical United Methodists.”
As is the case of many gospel songs, this song revolves around its refrain. The stanzas, rather than serving to develop a sequential train of thought, are more like the spokes of a bicycle—all serving as an entry point to the refrain from various perspectives. One could reorder the stanzas and not lose any train of thought.
Hymnologist Kenneth Osbeck places the hymn in its context: “The hymn has been widely used in the great evangelistic crusades throughout the past century.” It is in this context that its single focus and rousing, martial music may be best suited.
The Pender UMC Traditional Service Middle Hymn “It is Well With My Soul” on Sunday November 13, 2022 was played by Liz Eunji Moon on piano, directed by Brian Stevenson and sung the Pender Sanctuary Choir and congregation.
The hymn “It Is Well With My Soul” was written by a successful Christian lawyer called Horatio Spafford.
His only son died at age 4 in 1871. That year, the Great Chicago Fire wiped out his vast estate, made from a successful legal career.
In 1873 he sent his wife Anna and four daughters over to Europe on a summer trip on the ill-fated SS Ville du Havre. Since he had a lot of work to do, he had planned to travel to England with his family on the SS Ville du Havre, to help with D. L. Moody’s upcoming evangelistic campaigns. In a late change of plan, he sent the family ahead while he was delayed on business concerning zoning problems following the Great Chicago Fire.
On November 22 the ship was struck by an iron sailing vessel killing 226 people, including all four of Spafford’s daughters: Annie, age 12; Maggie, 7; Bessie, 4; and an 18-month old baby. His wife survived the tragedy.
Upon arriving in England, she sent a telegram to Spafford that read “Saved alone.”
Shortly afterwards, as Spafford traveled to meet his grieving wife, he was inspired to write these words as his ship passed near where his daughters had died.;Bliss called his tune Ville du Havre, from the name of the stricken vessel.
It is Well With My Soul
When peace, like a river, attendeth my way,
When sorrows like sea billows roll;
Whatever my lot, Thou hast taught me to say,
It is well, it is well with my soul.
Refrain:
It is well with my soul,
It is well, it is well with my soul.
Though Satan should buffet, though trials should come,
Let this blest assurance control,
That Christ hath regarded my helpless estate,
And hath shed His own blood for my soul.
My sin—oh, the bliss of this glorious thought!—
My sin, not in part but the whole,
Is nailed to the cross, and I bear it no more,
Praise the Lord, praise the Lord, O my soul!
For me, be it Christ, be it Christ hence to live:
If Jordan above me shall roll,
No pang shall be mine, for in death as in life
Thou wilt whisper Thy peace to my soul.
But, Lord, ’tis for Thee, for Thy coming we wait,
The sky, not the grave, is our goal;
Oh, trump of the angel! Oh, voice of the Lord!
Blessed hope, blessed rest of my soul!
And Lord, haste the day when the faith shall be sight,
The clouds be rolled back as a scroll;
The trump shall resound, and the Lord shall descend,
Even so, it is well with my soul.
“I Want to Walk as a Child of the Light” by Kathleen Thomerson,
The United Methodist Hymnal, No. 206
The Pender UMC Traditional Service Opening Hymn “I Want to Walk As a Child of the Light” on Sunday September 18, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and AJ Rios and sung the Pender Sanctuary Choir and congregation.
I want to walk as a child of the light.
I want to follow Jesus.
God set the stars to give light to the world.
The star of my life is Jesus.
Refrain: In him there is no darkness at all.
The night and the day are both alike.
The Lamb is the light of the city of God.
Shine in my heart, Lord Jesus.*
From time to time, a hymn captures our imagination because of its simplicity and transparency. Such a hymn is “I want to walk as a child of the light.” In singing this hymn, we feel the spirit of Epiphany unfold.
Kathleen Armstrong Thomerson (b. 1934) is a native of Tennessee. She wrote the hymn during the summer of 1966 during a visit to the Church of the Redeemer in Houston, Texas, the location providing the origin for the tune name HOUSTON. Her musical education took place at the University of Texas and Syracuse University, with additional studies at the Flemish Royal Conservatory in Antwerp. She has studied with several of the most noted organists of the twentieth century.
Ms. Thomerson directed music at University United Methodist Church in St. Louis and was on the organ faculties of St. Louis Conservatory and Southern Illinois University in Edwardsville. From 2004 through 2013, she served Mt. Olive Lutheran Church in Austin, Texas. In addition to this hymn, she contributed tunes for hymns by Patricia B. Clark in their joint collection, A Taste of Heaven’s Joys: A Collection of Original Hymns (2005).
