****WE'RE MARCHING TO ZION (COME WE THAT LOVE THE LORD)

WE’RE MARCHING TO ZION is another hybrid song.  It combines an excellent, old Isaac Watts hymn, COME WE THAT LOVE THE LORD, with an added refrain written by Robert Lowry.

Watts’ original hymn had at least ten stanzas; most hymnbooks today contain only four or five.

Isaac Watts lived in a time when most English churches insisted on singing Psalms only.  You may remember, young Isaac didn’t like that and complained to his father who said, “…if You don’t like it, then why don’t you write something better?”  

So, he did.  In fact, he gave us over 600 hymns most of which focus on the Sovereignty of God.

Today’s worship wars are nothing new.  Those hymns, written by Watts and others, stirred up a lot of conflicts, anger, and violence in the Church of England during the early 1700s.   In some cases, people were beaten, imprisoned, or even killed.  

In their attempts to avoid conflicts, some congregations split or dissolved.   Others, like many churches today, tried to mitigate their disputes by arranging a sort of compromise.   They didn’t go so far as to offer a choice between traditional and contemporary services; they just rearranged their services by singing Psalms at the beginning and then, after the preaching, they would sing hymns. 

But that wasn’t really a compromise because church members remained at odds.  What usually happened was that many of those who could not accept the hymn singing would just stand up walk out of the services after the preaching. 

Isaac Watts was an obnoxious genius who had a finely developed skill in the art of sarcasm.  There are some historians who suspect that his sarcasm may have been at play here in this hymn where, in his second stanza, he wrote, “Let those refuse to sing who never knew our God,” as a cutting indictment against people who walked out of the church services during the hymn singing.

The refrain, composed later by Robert Lowry, was a good addition both musically and lyrically.  The transition from Watts’ verses to Lowry’s refrain is natural and comfortable in its style.  Musically, it feels right.   Lyrically, it picks up the theme from the fifth stanza -- “We’re marching through Emmanuel’s ground to fairer worlds on high.” 

When Lowry wrote “We’re Marching upward to Zion,” it was a reference to the City of God.

We are exhorted to, “Rejoice in the Lord always: and again, I say, Rejoice.” (Phil. 4:4)

And scripture gives us encouragement by the example of Christ; “…let us lay aside every weight, and the sin which so easily ensnares us, and let us run with endurance the race that is set before us, looking unto Jesus, the author and finisher of our faith, who for the joy that was set before Him endured the cross, despising the shame, and has sat down at the right hand of the throne of God.” (Heb. 12:1-2)

This hymn is a picture of God’s people rejoicing.  We don’t always feel joyful; our conditions in this world are sometimes difficult and disappointing but we don’t just wander aimlessly through life dragging our feet with uncertainty.  As heirs of God’s love and grace, we can rejoice and march through life with purpose and confidence because we know where we are going.  WE’RE MARCHING TO ZION, that beautiful city of God.

****AT THE CROSS

Throughout most of church history, some musicians have attempted to revive old hymns, make a few alterations, and reintroduce them to a new generation.

 

Sometimes writers make legitimate changes to correct doctrine or to clarify language difficulties.  And sometimes authors will add other stanzas that greatly improve the hymns.

  

That practice, however, is not without due criticism because sometimes those altered hymns border on plagiarism.

Probably the most notable hymn pirate today is Chris Tomlin who has earned an unseemly reputation by taking great hymns, changing the score, adding a refrain, renaming them, and then copyrighting them as his own creations.

But not all hymn changes are the result of piracy.

 

AT THE CROSS is one of those hybrid hymns.  It was originally written, without a refrain, in 1707 by Isaac Watts with the title, “Alas! And Did My Savior Bleed?”

In 1885, Ralph Hudson republished it, complete and intact, with his added refrain and the new title, AT THE CROSS.  In every hymnbook, the lyrics are still attributed to Isaac Watts.

Nevertheless, there are plenty of critics who complain that the added refrain breaks the serious mood of Watts’ hymn.

 

But I would argue that the structure of this altered hymn is similar to the structure of Christ Arose.  It starts with a dark and somber feel because Jesus was crucified and buried.  But then, suddenly, the song explodes in joyful gladness because He is alive.

AT THE CROSS begins with Isaac Watts’ vivid picture of the crucifixion of Christ at Calvary and the seriousness of our sin.  It is not uncomfortable for most people to think or talk about the crucifixion in universal and impersonal terms (eg. “Jesus died on the cross for the sins of the world”).  It is much more difficult when it is personalized.  The lyrics of this hymn are deliberately painful and designed to convict us.

