The text has not been changed much from Grant’s original. Albert Bailey wrote of this text: “It is no small accomplishment to combine, as this hymn does, the majestic, the tender, and a smooth-flowing poetical rendering” ( Gospel in Hymns, 182). Grant’s text is a resetting of William Kethe’s rendering of Psalm 104 first published in 1561. An original last stanza that we no longer sing reads, “The humbler creation, though feeble their lays, with true adoration shall lisp to Thy praise.” In the last verse, Grant points to Christ as the ultimate reconciler of a broken, but still beautiful creation. He continued to bless His creation, even those as feeble and frail as us. When God took that seventh day of rest, he was not signaling an end. Rather, in the fourth and fifth verse we celebrate God’s saving grace to his creation. But rather than simply paraphrase the psalm or the first two books of the Bible, Grant focuses on how creation is a testimony to God’s “measureless might.” And Grant’s beautiful text doesn’t stop at Genesis Two. His meditation on the creation theme of Psalm 104 consists of six verses that parallel the six days of creation. “In the beginning God created the heavens and the earth.” These may be some of the best-known words in the Bible, but in 1835, Robert Grant wrote a text that helps us see the creation story in a new light. Psalms and Hymns And Spiritual Songs (2018)
The regal prose of his pen ran rich in the lofty expressions and majestic declarations which attested to a humble concession to a being so much higher than himself. Though himself of royal station, Grant's pen attested to the highest adoration- his Maker. Sir Robert Grant stood as a man among men, serving both as a member of British Parliament and the governor of Bombay. John Julian, Dictionary of Hymnology (1907) 143, as, "Glorioso ferte Regi vota vestra carmine." Bingham, in his Hymnologia Christiana Latina, 1871, p. The 1839 text is in Church Hymns, 1871 Hymnal Companion, 1876 Turing's Collection, 1882, and others.
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It is also in use in an abbreviated and slightly altered form as in Hymns Ancient & Modern, 1861 and in the full form, but still altered as before, in Hymns Ancient & Modern1875. This text with the omission of the "the" is ill extensive use in all English-speaking countries. “His chariots of wrath the deep thunderclouds form." The authorized text is in the Hymnal Companion, 1876, with stanza ii., l.
It was altered from a source at present unknown to us. From the Preface to Elliott's Psalms & Hymns we find that the text in Bickersteth was not authorized. 17 in Elliott's Psalms and Hymns, 1835 and in Lord Glenelg's edition of Grant's Sacred Poems. Grant's version was given in Bickersteth's Church Psalmody, 1833, No.
Grant in the same metre but in a less quaint and much more ornate style, as a quotation of Kethe's stanzas i., iii. Kethe's rendering of the same psalm in the Anglo-Genevan Psalter of 1561, reset by Sir R. His hymn texts were published in the Christian Observer (1806-1815), in Elliot’s Psalms and Hymns (1835), and posthumously by his brother as Sacred Poems (1839).Īn opening hymn of praise because of the hymn’s relationship to Psalm 104, see suggestions for use at PHH 104. He had a distinguished public career a Governor of Bombay and as a member of the British Parliament, where he sponsored a bill to remove civil restrictions on Jews. He attended Magdalen College, Cambridge, and was called to the bar in 1807. Of Scottish ancestry, Grant was born in India, where his father was a director of the East India Company. Stanzas 1-3, which allude to Psalm 104:1-6, focus on God’s creation as a testimony to his “measureless Might.” More personal in tone, stanzas 4 and 5 confess the compassion of God toward his creatures and affirm with apocalyptic vision that the “ransomed creation, with glory ablaze” will join with angels to hymn its praise to God. Rather than being a paraphrase or versification, the text is a meditation on the creation theme of Psalm 104. Stanza 3 was omitted in the Psalter Hymnal. In 1835 his original six-stanza text was published in Henry Elliott’s Psalm and Hymns. Grant’s text was first published in Edward Bickersteth’s Christian Psalmody (1833) with several unauthorized alterations. Dalpoorie, India, 1838) was influenced in writing this text by William Kethe’s ( PHH 100) paraphrase of Psalm 104 in the Anglo-Genevan Psalter (1561).
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