Glory to His Name

Praise for the Lord #160

Words: Elisha A. Hoffman, 1877?
Music: John H. Stockton, 1877?

Elisha Albright Hoffman (1839-1929), whose best-known song, "Are you washed in the blood?" I have briefly been reviewed, was a busy and prolific man in the field of church music. He was typical of the new breed of Midwestern gospel songwriters who emerged after the U.S. Civil War and added their voices to those coming from the traditional music publishing centers of New York, Philadelphia, and Boston, as seen in the predominance of these songwriters featured in Jacob Hall's 1914 Biography of Gospel Song and Hymn Writers (Smucker 264). Hymnologists Wilson and Wilhoit wrote of this development,

As a songwriter-publisher, Hoffman’s contributions reflect a significant role in the development of 19th-century gospel hymnody. Unlike Ira Sankey, Philip Bliss, and Fanny Crosby, who were luminaries of the early gospel song movement, Hoffman is more representative of a myriad of writers and composers displaying a healthy avocational interest in the popular religious music of the day (38).

Hall's Biography of Gospel Song Writers

As a testament to his publishing work, the fledgling company for which he served as the first music editor, Hope Publishing, is one of the handful of survivors from the boom era of gospel music publishing and is still a thriving business today. Hoffman edited their Pentecostal Hymns series (1894, 1898, 1902), and his numerous works were the foundation of the company's bank of copyrights (Hustad, 17-20). Hoffman also co-edited the first Sunday School songbooks for the Evangelical Association (earlier known as the "Albright Brethren"), first in German (Jubeltöne, 1871) and then in English (Evergreen, 1873), and remained an important editor in his denomination's publishing house.

One key to Hoffman's success was his ability to forge productive partnerships. In 1876 he co-edited Songs of Faith with John Harrison Tenney (1840-1918), a Massachusetts farmer and businessman who, like Hoffman, was largely self-taught in music. They would produce twelve hymnals together, including Temperance Jewels (Boston: Oliver Ditson, 1879), Hoffman's first book from a major publisher and his first outside Ohio, and the first two numbers of Pentecostal Hymns for Hope Publishing. As Hoffman became better known in church music circles, he engaged in co-editor partnerships with the emerging Southern publishing houses too, including those of Anthony J. Showalter (Voice of Praise, 1889) and Ruebush-Kieffer (To His Praise, 1903). With the growing success of Pentecostal Hymns, Hoffman was appointed Hope Publishing's chief music editor, a position he maintained through 1912 (Eskew). At the same time he edited songbooks for Evangelical Publishing (by that time also located in Chicago), frequently teaming up with Harold F. Sayles, a Chicago-based revival preacher (Moore 105).

It may come as something of a surprise, then, that Hoffman was so modest about his musical accomplishments. In a speech to the Chicago Presbytery in 1924, he said of his own works, 

They are not in themselves of a high literary order. No such claim has ever been made for them. Only this can be said of them . . . they interpret well the Spiritual phases of the soul's experience (Ebert 92). 

Jacob H. Hall was more generous in his assessment:

His musical education was limited. He is no graduate from any School of Music, but the best of all he is a natural musician. All the musical knowledge he has was gained by personal application (162).

Wilson and Wilhoit's 1984 article on Hoffman notes that his son, Ira Hoffman, often harmonized his father's melodies (36). When I was indexing Hoffman's Evergreen (1873) earlier this year for Hymnary.org, I noted that he is sometimes credited only with the melody of a song, with the harmonizer unidentified. Also, a large number of tunes in the book credit a harmonizer without noting the composer of the melody, leading me to suspect that Hoffman was involved in the melody writing but was unsure of his ability to write the parts. (I personally have the opposite problem.)

Elisha Hoffman's poetry also had its critics. The Independent, a New York religious magazine, had this to say of Hoffman and Tenney's Spiritual Songs for Gospel Meetings and the Sunday School (Cleveland: Barker, 1878):

Of these songs we have read thirty entirely through consecutively, and have not discovered one that on its own merits could have found a place in the columns of this or any other religious newspaper of respectable literary ability ("Some recent religious verse and song").

Five of these first thirty songs are by Hoffman, including his most famous, "Are you washed in the blood?" Now it is worth noting that, critics aside, this song has served its purpose remarkably well over the decades; the Salvation Army, in fact, was so taken with it that it practically became an anthem of the movement and in some quarters became known as the "Salvation Army Hymn." But the critic has a point about the poetry of "Are you washed in the blood?"—Hoffman had a somewhat formulaic manner of writing, which will become evident in "Glory to His name" as well.

Take the first stanza:

Have you been to Jesus for the cleansing power?

Are you washed in the blood of the Lamb?

Are you fully trusting in His grace this hour?

Are you washed in the blood of the Lamb?

Every stanza is constructed in the same fashion: the 1st and 3rd lines are a rhyming pair, the 2nd and 4th lines are "Are you washed in the blood of the Lamb?" The refrain, as well, is based on this repeated phrase:

Are you washed in the blood?

In the soul-cleansing blood of the Lamb?

Are your garments spotless? Are they white as snow?

Are you washed in the blood of the Lamb?

Not only are the first two lines simply an expansion of the key phrase, but the final line is an exact repetition (textually and musically) of the final line of the stanza. From a poetry standpoint, this may seem like filling out the stanza-refrain format by copy-and-paste. On the other hand—it works. Remember that Hoffman was originally writing (at least in large part) for children, who may or may not have been old enough to read, and would certainly not all read music. The same would perhaps be true of many adult singers, for that matter. The repetition and predictability, reinforced by the expectations established by the musical form, make this song easy to pick up and easy to remember.

"Glory to His name" makes similar use of a repeated key line: "Glory to His name!" occurs  at the end of each stanza and three times in the refrain, for a total of twelve times in the course of the song. The refrain repeats the next-to-last line of the first stanza, so that the refrain serves simply to reinforce the preceding text instead of introducing new material. Hoffman chose a less common rhyme pattern, however, that infuses interest into the structure: the AAAB pattern (in which B is always "Glory to His name!") creates a sense of rising tension, as the poet must build three successive lines with the same rhyme at the end.

Don Hustad notes the first appearance of this hymn in Joy to the World: Sacred Songs for Gospel Meetings (Cincinnati: Walden and Stowe, 1878), compiled by Tullius C. O'Kane, C. C. McCabe, and John R. Sweney (106). In this book the music is by Sweney, and the refrain text is rather different from the version that would become standard. An MP3 of the music (MIDI piano) can be heard here.

The text of the chorus in this early version with Sweney's music shows the same techniques used to different results, repeating "Down at the cross" as well as "Glory to His name." Sweney may have inserted the repetition of "glory" in the final line, but otherwise the text is presumably Hoffman's. 

Down at the cross, down at the cross,
Down at the cross where Jesus died,
There to my heart was the blood applied,
Glory, glory to His name.

No doubt it was an honor for Hoffman to have the text set to music by Sweney, who was a major figure in gospel music circles in Philadelphia. But a different musical setting appeared at almost the same time by the New Jersey minister and songwriter John Hart Stockton, and thus it is in Gospel Gems (Boston: George Russell, 1879) that we see the first appearance of this hymn with its now-familiar music and with the refrain built around the phrase "Glory to His name!" The Sweney setting was reprinted in a half-dozen collections, but disappeared by the 1890s (Hymnary.org tune authority). 

