April 2019 Hymn History "When I Survey The Wondrous Cross"

    Isaac Watts is generally considered to be the “Father of English Hymnody.” In all of his incredible works, of more then 700 published hymns, “When I Survey The Wondrous Cross” is more than just  groundbreaking because of its point of view, but it also represents what most believe is the greatest song this famous Englishman ever wrote.                                                                                                                                                                                          Watts was born, a son of a Congregationalist minister,  in 1674 in Southampton, England. As a child he showed unusual intellect having mastered Latin, Greek, French and Hebrew before reaching his teens. It was during this time that Watts' rebellious streak began to surface. He began to critique his father's services. With blunt honesty he told his family that church was not inspirational for any age group. He even went so far as to explain to his father, “The singing of God's praise is the part of worship most closely related to heaven; but its performance among us is the worst on earth.”  The amused elder Watts told his son that if singing from the book of Psalms was boring, then maybe Isaac should write some new hymns that were more exciting. While most young people would have passed on the challenge, Watts accepted it and in the process revolutionized worship. Yet this transformation didn't happen overnight. In fact it might not have happened at all if something had not forced Watts out of what he considered his life's calling.                                                                                                               Based on early reviews by his contemporaries, there is little doubt Watts would have probably become one of England's most dynamic preachers if his health had not failed him. While still in his twenties he, often so sick, was unable to keep up the daily challenges of  leading a church. Thus, unable to do more than occasionally address a congregation as a guest speaker, he turned to study and writing.  In 1707, as he prepared to help lead a communion service, Watts found himself entranced by Galations 6:14. “But God forbid that I should glory, save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world.”                                                                                                                                                                After reading the text of this one verse several times, Watts picked up a quill pen, and set about composing a deeply personal poem. During this period, first person testimonies were all but unheard of, thus when Watts wrote the word “I” in that initial line, it was revolutionary. The fact that he would then take his own very individual views of faith and publish it was all but unbelievable. Yet in 1707, in a book called Hymns and Spiritual Songs, Watts included his “Crucifixion to the World by the Cross of Christ.” Two years later he would republish the hymn but change the second line from “Where the young Prince of Glory died” to “On which the Prince of Glory died." As many who had sung his original version had been appalled at the gory nature of the fourth stanza, the writer also suggested that it could be deleted.   Thus few today have ever sung:                             “His dying Crimson, like a Robe,                                        Spreads o'er his Body on the Tree;
    Then am I dead to all the Globe

•     And all the Globe is dead to me.”                                                                                                                         Even with the fourth verse cut, hundreds of churches, even those who used many of Watt's other songs, refused to sing this new anthem. Christian leaders of the time felt that the “I” made this a hymn of “human composure.”  They deemed this  as unfit for congregational worship as it centered on only one man's relationship with God. Yet as “When I Survey The Wondrous Cross” gained exposure, theologians discovered that most Christians had a great desire to embrace the song because it reflected their own personal relationship with Christ. Hence, through this song Watts opened the door for millions to have their first “one on one” connection with their Savior.                                                                                                                                                                                                        Five decades after it was written, “When I Survey The Wondrous Cross” was not only widely accepted in England, but had also found favor in the United States. Yet it would take another sixty years before the great hymn was given the tune most familiar to worshipers today.                                    Lowell Mason was a banker in Savanna, Georgia when he came across Watts' testimony about the cross. Sensing the original tune was out of step with modern worship, Mason sought out a new score for the lyrics. While doing research into ancient church music, Mason stumbled across a Gregorian chant. In 1824,  Mason at age 32, reworked that melody to fit the lyrics found in Watts' “When I Survey The Wondrous Cross.” He then taught the new arrangement to the choir at. The hymn was so well received at that first Sunday performance, at the First Independent Presbyterian Church it quickly found a publisher. It is this version that is not most commonly heard throughout the world.                                                                Mason would move back to Boston a few years later and become one of the most respected hymn composers and publishers of his time. Certainly Christian music is much richer thanks to this man. Yet his impact on worship is minor compared to Isaac Watts.

When he had received the drink, Jesus said, “It is finished.” With that, he bowed his head and gave up his spirit.                  John 19:30