When I think about that cross, I see the Son of God who was crucified for me.   He took the humiliation and shame of being stripped naked and paraded through the mocking crowds; He endured the beatings and scourging that tore His flesh to shreds and laid it open to expose His bones.  He is the One who was forsaken by His Father.  And He did all that for me.

   

The truth is, there is nothing good in me.  I can do NOTHING to merit God’s mercy and grace. So, in the last stanza, Isaac Watts concedes, “Drops of grief can never repay the debt of love I owe.”

It grieves me that I stand here, alive, knowing that His punishment should have been mine.  I deserved that death sentence.

I love Watts' hymn but I praise God for the message of Ralph Hudson’s added refrain.  It proclaims our hope.  The Light of God has penetrated our hearts.  Because of Calvary, the burdens of our sin and guilt are gone.

“For by grace you have been saved through faith, and THAT not of yourselves; it is the gift of God, not of works, lest anyone should boast.”  (Eph. 2.8-9)  

(My other commentaries on Watts' hymn, "Alas!  And Did My Savior Die? can be seen here, here, and here.)

****ALAS! AND DID MY SAVIOR BLEED? (2)

“You can’t be saved if you don’t know you’re lost.”  We don’t hear that axiom much, anymore, because, in our modern culture, we practice too much self-worship and self-esteem. We tend to minimize our own sinful natures. We use non-offensive terms like “missing the mark,” “shortcomings,” or “mistakes.”

We do that with our children too. We avoid telling them about their sin or calling them out for their rebelliousness. We use phrases like “acting out” to describe their bad behavior. Instead of disciplining them or allowing them to suffer consequences for their willful disobedience, we give them “time out” and send them to their rooms to play with their video games. 

We are inclined to make excuses for our sins like, “I’m just human,” or “That’s the way God made me,” or, “I’m a good person, I’m not nearly as bad as a lot of other people.” But God doesn’t compare people on a sliding scale.

The Gospel is Good News but before we can begin to appreciate the goodness of God’s grace, we need to know how grievous our sins are.  We must first understand the Bad News of the Gospel. 

In his letter to the church in Rome, Paul, the apostle, quoting from the Psalms and Isaiah, made a startling, assessment of all men everywhere. “They are corrupt. They have done abominable works. There is none who does good.  They are dead.  They are as unclean things and their good works are like filthy rags.”  “There is no faithfulness in their mouths; in their body is destruction; their throat is an open tomb. Their mouths are full of cursing and deceit and oppression; under their tongue is trouble and iniquity” (Is. 64 and Rom. 3).

That’s really Bad News.  It’s a blanket indictment against all people. There are NO EXCEPTIONS!  

Humility was a major theme in my former pastor’s sermons for a few weeks and I think this song, ALAS! AND DID MY SAVIOR BLEED? is a truly, humbling hymn. In the first stanza, Isaac Watts used an image that has been rejected by a generation that thinks too highly of itself. The phrase, “for such a worm as I,” has been replaced, in most modern hymnals, with “for sinners such and I” or “for such a one as I.” Those alterations are unfortunate because they minimize the horrible depth of our sin natures. But his allusion to a worm is scriptural and is an important setup to the hymn’s contrast between man’s sin and God’s grace.

  

Bildad asked Job, “How can a man be righteous before God?  If even the moon does not shine, and the stars are not pure in God’s sight, how much less is man, who is a maggot, and a son of man, who is a worm?”

Abraham referred to himself as mere "… dust and ashes." (Gen. 18:27).  And Isaiah said, "We have all become like one who is unclean, and all our righteous deeds are like filthy rags.” (Isaiah 64:6)

David wrote, “I am a worm and not a man.” (Psalm 22:6).  That was a prophetic statement about the Son of God who would humble Himself to become the One who would be despised and scorned by men, and even forsaken by His Father when He was hung, in our stead, on the cross.

So, the allusion is both fitting and humbling. Isaac Watts laid out the Gospel in a way that leaves us no room to gloat with pride or self-esteem. Instead, we are humbled and struck with great grief when we realize our wretched, helpless condition. That’s the meaning of the word, “Alas.”  There is no place to turn; there is no hope in our own goodness or worth. 

In the second stanza, Watts asks a disturbing, rhetorical question, "Was it for crimes that I had done, He suffered on the tree?”  And the only answer is YES!  We can’t just blend in or hide, unnoticed, with the masses of humanity; this is personal. This is where our humility suddenly turns to grief and shame as we face the awful truth; Alas!  My sin caused His pain; I am responsible for His suffering and death. 