The pairing of Hoffman's lyrics with Stockton's music is something of a mystery, because Stockton died 25 March 1877, more than two years before Gospel Gems was published (McCutcheon 230). Obviously, then, the text was written at least by 1877, barring the unlikely event of Stockton's music being adapted from a previously existing song (no evidence of which has been found). The delay was probably not that unusual, since the major gospel song publishers had multiple books in the works every year, and would have to keep material flowing in; but it is interesting that two different settings emerged almost simultaneously. The U.S. Copyright Virtual Card Catalog shows that Gospel Gems was actually registered in 1878 by the editor W. Warren Bentley (1870-1897, drawer BEM-BERK, card number 1076); Stockton's setting of "Down at the Cross" also appeared in Temperance Jewels edited by Hoffman and Tenney (Boston: Oliver Ditson, 1879). 

Perhaps the fact that Sweney held the copyright to his version had something to do with the creation of a second musical setting. The Stockton setting does not include a copyright statement in Gospel Gems, but in Hoffman's own Temperance Jewels it appears "by permission," a statement found in other song books in the following years. Hoffman may have had some arrangement with Stockton, or with his heirs, that was more favorable than acquiring Sweney's version; or perhaps he knew it worked better with his lyrics. More on this will follow in the "About the music" section.

Stanza 1:

Down at the cross where my Savior died,
Down where for cleansing from sin I cried,
There to my heart was the blood applied;
Glory to His name!

Refrain:
Glory to His name!
Glory to His name!
There to my heart was the blood applied;
Glory to His name!

Looking at the text of this song that I have sung for so many years, I am surprised that the question never came to my pedantic, overly literal mind before: why does Hoffman say "Down at the cross," when Christian tradition has uniformly identified the location of the Crucifixion as a hill? (The Bible is silent about the elevation of the place.) The best I can offer, after examining encyclopedias of English idiom and usage, is the description given in the Cambridge Dictionary: "To emphasize that a place is at some distance from you or from somewhere considered to be central" ("Down, adverb (FAR)"). Yet there is something more to the expression "Down at [x]," perhaps best reflected in the questions I encountered on discussion websites for English learners, who wished to know how "down" was relevant to a place that was neither "down" in elevation or in the figurative sense of being "down" in a southerly direction on a hypothetical map. There seems also to be an implication that the place spoken of is familiar, if not to both parties, at least to the speaker. 

"Down at the cross," then, does not literally describe the scene of the Crucifixion, but the Cross as the locus of forgiveness. This is reinforced by the parallel in the second line, "Down where for cleansing from sin I cried." It is the place of forgiveness, as familiar and dear to the Christian as any physical location on earth. "For the word of the cross is folly to those who are perishing, but to us who are being saved it is the power of God" (1 Corinthians 1:18). What could turn such an instrument of shame and terror into a symbol of hope and deliverance? "Christ crucified, a stumbling block to Jews and folly to Gentiles, but to those who are called, both Jews and Greeks, Christ the power of God and the wisdom of God (1 Corinthians 1:23-24). "For in Him all the fullness of God was pleased to dwell, and through Him to reconcile to himself all things, whether on earth or in heaven, making peace by the blood of His cross" (Colossians 1:19-20).

"Down at the cross," Hoffman says, is the place to find "cleansing from sin." "But if we walk in the light, as [God] is in the light, we have fellowship with one another, and the blood of Jesus His Son cleanses us from all sin" (1 John 1:7). And as Hoffman spells out more specifically, in our coming to the cross and claiming that free gift "was the blood applied;" it is offered to all, but it is only available at that single location. In summary, then, "Down at the cross" is the metaphorical place at which one submits to God's plan for extending His grace, puts their faith in the blood Jesus shed on that cross, and "obeys the gospel" (cf. Romans 10:16, 1 Peter 4:17). 

In reflection on this truth, the author simply exclaims, "Glory to His name!" He might have been echoing many of the Psalms:

Ascribe to the LORD the glory due His name; worship the LORD in the splendor of holiness (Psalm 29:2 )

Sing the glory of His name; give to Him glorious praise! (Psalm 66:2)

Ascribe to the LORD the glory due His name; bring an offering, and come into His courts! (Psalm 96:8)

Not to us, O LORD, not to us, but to Your name give glory, for the sake of Your steadfast love and Your faithfulness! (Psalm 115:1)

"Glory" in these passages is כָּבַד (kābēd), originally a word denoting heaviness or hardness, as of a burden or a task. But by metaphorical extension it came to have a positive sense of being substantial, similar to our English expression that describes an important or influential person as "carrying a lot of weight." It came to be used in this sense to describe a person's authority, or accomplishments, or even simply their character. When applied to God, of course, it is all three at once.

God's name is glorious in righteousness, faithfulness, judgment, and salvation (Ps 66:2; 79:9; Isa 40:5). He is the king of glory (Ps 24:7-10), who has done gloriously. So he is not only to be honored because of his position as sovereign head of the universe, but because of his surpassing character in all realms (Theological Wordbook 1:427).

Stanza 2:

I am so wondrously saved from sin,
Jesus so sweetly abides within,
There at the cross where He took me in;
Glory to His name!

(Refrain)

The very first song recorded in Scripture, the Song of Moses in Exodus 15, speaks of the "wonders" that God did in delivering His people from Egypt: "Who is like you, O LORD, among the gods? Who is like you, majestic in holiness, awesome in glorious deeds, doing wonders?" (Exodus 15:11). Throughout the poetic books of the Bible we see the reference again and again to such divine acts, as in the first verse of the 9th Psalm, "I will give thanks to the LORD with my whole heart; I will recount all of Your wonderful deeds." Simply put, a "wonder" is so called because it makes us wonder how it could be so. It is something outside of our capability and experience, so that we cannot even comprehend it happening--such as a sea parting in two but leaving dry ground in the middle. "Wonders" are the fingerprints of God, so to speak, down through the ages recorded in the Bible; and when Peter at Pentecost called on his countrymen to face the reality of Jesus of Nazareth, he described Him as "Jesus of Nazareth, a Man attested to you by God with mighty works and wonders and signs that God did through Him in your midst, as you yourselves know (Acts 2:22). Some of the wonders were the same as found in Exodus, in fact--controlling the sea, bringing forth bread in the wilderness--and others were prefigured by the Hebrew prophets, such as healing the sick and even raising the dead.

But even as He used these signs to prove the genuineness of His claims and the authority of His words, Jesus pointed to even greater wonders hidden in plain sight.

And behold, some men were bringing on a bed a man who was paralyzed, and they were seeking to bring him in and lay him before Jesus, but finding no way to bring him in, because of the crowd, they went up on the roof and let him down with his bed through the tiles into the midst before Jesus. And when He saw their faith, He said, "Man, your sins are forgiven you." And the scribes and the Pharisees began to question, saying, "Who is this who speaks blasphemies? Who can forgive sins but God alone?" When Jesus perceived their thoughts, He answered them, "Why do you question in your hearts? Which is easier, to say, 'Your sins are forgiven you,' or to say, 'Rise and walk'"? (Luke 5:18-23).

The Pharisees, as they so often were in conversation with Jesus, were so close and yet so far. "Who can forgive sins but God alone?" was exactly the point. In the presence of an undeniable physical "wonder," Jesus left it to His hearers to connect the dots--He could also do the greater "wonder" of forgiving sins.