“I want to walk as a child of the light” comes to The United Methodist Hymnal by way of the Episcopal Hymnal 1940 supplement, Songs for Celebration (1980). A musician with such a distinguished musical pedigree does not usually compose a gospel hymn of such elegant simplicity. A folk-like melody conveys a text based upon a wide range of scriptural allusions and biblical images. United Methodist Hymnal editor, Dr. Carlton Young notes some biblical passages that support the text: Isaiah 42:6c, “I have given you as a covenant to the people, a light to the nations.”; Malachi 4:2, “But for you who revere my name the sun of righteousness shall rise, with healing in its wings”; Revelation 21:25b, “And there will be no night there,” and 22:5b, “They need no light of lamp or sun.”
“I want to walk as a child of the light” communicates deep conviction and personal sincerity, while avoiding any hint of pretence. The first person perspective invites the singer to join Christ, the Light of the World, in discipleship – a journey of faith. The second line of each stanza deepens this commitment:
Stanza 1: “I want to follow Jesus.”
Stanza 2: “I want to look at Jesus.”
Stanza 3: “I want to be with Jesus.”
From a Wesleyan perspective, the theology of this hymn outlines sanctifying grace, the perspective of the Christians as they move toward perfection in the faith, becoming transformed in the image of Christ. Each stanza adds greater luminosity to this walk. In the first stanza, “God set[s] the stars to give light to the world.” Christ in turn becomes the “star of my life.” References to stars support the hymn’s appropriateness for Epiphany. Stanza two expresses the desire to “see the brightness of God.” The “Sun of Righteousness” illumines “the way to the Father.” The final stanza extends the journey toward the “coming of Christ,” an eschatological direction toward our future hope.
As in most gospel hymns, it is the refrain that carries the essence of its meaning; and indeed it is this refrain, with its scriptural allusions that virtually quote from Revelation 21 and 22, that distinguishes this hymn from many earlier expressions of discipleship. While a deeply personal expression of piety, the poet roots her devotional expression firmly in Scripture, avoiding the maudlin and simplistic notions of some gospel songs.
The simplicity of the music and text does not imply a simplistic faith. “I want to walk as a child” reminds us of one of the paradoxes of our faith, that we need to become as a child to fully understand the realm of God (Matthew 18:2-4).
The Pender UMC Traditional Service Middle Hymn “What a Friend We Have in Jesus” on Sunday October 23, 2022 was played by Liz Eunji Moon on piano, accompanied on guitar by Brian Stevenson and sung the Pender Sanctuary Choir and congregation.
How does a personal poem written to a mother from a despondent son, recently immigrated from England to a relatively remote section of Canada in the mid-nineteenth century, become one of the most widely sung hymns in the world?
Joseph Medlicott Scriven (1819–1886) was born in Seapatrick, Ireland (now Northern Ireland,) and died in Ontario, Canada. After attending classes at Trinity College, Dublin, he pursued a military career, where he trained for service in India; but had to abandon that ambition because of his poor health. He returned to Trinity and graduated in 1842.
SCRIVEN’S LIFE
Scriven’s life was full of tragedy. Following the accidental drowning of his Irish fiancée the evening before their wedding, he moved to Woodstock, Canada West (now Ontario) in 1844, where he led a Plymouth Brethren fellowship and taught. Scriven organized a private school in 1850 in Brantford and preached in the area. Some scholars believe that Scriven may have composed his initial draft of “What a Friend” written during this time.
Moving near Clinton in Huron County in 1855, he read the Bible to railway construction workers who were building the Grand Trunk Railway across the Canada West. By 1857, he relocated to Bewdley, supporting himself as a private tutor to the family of Robert Lamport Pengelly, a retired naval officer. Tragedy struck again when his second fiancée, Eliza Catherine Roach, Pengelly’s niece, died in 1860 of an illness shortly before their wedding. Scriven then returned to ministry among the Plymouth Brethren in Bewdley, near Rice Lake (McKellar and Leask, Canterbury Dictionary, n.d.). Hymnologist Albert Bailey noted that Scriven, a selfless person by nature, was known as “the man who saws wood for poor widows and sick people who are unable to pay” (Bailey, 1950, p. 495).
The Dictionary of Canadian Biography describes what we know about the circumstances surrounding Scriven’s death in October 1886:
His last days were clouded with ill-health and despondency. James Sackville, his friend and fellow-believer, found Scriven ill and brought him to his house. One hot night in 1866, Scriven left his bed without disturbing anyone, probably to drink at a nearby spring: some hours later, presumably having fainted or fallen, he was found dead in the spillway of Sackville’s grist-mill, a few feet from the spring. He was buried in the Pengelly burial-ground in an unmarked grave between Eliza Roach and Commander Pengelly (Macpherson, “Scriven,” n.d.).
A few days before Scriven’s death, Sackville found the dejected Scriven “prostrate in mind and body and heard him say, ‘I wish the Lord would take me home’” (Cleland, 1895, p. 17). It was never determined if his death was accidental or a suicide. A monument was later erected over his gravesite by friends and neighbors. Joseph Medlicott Scriven’s historical marker was placed in Otanabee-South Monaghan, Ontario, Canada, marking his homestead and burial place.