It’s at that point, we can begin to appreciate and understand the magnitude of the GOOD NEWS.  The Lord laid my sin on Jesus who willingly took my punishment on the cross. The second verse ends with an expression of humble praise to God for His amazing mercy, grace, and love.

ALAS! AND DID MY SAVIOR BLEED?

Alas! and did my Savior bleed,

and did my Sovereign die;

Would He devote that sacred head,

for such a worm as I?

Was it for crimes that I have done,

He groaned upon the tree?

Amazing pity! Grace unknown!

And love beyond degree!

Well might the sun in darkness hide,

and shut its glories in,

when God, the mighty maker, died,

for His own creature's sin.

Thus, might I hide my blushing face

while His dear cross appears;

dissolve my heart in thankfulness,

and melt mine eyes to tears.

But drops of tears can ne'er repay

the debt of love I owe.

Here, Lord, I give myself away;

'tis all that I can do.

****ALAS! AND DID MY SAVIOR BLEED?

Is our sin nature something to sing about?

Thirty-some years ago when my friend, Phil, got saved, he began reading through his Bible starting with Genesis.  One day while we were discussing his thoughts about his reading, he observed that – “all those guys (meaning the patriarchs) were dirty rotten lowlifes just like me.”

I thought that was pretty insightful.  It was revelatory for him; if God could save those guys, He certainly could save Phil.

People, then, were no different than we are today.  We all have the same problem.  It is our sin nature. It is universal.  We are all dirty. We are all disgusting. The reformers called it Depravity.

So for our song service in church one Sunday, I was looking for hymns that addressed that problem.  In the past, there were plenty of hymn writers who were explicit about our sinfulness and its consequences.  But songs on those themes are rare today.

Our contemporary culture, with its fixation on positive self-esteem, likes to obscure the reality of sin with more palatable terms like “missing the mark,” “shortcomings,” “failures,” or “errors.”   But sin is not an error.  An error is like when you forget to carry a digit while adding a column of numbers.

Do we really want to sing about the darkness of our sinfulness?   I know that it seems strange but, when contrasted with the sinless perfection of our Savior, our redemption, then, shines even brighter and those songs become much more meaningful.  We can never fully appreciate all that God has done to save us until we get a clear picture of what we really are without Christ.

Alas! And Did My Savior Bleed? was written by Isaac Watts.  In spite of the fact that many modern editors have changed the last line of the first verse of This hymn to “For sinners such as I” (or even worse, “for such a one as I”) Isaac Watts was purposefully deliberate in crafting the phrase, “for such a worm as I.”

And he was certainly biblical in that description.  In the book of Job, Bildad raised the question: “How then can man be righteous before God?”  “Man…is a maggot, and…a worm.” 

And in Psalm 22, David (speaking prophetically, the words of Christ) cried out to God saying, “I am a worm, and no man; a reproach of men, and despised by the people.” 

In Isa. is a strange Word of encouragement from God to Israel, “Fear not, you worm Jacob, you men of Israel! I will help you,’ says the LORD and your Redeemer, the Holy One of Israel”

Isaac Watts drew his inspiration from Psalm 51 when he wrote these words in another hymn:

         

“Lord, I am vile, conceived in sin,

                  And born unholy and unclean;

         Sprung from the man whose guilty fall

                  Corrupts the race, and taints us all.”

That is sound, biblical theology.  Apart from the intervention of God’s sovereign grace, we are utterly helpless and hopeless.  And it’s in that context that we should sing with great joy and thanksgiving, words like these from the hymn, “It Is Well” by Horatio Spafford:

    

“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!”

But it’s also in that context of God’s grace in our salvation, that we can sing, reverently and soberly:

       

 “Was it for crimes that I had done

                  He groaned upon the tree?

         Amazing pity! Grace unknown!

                  And love beyond degree!”

ALAS!  AND DID MY SAVIOR BLEED?

Alas! and did my Savior bleed?

And did my Sov'reign die?

Would He devote that sacred head

For such a worm as I?

Was it for sins that I had done

He groaned upon the tree?

Amazing pity! grace unknown!

And love beyond degree!

Well might the sun in darkness hide

And shut his glories in,

When Christ, the mighty Maker, died

For man the creature's sin.

Thus, might I hide my blushing face

While His dear cross appears,

Dissolve my heart in thankfulness,

And melt my eyes to tears.

But drops of grief can ne'er repay

The debt of love I owe:

Here, Lord, I give my-self away

Tis all that I can do.