Much can be said, and much has been written, about the "wonder" of salvation. Looking at the tools I have at hand as a librarian, I see that the Dewey Decimal system reserves an entire classification number, 234, for "Salvation & grace". In the WorldCat database (the largest union catalog of library holdings), a search for this classification brings in more than 80,000 titles. Suffice to say that "of the making of books there is no end" (Ecclesiastes 12:12), and that this subject has enough depth and mystery to fill rooms full of books without exhausting the matter. I am reminded here of the cautionary words of C. S. Lewis in Mere Christianity on the complexity of theories of atonement:

We are told that Christ was killed for us, that His death has washed out our sins, and that by dying He disabled death itself. That is the formula. That is Christianity. That is what has to be believed. Any theories we build up as to how Christ's death did all this are, in my view, quite secondary (58).

Or as Elisha Hoffman exclaims in childlike astonishment, "I am so wondrously saved from sin!" Sometimes the simplest answers are the most accurate after all.

Hoffman rejoices in another wonder as well, that Jesus "abides within" us. Jesus first hinted at this in the "hard saying" of John 6, 

Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink His blood, you have no life in you. Whoever feeds on My flesh and drinks My blood has eternal life, and I will raise him up on the last day. For My flesh is true food, and My blood is true drink. Whoever feeds on My flesh and drinks My blood abides in Me, and I in him. As the living Father sent Me, and I live because of the Father, so whoever feeds on Me, he also will live because of Me. This is the bread that came down from heaven, not like the bread the fathers ate, and died. Whoever feeds on this bread will live forever" (John 6:53-58).

The abiding of Jesus in the Christian is parallel to the manner in which Jesus abides in the Father--a connection and communion of heart and mind so perfect that it is unthinkable for the Son to act in any way outside the Father's will: "the Son can do nothing of His own accord, but only what He sees the Father doing. For whatever the Father does, that the Son does likewise" (John 5:19). Our connection with Jesus will never be so perfect of course, but in the great "farewell discourse" of John chapters 14-17, we are given a fuller picture.

I am the true vine, and My Father is the vinedresser. Every branch in Me that does not bear fruit He takes away, and every branch that does bear fruit He prunes, that it may bear more fruit. Already you are clean because of the word that I have spoken to you. Abide in Me, and I in you. As the branch cannot bear fruit by itself, unless it abides in the vine, neither can you, unless you abide in Me. I am the vine; you are the branches. Whoever abides in Me and I in him, he it is that bears much fruit, for apart from Me you can do nothing. If anyone does not abide in Me he is thrown away like a branch and withers; and the branches are gathered, thrown into the fire, and burned. If you abide in Me, and My words abide in you, ask whatever you wish, and it will be done for you. By this My Father is glorified, that you bear much fruit and so prove to be My disciples. As the Father has loved Me, so have I loved you. Abide in My love. If you keep My commandments, you will abide in My love, just as I have kept my Father's commandments and abide in His love. These things I have spoken to you, that My joy may be in you, and that your joy may be full" (John 15:1-11).

A branch lives, grows, and bears fruit as it receives life from the vine; the vine "abides" in the branch as the supplier of nourishment, and the branch "abides" in the vine by receiving it. In the same way, Jesus abides in us, and we seek to abide in Him--by letting His words abide in us (v. 7), and by abiding in His love through keeping His commandments (v. 9-10). What the life of Jesus can do, abiding in a Christian, is yet another wonder in which to rejoice.

Stanza 3:
O precious fountain that saves from sin,
I am so glad I have entered in;
There Jesus saves me and keeps me clean;
Glory to His name!

(Refrain)

Next to the air we breathe, water is the most essential element of human life; and given the dry-to-arid climate of much of the Bible lands, it is not surprising that water sources play such a prominent role in the Bible. The miraculous springs of water provided by God during the Exodus left a deep mental impression in Hebrew literature, leading to the poetic figures of the "fountain of life" and "living water." David speaks beautifully in the 36th Psalm,

How precious is Your steadfast love, O God!
  The children of mankind take refuge in the shadow of Your wings.
They feast on the abundance of Your house,
  And You give them drink from the river of Your delights.
For with You is the fountain of life;
 In Your light do we see light (Psalm 36:7-9)

Jeremiah also spoke of the Lord as "the fountain of living water" (17:13), and Zechariah expanded the "fountain of life" metaphor by introducing cleansing and purification as an additional goal: "On that day there shall be a fountain opened for the house of David and the inhabitants of Jerusalem, to cleanse them from sin and uncleanness."

Jesus took up this language in speaking to the Samaritan woman in John chapter 4 while sitting by the famous well dug by their common ancestor Jacob: 

If you knew the gift of God, and who it is that is saying to you, "Give me a drink," you would have asked Him, and He would have given you living water. ... Everyone who drinks of this water will be thirsty again, but whoever drinks of the water that I will give him will never be thirsty again. The water that I will give him will become in him a spring of water welling up to eternal life" (John 4:10, 13-14).

The "fountain of life" metaphor is brought to its climax in the closing chapters of Revelation: "I am the Alpha and the Omega, the Beginning and the End. I will give of the fountain of the water of life freely to him who thirsts." (Revelation 21:6).

The "living water" is connected to salvation throughout the New Testament, from Jesus' declaration to Nicodemus of the necessity to be "born of water and the Spirit" (John 3:3) on through the Acts and the Epistles. Ananias told Paul, "And now why do you wait? Rise and be baptized and wash away your sins, calling on His name" (Acts 22:16). Paul reminded the Christians at Corinth of their forgiveness from sins, based on the fact that "you were washed, you were sanctified, you were justified in the name of the Lord Jesus Christ and by the Spirit of our God" (1 Corinthians 6:11). Paul reminds us in Titus 3:5 that this is a source of assurance but also of humility: "He saved us, not because of works done by us in righteousness, but according to His own mercy, by the washing of regeneration and renewal of the Holy Spirit." In the the third line of this stanza, Hoffman also calls to mind the continual saving work of this "living water," no doubt thinking of 1 John 1:7, "But if we walk in the light, as He is in the light, we have fellowship with one another, and the blood of Jesus His Son cleanses us from all sin."

The final stanza of this song, though widely in use elsewhere, is not found in Praise for the Lord, and its inclusion has been intermittent in the hymnals used among the Churches of Christ. It was not part of the Great Songs of the Church lineage, and though it was in Gospel Advocate's 1935 Christian Hymns "No. 1," it was omitted from the more influential No. 2 (1948). It was also omitted from Howard Publishing's Songs of the Church (1971) and Songs of Faith and Praise (1994). In my personal experience, therefore, I have never regularly sung from a hymnal that included it! It does appear in Sacred Selections (1956), however, and the broad usage of that hymnal is probably responsible for its inclusion in more recent hymnals such as Dane Shepard's Hymns for Worship (1988) and Sumphonia's Psalms, Hymns, and Spiritual Songs (2012).

Come to this fountain, so rich and sweet,
Cast thy poor soul at the Savior's feet;
Plunge in today, and be made complete,
Glory to His name!

In this stanza, Hoffman turns the song into an invitation to the unsaved. The third line's "plunge" is the language of baptism by immersion; it would certainly be worth keeping, or at least having as an option for use as an invitation song!