ORIGINS OF ‘WHAT A FRIEND WE HAVE IN JESUS’
Scriven published a collection of his poetic works, Hymns and Other Verses, which included seventy-one hymns “intended to be sung in assemblies of the children of God on the first day of the week and on other occasions when two or three are met together in the Name of our Lord Jesus Christ.” These were followed by thirty-four scriptural paraphrases “not to be sung in the assembly, but to express truth, as well as convey comfort, instruction or reproof to our hearts, in order that we may walk together in obedience” (Scriven, 1869, Preface). “What a Friend,” the hymn for which he is known, does not appear in the collection, however. Why not?
Some writers have noted that the hymn was written for his mother, who was suffering from illness. Musical evangelist Ira D. Sankey (1840–1908) spread this account (cited in Bailey, 1950, pp. 495–496). This assertion is hard to verify, however. A statement from Scriven’s biography (1895) by James Cleland includes the author’s mother in the dissemination of the hymn but does not clarify other details:
When residing at the house of his friend Mr. Sackville, near Rice Lake, he composed this hymn; making two copies, one of which he sent to his mother, in Dublin, and gave the other to Mrs. Sackville, which the old lady, now over eighty years of age values highly. Probably it was through his mother that the hymn was given to the public (Cleland, 1895, p. 13).
If indeed “What a Friend” were composed as a personal poem, it may explain why it did not appear in the collection the author published in 1869. The personal first-person plural perspective contrasts with other hymns by the author. As one author noted, “almost all of his others are more firmly constructed, without emotional softness, and developed from biblical texts” (Macpherson, “Scriven,” n.d.). Carl Daw Jr. has also noted the differences between “What a Friend” and the author’s published works in Hymns and other verses, supporting the hypothesis that the poem was intended for his ailing mother rather than public use (Daw, 2016, p. 470).
Some commentaries state that the text was first published in J.B. Packard’s Spiritual Minstrel: A Collection of Hymns and Music (1857), but this is erroneous, according to hymnologist Chris Fenner (See Fenner, 2020, n.p.). The hymn appeared as we know it anonymously in three stanzas of eight lines each in Social Hymns, Original and Selected (1865), compiled by Horace Lorenzo Hastings. New England composer and church musician Charles Converse (1832–1918) then included the text in his Silver Wings (1870) with his tune under his pen name Karl Reden, a Germanization of his name (“reden” meaning “to speak” or “converse”). He states that he obtained the text from the privately produced hymnal, “Genevan Presbyterian Church (of Brooklyn) Collection.” No copy of this hymnal appears to be extant. Converse’s tune paired with the text gained prominence with Ira Sankey and spread in his revivals with Dwight L. Moody (1837–1899). Published in Sankey’s Gospel Hymns and Sacred Songs (1875), later known as Gospel Hymns No. 1., Sankey mistakenly attributed the hymn to Scottish hymnwriter Horatius Bonar (1808–1889), an assertion disputed by Bonar.
The text has remained unusually stable with few editorial alterations over the years. Edward Samuel Caswell (1861–1938) published an early manuscript version signed by Scriven that was titled “Pray without Ceasing” (from 1 Thessalonians 5:17) in 1919. It appeared in four quatrains, the first three of which are familiar. The fourth reads as follows:
Are we cold and unbelieving, Cumbered with a load of care? Here the Lord is still our refuge: Take it to the Lord in prayer. (See the manuscript at Fenner, 2020, n.p.)
Of the hymn, Caswell stated that it was “beyond question the best-known piece of Canadian literature” (Macpherson, “Scriven,” n.d.).
Stanza 1 establishes that Jesus is a friend that can bear our sins and burdens. This theme appears in the eighteenth century with Charles Wesley’s “Jesus, Lover of My Soul” (1740) and John Newton’s “How Sweet the Name of Jesus Sounds” (1779). Nineteenth-century hymnwriters are especially known for expressing their personal friendship with Jesus. For example, see Louisa M.R. Stead’s “‘Tis So Sweet to Trust in Jesus” (1882), Elisha A. Hoffman’s “I Must Tell Jesus All of My Trials” (1894), and Fanny Crosby’s “Blessed Assurance, Jesus Is Mine” (1873). The author uses the first-person plural perspective—perhaps indicating that he and his mother (“we”) have a bond in prayer and need not suffer sin and grief alone.
The second stanza asks two rhetorical questions—rhetorical because, indeed, all humans suffer “trials and temptations” and witness “trouble.” The answer becomes a short refrain: “Take it to the Lord in prayer.” A third rhetorical question asks, “Can we find a friend so faithful . . .?” The intimate friendship with the one who “knows our every weakness” is the source of solace. The refrain returns: “Take it to the Lord in prayer.”