About the music:

John H. Stockton was born in New Hope, Pennsylvania in 1813 to Presbyterian parents, but apparently took little interest in religion before attending a Methodist camp-meeting in young adulthood. Though he was eager and was given increasing responsibilities in church work, he seems to have had persistent doubts about his abilities and did not enter into full-time work until 1852 (both his obituaries and extant genealogical records are silent about what he did for a living prior to this). After twenty years of preaching in the New Jersey Methodist Conference, by the 1870s he was increasingly in ill health and unable to fulfill regular duties. During this period of involuntary inactivity, however, he took up an apparently new avocation as a gospel songwriter, publishing Salvation Melodies (Philadelphia: Perkinpin & Higgins, 1874) and Precious Songs (Philadelphia: Association for the Promotion of Holiness, 1875). His songs were highly regarded by Ira Sankey, and Stockton participated in the Moody-Sankey revival in Philadelphia in 1875. He passed away March 25, 1877 ("New Jersey Conference," 29-30).

In addition to this setting of "Down at the Cross," Stockton is remembered for "Come, every soul by sin oppressed" (for which he wrote both words and music), which was included in Sankey's Sacred Songs and Solos under the title "Only trust Him." Stockton is also credited with arranging the music for William Hunter's hymn "The Great Physician," though it is unclear from what source.

It is interesting in the case of "Down at the cross" that the musical setting by Stockton has been so much more successful than that of John Sweney, a far more prolific and influential songwriter. What made Stockton's tune preferable? I suggest the following factors played a part:

• The opening phrase of Stockton's melody is more distinctive. Actually the two melodies are so similar, in the stanza at least, that one might suspect one had depended on the other; but to look at it fairly, if both of them chose to set the text in 4/4 time, the rhythm is suggested by the natural flow of the text. Both of them happened to begin on MI, the third note of the scale (almost all gospel songs of the era would begin on a note in the tonic chord, i.e. DO, MI, or SOL). But Stockton's melody incorporates a distinct stepwise descent through the scale, with a sequence of the first three notes (note, repeated note, step down) leading through the tonic note down to the 6th note of the scale (on "Sav-"), which also sets up the chord change underneath. By comparison, Sweney's opening phrase seems more static melodically, and remains in the tonic chord throughout. Since the rest of the music in the stanza is basically spinning out this opening phrase into a simple musical period, Stockton's melody is simply more memorable.
• The final phrase of the stanza in Sweney's setting ("Glory, glory, glory to His name") is overly complicated. The five notes beginning on the third "glory" are a descending arpeggio of a dominant seventh resolving to tonic (SOL FA RE TI DO), which reminds me of the tricky arpeggio drills I used to annoy my students with in music theory classes. Suffice it to say that it is much easier to sing up an arpeggio from the bottom than to start at the top and sing an arpeggio down, especially a seventh chord, and especially when the chord just changed! To the many singers who sing by ear this is not a natural melody pattern, and it would be easy to misremember it, perhaps smoothing it out to a simple scale passage (SOL FA MI RE DO). (See for example the various ways people sing the final cadence of "A wonderful Savior.")
• The first phrase of Sweney's refrain is more arpeggio exercises--an inversion of the subdominant chord (Db-F-Ab, but sung Ab-F-Ab-DB), followed by an inversion of the tonic )Ab-C-Eb, but sung Ab-Eb-Ab-C). By comparison, Stockton's refrain melody is largely stepwise motion and short leaps within the pentatonic scale (Ab-Bb-C-Eb-F-Ab), and is the stuff of folk melody.
• The second phrase of Sweney's refrain is perhaps more harmonically adventurous than is advisable in such an otherwise simple style. Sweney sets up and accomplishes a half cadence in the relative minor key (F minor to C major at the end of the phrase), then for the final phrase snaps back to the major key of Ab major. It is an interesting choice, but rather suddenly complex compared to what goes before. By comparison, Stockton's music is simple, practical and of a piece with Hoffman's text.

The videos below illustrate how the balanced phrasing and well-matched harmony of Stockton's setting make it eminently "singable" across multiple cultures and styles of performance. 

The Harlem (New York) Church of Christ:

The Market Street Church of Christ (Athens, Alabama):

The Ipoh (Malaysia) Church of Christ:

The Church of Christ in Sangotedo, Lagos, Nigeria:

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References:

"Down, adverb (FAR)." Cambridge Dictionary.  https://dictionary.cambridge.org/us/dictionary/english/down

Ebert, Robert R. “The Reverend Elisha A. Hoffman: Ministry, Music, and German Heritage.” Journal of German American Studies vol. 13, no. 4 (1978), pages 87-98. https://journals.ku.edu/jgas/issue/view/2231/588

"Elisha Hoffman." Hymnology Archive. https://www.hymnologyarchive.com/elisha-hoffman

Eskew, Harry. "Elisha Albright Hoffman." Handbook to the Baptist Hymnal. Nashville: Convention Press, 1992, pages 366–367.

Hall, J. H. Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell, 1914.

https://archive.org/details/biographyofgospe00hall/

Hustad, Don. Dictionary-Handbook to Hymns for the Living Church. Carol Stream, Illinois: Hope Publishing Co., 1978. https://archive.org/details/lccn_77075916/

Lewis, Clive Staples. Mere Christianity, revised edition. New York: MacMillan, 1960.

McCutchan, Robert Guy. Our Hymnody: A Manual of the Methodist Hymnal. 2nd ed. New York: Abingdon, 1937.

McNeil, W. K. "Hoffman, Elisha Albright." Encyclopedia of American Gospel Music. New York: Routledge, 187-188.

Moore, G. Washington. Genealogy of the Moore Family of Londonderry, New Hampshire, and Peterborough, New Hampshire, 1648-1924. Peterborough, N.H.: Transcript Printing Company, 1925.  https://catalog.hathitrust.org/Record/005731861/

"New Jersey Conference of the Methodist Episcopal Church, 1878," Minutes of the Annual Conferences, Spring Conferences of 1878. New York: Phillips & Hunt, 1879. https://hdl.handle.net/2027/uc1.b2877046

"O'Kane (T. C.), McCabe (C.C), Sweney (Jno. R.)." Virtual Card Catalog, time period 1870-1897, drawer label OF-OLDTOWN, card number 1001. U.S. Copyright Office. https://vcc.copyright.gov/

Smucker, David Joseph. Philip Paul Bliss and the Musical, Cultural and Religious Sources of the Gospel Music Tradition in the United States, 1850-1876. Ph.D. dissertation, Boston University, 1981.

"Some recent religious verse and song." The Independent (New York), Jul. 31, 1879, page 11. Newspapers.com.

Theological Wordbook of the Old Testament, ed. R. Laird Harris. Chicago: Moody Press, 1980.

Wilson, Robert S. & Mel R. Wilhoit. “Elisha Albright Hoffman,” The Hymn vol. 35, no. 1 (Jan. 1984), pages 35-39. https://babel.hathitrust.org/cgi/pt?id=mdp.39015012773803&seq=48

Free from the Law

Praise for the Lord #159

Words & music: Philip P. Bliss, 1873
[Stanza 3: Frederick P. Morris, 1913]

Philip Paul Bliss, from an 1877 engraving

Philip Paul Bliss (1838-1876) was only 38 years old when his life was cut short by the Ashtabula River Railroad Disaster, a shocking event that snatched away one of the most notable gospel songwriters of the age of mass urban revivals that began following the U.S. Civil War. It was understandable that the outpouring of grief from his peers would tend toward superlatives, especially in the era of Victorian prose. But even so, some of the claims are rather startling:

Philip Paul Bliss is worthy to be named as making up the trio of the chief evangelists who were used of the Lord in promoting the Great Awakening of this generation. He is the Charles Wesley of the Nineteenth Century. His was the loving genius set afire by the Spirit of God, that wrote and set to music a very large proportion of the hymns that have echoed round the world like a benediction (Simons, xlvi).

Comparison to Charles Wesley, one of the founders of English hymnody, is quite a claim for a man whose career in church music only began in 1869 (Smucker 46ff.), and whose output was around 160 lyrics and a slightly larger number of tunes. Yet I would gladly grant Bliss the title of the "Mozart of early gospel music." His career, short as it was, produced such perennial favorites as these, for which he wrote both words and music:

Almost persuaded 

Wonderful words of life 

Let the lower lights be burning 

Hallelujah! What a Savior 

Whosoever will

The light of the world is Jesus

More holiness give me

Hallelujah, ‘tis done!

 Not to mention "Hold the fort," which remains in popular memory as a saying long after it ceased to be sung, or the timeless music Bliss composed to Horatio Spafford's "It is well with my soul." The late hymnologist David J. Rempel Smucker, in his excellent dissertation on Bliss and his place in American church music, noted that:

His texts show a balance between the direct informality of everyday speech and more formal poetic conventions such as inverted word order, obscure phrases and rhyming patterns. Bliss developed a simple poetic style with enough substance and charm to avoid either stiltedness or prattle (58).

Of the music he remarks:

The gospel music of P.P. Bliss is a simple, strophic style that achieves small but crucial variations within a framework of emphatic repetitions. From the perspective of all the hymns analyzed, a greater percentage show simpler characteristics. From the perspective of a single hymn, Bliss also blends the simple and the complex; he almost always avoids using all simple elements in one hymn (104).

And in regard to the synthesis taking place after the Civil War:

Gospel music integrated one secular tune style (white minstrel songs) [e.g. Stephen Foster--DRH], one sacred tune style (devotional hymns) [e.g. Lowell Mason & Thomas Hastings--DRH] and one sacred style closely related to secular folk tunes (revival songs) [i.e. the camp-meeting songs of the Great Awakening--DRH] (209).

Like Mozart in the 1780s, Bliss produced a flurry of works in just a few years that synthesized the possibilities of the genre and set a standard for those who followed. He was, after all, the first to publish a collection of works titled Gospel Songs (1874). The assessment of Religious Leaders of America, 2nd ed., seems to sum it up:

Bliss joined a cadre of nineteenth-century musicians who created the style of gospel music which remains popular in Protestant and free churches. No style of religious music since has gained such popularity or been so influential to [the] life of American Christianity (Melton).

"Free from the law" (often titled "Once for All") first appeared in Sunshine for Sunday Schools (Cincinnati: John Church, 1873), the last "Sunday School book" Bliss edited before his landmark Gospel Songs of 1874. As the image above shows, this publication was in the small, oblong layout typical of Sunday School songbooks of the era (based on preliminary observations from a survey I am still working on); Gospel Songs would be in the more standard "book" format found in paperback songbooks for decades to come. But Bliss's transition from "Sunday School music" to gospel songs for adults was already well underway, as evidenced by the theologically loaded text of this song. Smucker attributes this partly to the expansion of Sunday School programs, after the Civil War, to include adult classes as well (327 ff.) 

Gospel Songs included "Free from the law" when it appeared the following year, as did Gospel Hymns and Sacred Songs, the 1875 collaboration between Bliss and Ira Sankey. The six-volume series that  followed (Bliss was involved in the first two) would become the definitive anthology of the early phase of gospel music, and "Free from the law" became an established part of that repertoire. Dwight Moody was reported to have said, "I think it a hymn that will last as long as 'Rock of Ages'" (Mitchell). A more thoughtful assessment came from fellow gospel songwriter George C. Stebbins, who included "Free From the Law" as a representative example of Bliss's work in his Reminiscences and Gospel Hymn Stories, claiming that it "is conceded to be the clearest statement of the doctrine of grace in distinction from the law to be found in hymnology." In the following decades it has maintained its popularity in the hymnals of the various Baptist groups in particular (Hymnary.org page), and is among the dozen of Bliss's songs for which he wrote both lyrics and music that are found in more than 100 hymnals in the Hymnary.org database.

Though "Free From the Law" appears in earlier songbooks associated with the Disciples and Christian Churches (particularly from the Fillmore Bros. in Cincinnati), it seems to have caught on later among Churches of Christ, first appearing (as far as I can determine) in Tillit Teddlie's Standard Gospel Songs (1944), then in Sacred Selections (1956). (Surprisingly, it did not turn up in the Gospel Advocate Christian Hymns series, Jorgenson's Great Songs of the Church, or Howard Publishing's Songs of the Church.) Later hymnals to include it (in addition to Praise for the Lord) were Great Songs of the Church, Revised (1986), Hymns for Worship (1987), and Songs of Faith and Praise (1994).

Daniel W. Whittle (1840-1901), the revivalist for whom Bliss led singing from 1874 until the latter's untimely death (Smucker 48ff.), relates the following story of the writing of "Free from the law":

Just before Christmas, 1871, Mrs. Bliss asked a friend, “What shall I get for my husband as a Christmas present?” and, at the suggestion of this friend, purchased and presented him with the bound volume of a monthly English periodical called Things New and Old. Many things in these books of interpretation of Scripture and illustrations of Gospel truth were blessed to him, and from the reading of something in one of these books, in connection with Romans viii, and Hebrews x, 10, suggested this glorious Gospel song (132).

This is almost certainly Things New and Old, a Monthly Magazine for the Lambs and Sheep of the Flock of Christ (London: G. Morrish, 1858-1890), a publication associated with the Plymouth Brethren (Engle). And though it is unclear which issues of the magazine might have been included in the volume or volumes that Lucy Bliss gave her husband that Christmas, it is certainly possible to identify some articles that speak in very similar language and address many of the same Scriptures that Bliss seems to reference in his lyrics. I will suggest some of these potential sources as they come up in the text.

Before addressing Bliss's lyrics, it seems appropriate to say something of the underlying question of what theologians call "perseverance of the saints" and lay people call "once saved, always saved." First of all it may help to consider that Philip Bliss was not a theologian like Wesley, but a popular songwriter; and that we should not expect the level of exposition in the three stanzas and a chorus of a gospel song that we would find in six or seven stanzas of an 18th-century hymn. Bliss happily sticks quite close to the language of Scripture without a great deal of commentary, and the degree to which one reads this as "once saved, always saved" depends on how one takes it. Even in the most overt (in my opinion) line on that subject, "Surely His grace will keep us from falling," Bliss is referring to Jude verse 24 "Now unto Him that is able to keep you from falling..." He simply does not engage with all of the "ifs" and "buts" and "other hands" that are involved in this theological point.

That being said, the journal that provided inspiration for this song, Things New and Old, was quite clear in teaching the impossibility of apostasy. I have included references to articles that may have influenced particular ideas in Bliss's lyrics, but this is not an endorsement of their views. I firmly believe that God is able to "keep us from falling," but I also firmly believe that He will not do it against our wills. When Paul addressed the heretics among the Galatian churches, he asserted that "You are severed from Christ, you who would be justified by the law; you have fallen away from grace." Some will argue the meaning of "fallen away," but the first half of the verse is even more stark in its implication: can one be severed from Christ without first being in Christ? The same expression is used in Romans 7:6 to describe our being "released from the law"--one is just as absolute as the other. Now, to say that I believe it is possible, once saved, to be severed from Christ's grace if one so determines, is not saying that I lie awake at night in fear of it. I simply walk in the light the best I can, and "the blood of Jesus his Son cleanses us from all sin" (1 John 1:7). It is only His grace that can save, after all, and not my own efforts.