The third stanza reframes the premise of the song with different questions, while the theme remains the same:
Are we weak and heavy laden, cumbered with a load of care? Do your friends despise, forsake you?
The answer to both questions is, “Take it to the Lord in prayer.” The closing image of Jesus enfolding his friend in his arms is also a common trope in many hymns from this era. The two most known are Fanny Crosby’s “Safe in the Arms of Jesus” (1868) and Elisha Hoffman’s “Leaning on the Everlasting Arms” (1887).
Hymnologist Fred Gealy found an additional stanza published in Hastings’ Songs of Pilgrimage: A Hymnal for the Churches of Christ (Boston, 1886; Second Ed. 1888) with the following fourth stanza:
Blessed Jesus, thou hast promised Thou wilt all our burdens bear, May we ever, Lord, be bringing All to thee in earnest prayer. Soon in glory, bright, unclouded, There will be no need for prayer; Rapture, praise, and endless worship Shall be our sweet portion there.
Since this seems to be the only hymnal to include this stanza, it may have been added by the editor who felt that an eschatological focus was more theologically suitable for a closing stanza.
Albert Bailey notes correctly that Scriven’s poetry is of relatively low quality with monotonous rhymes (Scriven uses five words to rhyme with “prayer”—some multiple times) and trite language. But even Bailey admits, “Our criticism is made harmless by the tremendous service the hymn has rendered. Any unlettered person can understand it; the humblest saint can take its admonitions to heart, practice prayer, find his load more bearable and [her] spiritual life deepened” (Bailey, 1950, p. 496).
Paul Westermeyer offers a critique from a Lutheran perspective, noting:
It has been a source of comfort for many who have sung it, though paradoxically it has also been a part of a Protestantism that denies its own heritage by turning prayer into work to control God’s grace. The repeated line “Take it to the Lord in prayer” relates to . . . comfort, and forfeiting peace or suffering pain “All because we do not carry everything to God in prayer” suggests our capacity to save ourselves by the work of our prayer (Westermeyer, 2010, p. 606).
Carl Daw offers a different analysis: “As a hymn of assurance, it has served as an effective reminder of the centrality of prayer in a well-rounded spirituality. Unfortunately, singing it has often been a substitute for the comprehensive prayer life it advocates, and its advice has been cherished, but not followed” (Daw, 2016, p. 471).
While other tunes appear with this text, CONVERSE by Charles Converse is the most popular. Carlton Young suggests that CONVERSE is reminiscent of Stephen Foster tunes of the era and provides a perfect musical vehicle for this prayerful text. He notes that this tune follows the same general melodic contour as Foster’s “Jeanie with the light brown hair” (Young, 1993, pp. 687–688). Converse, a Massachusetts native, was an associate of William Bradbury (1816–1868) and Ira Sankey in revivals and the Sunday school movement.
The range of recording artists who have sung this song is staggering from long-established white performers Pat Boone (https://www.youtube.com/watch?v=hcHbzSi7fho&feature=emb_title), Rosemary Clooney, Loretta Lynn, Barbara Mandrell, Willie Nelson, and Dolly Parton to African American gospel artists Ella Fitzgerald, Aretha Franklin, and Ike and Tina Turner (https://www.youtube.com/watch?v=ay1lUmnaZfA&feature=emb_title). More recently, Contemporary Christian artist Paul Baloche has recorded the song (https://www.youtube.com/watch?v=6pJb0nUiZWc&feature=emb_title), indicating that it continues to have a witness to younger generations. Baloche’s improvisatory coda bridges the nineteenth century with the twenty-first. The hymn’s inclusion in the film Driving Miss Daisy (1969) as sung by Little Friendship Missionary Baptist Church Choir (Decatur, Georgia) confirms its iconic status in the genre.
The simple language becomes a virtue in translation, and the folk-like melody easily transcends cultures around the world. The musical treatment of CONVERSE varies in each cultural setting, but the message remains the same. There are few hymns that I have heard more regularly around the world. Scriven’s biographer, James Cleland, noted in 1895, “In the steerage of the steamer, a traveler returning from Europe, heard a mixed company, who spoke different languages, united in singing this hymn” (Cleland, 1895, pp. 5–6). One hundred years later, this author verifies hearing this song sung in various languages and renditions, including a humble congregation for people with leprosy near Ogbomosho, Nigeria; a Filipino Anglican congregation in Manila; a thriving Baptist congregation in Matanzas, Cuba; and an African American Methodist congregation in Atlanta. A modest poem, written in Canada as a private meditation for the author’s mother in Ireland, has found its way into many hearts worldwide and, undoubtedly, has been a source of comfort for millions of Christians for more than one hundred fifty years.
SOURCES
Albert E. Bailey, The Gospel in Hymns (New York: Charles Scribner’s Sons, 1950).
News and Views 