Stanza 1:

Free from the law, O happy condition,
Jesus hath bled, and there is remission;
Cursed by the law and bruised by the fall,
Grace hath redeemed us once for all.

The first stanza begins with the "happy condition" of the saved, and then works backward to show how it was achieved. "Free from the law" quotes directly from Romans 8:2, "For the law of the Spirit of life in Christ Jesus hath made me free from the law of sin and death" (I will use the King James Version for Bliss's direct quotes for obvious reasons). In this Scripture we see two laws based on different principles, one delivering life and one delivering death. Under the law of the Spirit there is life, because "it is the Spirit who gives life" (John 6:63, cf. 2 Corinthians 3:6). This is the law under which we want to live! But we were condemned under that "law of sin and death." From Genesis chapter 2 on down, the "law of sin and death" has been in force, for "the wages of sin is death" (Romans 6:23). But "in Christ Jesus" we are "free from the law"; we are no longer under that law, but the law of the Spirit of life, "for sin will have no dominion over you, since you are not under law but under grace" (Rom 6:14) (Parrish 27 March 2024).

Bliss might have begun thinking on this verse from reading it in the article "Loose him and let him go" in volume 2 of the journal Things New and Old. In this article the unidentified author applies the words of Jesus regarding Lazarus to the new Christian who should throw off the "grave-wrappings" of being dead in sin, and rejoice in the new life. Though I disagree with the author's view that Romans 7:14-24 describes the state prior to conversion (cf. Eddie Parrish's lecture on this chapter for a good discussion of the topic) it is a stirring reminder of the joy we should feel in our salvation.

How was this change in our status made possible? The second line of Bliss's stanza tells us, Jesus hath bled, and there is remission. Bliss might have had in mind Romans 3:25, "[Christ Jesus] whom God hath set forth to be a propitiation through faith in His blood, to declare His righteousness for the remission of sins." Paul opens the paragraph by saying, "But now the righteousness of God has been manifested apart from the law" (Romans 3:21a), tying it also to the theme of being free from the law.

The third line of the stanza moves back yet another step, describing our lost state before salvation in Christ: "Cursed by the law and bruised by the fall." The first expression is almost certainly from Galatians 3:10-14,

For as many as are of the works of the law are under the curse: for it is written, 'Cursed is every one that continueth not in all things which are written in the book of the law to do them.' But that no man is justified by the law in the sight of God, it is evident: for, 'The just shall live by faith.' And the law is not of faith: but, 'The man that doeth them shall live in them.' Christ hath redeemed us from the curse of the law, being made a curse for us: for it is written, 'Cursed is every one that hangeth on a tree': that the blessing of Abraham might come on the Gentiles through Jesus Christ; that we might receive the promise of the Spirit through faith.

Though Paul was addressing a specific problem of the Galatians' misuse of the Law of Moses, the same principle applies to all; the "curse of the law" in the "law of sin and death" is that no effort of our own is able to overcome it; without Christ we are condemned to death. 

"Bruised by the fall" probably does refer to the fall of humanity from grace in Genesis 3, and may refer to a belief in original sin (which I do not share); but I would expect such a calamity as the latter to be expressed more strongly! In a different sense, we are all "bruised by the fall" in the sense that we have not, and will not, live a single minute in a world uncorrupted by sin. Though I am perfectly capable of sinning enough on my own to condemn my soul, I have certainly not been helped by the sinners around me, or those who came before.

Interestingly, Bliss might have been referring to the passage Jesus read in the synagogue at Nazareth (Luke 4:18, quoting Isaiah 61:1),

The Spirit of the Lord is upon Me, because He hath anointed Me to preach the gospel to the poor; He hath sent Me to heal the brokenhearted, to preach deliverance to the captives, and recovering of sight to the blind, to set at liberty them that are bruised.

This Scripture is mentioned in another Things New and Old article, "Relief for a burdened heart," which covers much of the same ground mentioned in the previous article cited, and thus might have been connected in Bliss's mind.

Having set the stage, Bliss returns to the end point in the final line: "Grace hath redeemed us once for all." Ephesians 2:4-9 seems to tie together all of the ideas above with powerful statements about grace, and might have been in the background of Bliss's thinking:

But God, who is rich in mercy, for His great love wherewith He loved us, even when we were dead in sins, hath quickened us together with Christ, (by grace ye are saved;) and hath raised us up together, and made us sit together in heavenly places in Christ Jesus: That in the ages to come He might shew the exceeding riches of His grace in His kindness toward us through Christ Jesus. For by grace are ye saved through faith; and that not of yourselves: it is the gift of God, not of works, lest any man should boast."

In the last words of the stanza, Bliss unveils the title of the song, and the opening words of the refrain: "once for all." This is the "key phrase" characteristic of Philip Bliss's style of writing; as Smucker describes it,

The key phrase is the entire title or a part of it. The key phrase often occurs at the end of a line and is therefore sometimes called the tag phrase. Out of the forty-four verse-chorus hymns [in Gospel Songs and Gospel Hymns and Sacred Songs--DRH], sixty percent show this key phrase in the last line of the verse and repeat it at least once in the chorus.

This is exactly what happens in "Once for All," reflecting Bliss's emphasis on the efficacy and finality of Jesus' redeeming work.

Refrain:
Once for all, O sinner, receive it,
Once for all, O friend, now believe it;
Cling to the Savior, obey His call,
Christ hath redeemed us, once for all.

The only place the phrase "once for all" is found word-for-word in the King James Version is Hebrews 10:10, "By the which will we are sanctified through the offering of the body of Jesus Christ once for all." The expression in the Greek is found elsewhere, though, and modern versions use "once for all" in these Scriptures as well:

For the death He died He died to sin, once for all, but the life He lives He lives to God (Romans 6:10).

He has no need, like those high priests, to offer sacrifices daily, first for His own sins and then for those of the people, since He did this once for all when He offered up himself (Hebrews 7:27).

He entered once for all into the holy places, not by means of the blood of goats and calves but by means of His own blood, thus securing an eternal redemption (Hebrews 9:12).

Ecclesiastes 1:9 says, "What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun." In the ordinary course of human affairs this is true. But what happened at the cross had never happened before, and it will never happen again; it might be argued that it could only ever happen once, and of course it need only happen once. On that one awful (in every sense) day, Jesus changed forever the relationship between God and humanity. Every sin that had ever been committed, and every sin that ever will be committed, came within the powerful reach of God's grace by what Jesus did on Calvary. Many will reject that offer of grace, but for those who choose salvation, the power of that one act is our assurance that we are saved and need not be lost.

It may be worthy of note that another article from the 1859 volume of Things New and Old, "The lowest step on the ladder," contains the phrase "once for all" in italics as part of an argument for the security of the believer: "God alone is competent to deal with the question of sin, and this He did once for all, on behalf of the believer, in the cross of Christ" (111). The article "God's provision for man's need" from the following year goes into a discussion of Hebrews 10, quoting the "once for all" in verse 10. The title and key phrase of this song might have come to Bliss's attention from these sources.

Stanza 2:

Now we are free--there's no condemnation,
Jesus provides a perfect salvation;
"Come unto Me," O hear His sweet call,
Come, and He saves us, once for all.

[Refrain]

The second stanza returns to Romans chapter 8, this time quoting from the first verse: "There is therefore now no condemnation to them which are in Christ Jesus, who walk not after the flesh, but after the Spirit." Here is the wonderful result of being "free from the law": we find forgiveness. Where we stood condemned, "having no hope and without God in the world" (Ephesians 2:12), we now "rejoice in hope of the glory of God" (Romans 5:2). It is like those dreams that some of us have, terrifyingly realistic, in which something goes horribly wrong and we are reeling with how to cope with the consequences--only to wake up and realize with relief that none of it happened at all, and everything is okay.

Of course in this case it actually did happen--the sin and guilt and penalty are all too real--they have only been taken away as if waking from a bad dream. What could effect such a transformation? Bliss answers the question in the second line of the stanza, "Jesus provides a perfect salvation." The salvation is only perfect because the sacrifice was perfect, and perhaps Bliss refers to these verses from Hebrews:

For it became Him, for whom are all things, and by whom are all things, in bringing many sons unto glory, to make the Captain of their salvation perfect through sufferings (2:10).

And being made perfect, He became the Author of eternal salvation unto all them that obey Him (5:9 ).

Interestingly, the exact phrase "perfect salvation" occurs near the close of the Things New and Old article "Loose him and let him go" mentioned above: "Christ has done all for your personal, present, and perfect salvation" (38). This offers further evidence that the article may have been an influence on Bliss's lyrics.

In the second half of the stanza Bliss turns from celebrating salvation to pleading for the sinner to receive it. There is an obvious quotation from what some have called Jesus' "Great Invitation":

Come unto Me, all ye that labor and are heavy laden, and I will give you rest. Take My yoke upon you, and learn of Me; for I am meek and lowly in heart: and ye shall find rest unto your souls. For My yoke is easy, and My burden is light (Matthew 11:28-30).

Now, the same Savior said, "If anyone would come after Me, let him deny himself and take up his cross and follow Me" (Matthew 16:24), and also, "The gate is narrow and the way is hard that leads to life" (Matthew 7:14). Here is another of those "contradictions in the Bible" that is no contradiction at all, but a paradox. Yes, a cross is heavy (and we must remember that in the 1st-century context, it was rather literally the last thing anyone would carry). Yes, the gate is narrow and the way is hard. If these things were not so, genuine Christianity would be far more popular! Jesus would put us under a yoke, after all, not turn us loose to go on our merry way. But compared to the burden of sin and guilt, and the hopelessness of ever rising above it--yes, His yoke is easier. It is a burden, but it is borne with a purpose; it is a difficult path, but it leads to something wonderful.

Stanza 3:
"Children of God!" oh, glorious calling!
Surely His grace will keep us from falling,
Passing from death to life at His call;
Blessed salvation, once for all.

[Refrain]

The phrase "children of God" occurs in multiple places in the New Testament, but given the Romans 8 context established by from the beginning of this song, this most likely refers to the passage beginning at verse 16:

The Spirit itself beareth witness with our spirit, that we are the children of God: And if children, then heirs; heirs of God, and joint-heirs with Christ; if so be that we suffer with him, that we may be also glorified together. For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us (Romans 8:12-16).

In the ancient world it was not uncommon for a man without an heir to adopt a boy or even a grown man as his son, making him his legal heir. Typically this might be a younger brother in a distinguished family, who did not stand in way of much inheritance of his own, and could also benefit the adoptive father through the alliance of families. On occasion, perhaps, there might be a "rags-to-riches" story in which a pauper was transformed into a prince through adoption, stemming only from the kind intentions of a benefactor. The latter case is where we find ourselves as children of God; our future prospects are suddenly and radically altered, through no merit of our own.

See what kind of love the Father has given to us, that we should be called children of God; and so we are. The reason why the world does not know us is that it did not know Him. Beloved, we are God's children now, and what we will be has not yet appeared; but we know that when He appears we shall be like Him, because we shall see Him as He is (1 John 3:1-2). 

This future is a "glorious calling" indeed. The Christian's "calling" is also spoken of frequently in the New Testament, but Philip Bliss might have had in mind Romans 11:29, "For the gifts and calling of God are without repentance." Repentance in this case is speaking of God's intent to extend His calling; modern translations generally give this as "irrevocable" instead of "without repentance" (RSV, NIV, NKJV, ESV, NASB). This Scripture is quoted in another article from the second volume of Things New and Old, which seems likely to have been in Bliss's possession, titled (confusingly) "Things new and old," on page 2.

Romans 11:29 needs to be kept in the context of the chapter, which in turn deals with the larger question in Romans of how God has dealt with both Jew and Gentile in their need for salvation. From the 9th chapter on, Paul addressed the failure (for the most part) of the Jewish people to accept Christ through faith. Concluding this section in chapter 11, however, he emphasizes that God's grace can still reach them--"And even they, if they do not continue in their unbelief, will be grafted in, for God has the power to graft them in again" (Romans 11:23). The "gifts and calling of God are irrevocable," not in the sense that one cannot refuse them, but rather in the sense that they continue to be available, and even those who once reject them, if they repent at some point in the future, may still accept them while God's mercy waits.

The second line of this stanza caught the attention of Ellis Crum, editor of Sacred Selections (1956), who altered it to say "Surely His grace will help us from falling" instead of "keep us from falling" (a change followed by Dane K. Shepard's Hymns for Worship (1987)). But Bliss was probably quoting the doxology at the end of Jude's letter:

Now unto Him that is able to keep you from falling, and to present you faultless before the presence of His glory with exceeding joy, to the only wise God our Saviour, be glory and majesty, dominion and power, both now and ever. Amen" (Jude 24-25).

On the other hand, Bliss put a little spin on the wording himself by saying "will keep us from falling" when Jude says "is able to." Once again, a person's viewpoint on "once saved, always saved" will affect their reading of this hymn. Perhaps "Surely His grace can keep us from falling" would be suitable?

The third line of the stanza is probably quoting from Jesus' words in John 5:24, 

Verily, verily, I say unto you, He that heareth My word, and believeth on Him that sent Me, hath everlasting life, and shall not come into condemnation; but is passed from death unto life.

John repeated this phrase in 1 John 3:14, and the concept underpins the 5th through 8th chapters of Romans as well, foundational Scripture for our understanding of salvation. Beginning with Romans 5:10, "For if while we were enemies we were reconciled to God by the death of His Son, much more, now that we are reconciled, shall we be saved by His life," the contrast of death and life is an ever-present concept in the unfolding of the plan of salvation. The meaning of baptism is thus defined: "We were buried therefore with Him by baptism into death, in order that, just as Christ was raised from the dead by the glory of the Father, we too might walk in newness of life" (Romans 6:4). This transit from death to life also shapes our lives ever after: "Do not present your members to sin as instruments for unrighteousness, but present yourselves to God as those who have been brought from death to life, and your members to God as instruments for righteousness" (Romans 6:13).

Coming to the close of this study of Bliss's lyrics, I ask the reader to indulge my comparison to Mozart once again. Just as Mozart's real depth and skill is sometimes overlooked because he just made it all look so easy, so Bliss's gift for turning a phrase of lyrics or music may have obscured just how much work went into his songs. He was writing for a very broad audience, and purposely steered his lyrical and musical style toward that end; in "Free from the law" we see how he crafted a song that richly rewarded the student of Scripture, yet placed those Scriptures in terms that an unchurched person could also grasp, desiring to understand more. 

The Other Stanza

The three stanzas treated above are the text as Bliss wrote it, with only a few relatively minor variations over the years. The second line of the refrain, for example, was originally "Once for all, O brother, believe it," now commonly altered to the more inclusive "O friend, now believe it." The third line of the refrain was originally "Cling to the cross, the burden will fall," not the revision "Cling to the Savior, obey His call" found in Praise for the Lord; in fact the original line is far more common. But a truly unexpected alteration was made by the editors of Praise for the Lord (1992), the hymnal I use in this blog--they omitted the 3rd stanza altogether, replacing it with another one not written by Philip Bliss!

Alternate Stanza 3:

There on the cross your burden upbearing,
Thorns on His brow your Savior is wearing;
Never again your sin need appall,
You have been pardoned once for all.

[Refrain]

I can find no other instance of "Free from the law" in which this stanza replaces the original final stanza. Instead it appears as an additional stanza following the first stanza of the original text, as seen in Victorious Life Hymns (Philadelphia: Sunday School Times, 1919). This source includes the note "Arr. copyright, 1913, by Charles M. Alexander," and adds Fred P. Morris to Philip P. Bliss in the text attribution at the top of the page. This is almost certainly the Australian songwriter Frederick Pitman Morris (1872-1950), a children's courts magistrate in public life, one-time president of the Baptist Union of Victoria, and a prolific author of hymns and poems ("Mr. F. P. Morris"). A sampling of Morris's hymns at Hymnary.org shows that he was well-represented in the works edited by Charles M. Alexander. I have not identified the hymnal in which this added stanza to "Free from the law" first appeared.

This stanza is not so tightly integrated with the overall theme as the original lyrics, and does not show such obvious quotes from Scripture. Its message is fitting, however, and makes an adequate conclusion, calling the reader to consider once again Jesus on the cross, bearing our sins, and to accept the result of what He did there--that which we could never do for ourselves.

And as it is appointed unto men once to die, but after this the judgment, so Christ was once offered to bear the sins of many; and unto them that look for Him shall He appear the second time without sin unto salvation (Hebrews 9:27-28).

About the music:

The music of "Free from the law" is in 9/8 time, a compound meter of 3 beats with each beat divided into 3 eighth notes. It is a fairly unusual meter in church music, even among the compound meters. For some perspective: in Praise for the Lord, only 30 out of 990 songs employ 9/8 or 9/4 time, and a mere 13 songs use 12/8 time, compared to 161 songs in 6/8 or 6/4 time. The great majority of the songs are in simple 4/4 or 3/4 time.

Compound meters came into hymnals with the secular musical styles that flowed into post-Civil War gospel music, such as marches and dances (Smucker 209). For example, Ira Sankey's "Faith is the Victory" (1894) is as much a march of the era as John Philip Sousa's The Liberty Bell (1893). (In fact the lyrics of the former can be sung to the tune of the latter, not that I recommend it.) 

6/8 time is particularly characteristic of Anglo-Celtic dances such as the jig and reel, and gives the lilting feel to ballads such as "Ye Banks and braes o' bonnie Doon," which turns up in gospel songs such as "Sweet hour of prayer."

Smucker's study of Philip Bliss and the emergence of post-Civil War gospel emphasizes the influence of this latter style by way of the "white minstrel songs" of the music halls (though much of this genre was, perversely, performed in blackface). "The lilting or flowing tempo stemmed from both white minstrel songs and the German children's songs incorporated by William Bradbury into his Sunday school song books" (330). 

Evidence of this transference was the pairing of religious lyrics with Stephen Foster tunes in early revival collections such as A. S. Jenks’s words-only The Chorus (1859) (Smucker 234ff.). This yielded mind-bending adaptations such as "The blest ones at home," a song longing for reunion in heaven, to be sung to the tune of "Old folks at home," i.e. "Way down upon the Swanee River..." (Smucker 236). For his Devotional Melodies (1859),  Jenks recruited a future gospel music composer and publisher named William J. Kirkpatrick, who provided creditable gospel arrangements of Foster tunes such as "Gentle Annie." 

The music of "Free from the law" is from the much smaller category of 9/8 gospel songs, of course, and the secular models are likewise fewer. There is an interesting 9/8 Irish dance known as the "slip jig" which is a little more sedate than the usually lively 6/8 tempo of that variety of dance. Among the parlor songs, there is a 9/8 melody that is one of Stephen Foster's most famous of all, "Beautiful dreamer." Interestingly, the rhythm of this song--three short notes as the pickup beat, then two long notes on the first and second beats of the measure--is almost the same rhythmic pattern used in "Free from the law," and used in two other 9/8 songs by Bliss (Smucker 383ff.). Though I would definitely sing "Free from the law" at a faster tempo, William J. Reynolds recommended 60-72 beats per minute in his Congregational Singing (95). The lower end of that range is not far off from a faster tempo of the Foster tune.

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References:

Engle, Doug. "Brethren magazines." Brethrenpedia.org.  https://brethrenpedia.org/index.php/Brethren_Magazines

Melton, J. Gordon. “Philip Paul Bliss.” Religious Leaders of America, 2nd edition. Farmington Hills, Michigan: Gale, 1999, page 63.

Mitchell, R. C. “Terrible railroad accident.” The Duluth Weekly Tribune, 5 January 1877, page 1. Newspapers.com.

"Mr. F. P. Morris." The Age (Melbourne, Australia), 11 May 1950, page 3. NewspaperArchive.com.

Parrish, Eddie. Wednesday evening lesson, 13 March 2024, Brown Trail Church of Christ. https://btcoc.com/sermons/wednesday-night-service-jn31-2-2-2-2-2/

Parrish, Eddie. Wednesday evening lesson, 27 March 2024, Brown Trail Church of Christ. https://btcoc.com/sermons/wednesday-night-servicemrch20-2/

Reynolds, William J. Congregational Singing. Nashville: Convention Press, 1975.

Simons, M. Laird. Holding the Fort: Comprising Sermons and Addresses at the Great Revival Meetings Conducted by Moody and Sankey, and also the Lives and Labors of D. L. Moody, Ira D. Sankey, and P. P. Bliss. Philadelphia: Porter & Coates, 1877.

Smucker, David Joseph Rempel. Philip Paul Bliss and the Musical, Cultural and Religious Sources of the Gospel Music Tradition in the United States, 1850-1876. Ph.D. dissertation, Boston University, 1981.

Stebbins, George C. George C. Stebbins: Reminiscences and Gospel Hymn Stories. New York: AMS Press, 1971 [reprint of 1924 edition]. https://catalog.hathitrust.org/Record/001414329 

Whittle, D. W., editor. Memoirs of Philip P. Bliss. New York: A. S. Barnes, 1878. https://books.google.com/books?id=i-RNAQAAMAAJ

Articles from Things New and Old. London: G. Morrish, 1858-1890. Articles are all unsigned.

"God's provision for man's need," v. 3 (1859), pp. 112-120.  https://books.google.com/books?id=DFwEAAAAQAAJ&pg=PA112

 "Loose him and let him go," v. 2 (1859), pp. 33-38. https://books.google.com/books?id=_1sEAAAAQAAJ&pg=PA32

"The Lowest Step in the Ladder." v. 2 (1859), pages 109-115. https://books.google.com/books?id=_1sEAAAAQAAJ&pg=PA109

"Relief for a burdened heart," v. 5 (1862), pp. 181-187 https://books.google.com/books?id=L1wEAAAAQAAJ&pg=PA181

"Things new and old," v. 2 (1859), pp. 1-5  https://books.google.com/books?id=_1sEAAAAQAAJ&pg=PA1