It would be almost impossible to find a hymnal that does not include a large number of hymns written by the 18th century Anglican minister and evangelist, Charles Wesley (1707-1788). An amazingly prolific writer, he penned more than 9,000 poems of a spiritual nature during his lifetime, at least 6,500 of which are hymns. He has justly been called “The Bard of Methodism.” What an incredible legacy to have left the church, with a body of hymnody that has been welcomed across denominational lines, well beyond the Methodist churches that grew out of his and his brother John’s preaching during the Great Awakening!
A substantial number of his writings were completed while riding on horseback to his evangelistic meetings. What really set Charles apart from other hymn writers was his effective use of scriptural allusions, providing a spiritual roadmap whereby individuals could imagine a Christ-centered life. Scholars suggest that he was able to compose about 10 lines of verse daily for 50 years. Charles’ brother John sometimes served as editor to his hymns. John’s typical response was, “some were good, some were mediocre, and some were exceptional.” John can also be credited with improving the singability of Charles’ hymns. Both John and Charles were instrumental in changing the spiritual environment of Britain during the 18th century. In doing so, they formed the bedrock of what Methodism has become worldwide. Their unwavering devotion to expressing Christian spirituality through hymns has impacted individuals across all denominational lines.
Charles Wesley, the youngest son and 18th child of Samuel and Susanna Wesley, was born at the Epworth Rectory on December 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then an usher at the school, until 1721, when he was elected King’s Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he graduated in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of “Oxford Methodists.” He was one of the group of students (including his brother and George Whitefield) who banded together to form the “Holy Club,” devoting themselves to diligent prayer and Bible reading, journaling and meditation, and a serious use of the sacrament of the Lord’s Supper. It was their methodical approach to personal spirituality that later led to formation of what became the Methodist Church.
In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out been ordained to Deacon’s and Priest’s Orders on two successive Sundays. His stay in Georgia was very short. He returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in molding John Wesley’s career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, he “found rest to his soul,” as he described his conversion, and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington. But the opposition of the churchwardens was so great that the Vicar consented that he “should preach in his church no more,” likely because of the new attention to the gospel: that persons could not account themselves as “saved” merely because they had been baptized, but that they needed to be born again. Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and open field evangelistic preacher. These gospel preachers and their followers were ridiculed by established church clergy as “enthusiasts.” Oh, that we who love Christ would be so labeled today!
On April 8, 1749, he married Miss Sarah Gwynne. Only five of their eight children survived infancy. His marriage, unlike that of his brother John, was a most happy one. His wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756, when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol, what we might today call chapels. Bristol was his headquarters until 1771, when he moved with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John’s “ordinations.” Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship.
He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, “I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church.” Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father’s poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley.
As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvelous how many there are which rise to the highest degree of excellence even by today’s standards. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumors of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his God-given abilities. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible here to enumerate even those of the hymns which have become real classics. The saying that a truly good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley, for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.
One of Wesley’s best-known and most widely-sung compositions is “Love Divine, All Loves Excelling.” It was first published in a collection of hymns entitled “Hymns for those that Seek, and those that Have, Redemption in the Blood of Christ” (1747). The opening line was a play on the opening line of John Dryden’s (1631-1700) poem “Fairest Isle, All Isles Excelling,” set to music by Henry Purcell (1659-1695) in the generation before Charles Wesley was born. A quick look at hymnary.org (an amazing research database) we find that this hymn appears in 1635 hymnals. It is a testimony to the relevance of this text which speaks to many different people, regardless of their theological view, culture, race and/or age. Contemporary hymn and songwriters are rediscovering the old texts, helping us to see the theological depth and relevance of John Wesley’s sermons, just as are worship leaders gaining a fresh appreciation of such “classic hymnody.”
When this hymn is used, it should first be pointed out to congregation members that the hymn is addressed to “Love Divine,” not as some sweet, shallow sentimental reference to the emotion of love in a general sense. Looking ahead at the text, one discovers that there are repeated references to a divine person, reflected in words such as “Thee,” “Thy,” and Thine.” The “Love Divine” to whom we sing our praise and make our requests is Jesus, the one who became love incarnate, sent to redeem us from our sin.
Observe that the specific direction of Wesley’s lyrics looks beyond the initial work of redemption (justification), aiming at a major theme of both John’s and Charles’s preaching and writing, that of personal holiness (sanctification). This was much-needed in the mid 18th century when religion in the British Isles had degenerated into a formalism, too much like that of the Roman Catholic Church, where holiness was wrongly assumed to come from use of the sacraments and sacramentals. The English-speaking world had lost the connection to the Puritan theme of personal holiness that was based on a deep heart devotion to the Lord Jesus. One of the often-preached biblical texts for Puritan writing and preaching had been Proverbs 4:23, “Keep (or guard) thy heart with all diligence, for out of it are the issues of life.”
While this hymn of Wesley’s has maintained a much-deserved popularity, sadly, too many sing it today without giving due attention to this critically important theme, so essential for spiritual health. The 18th century Great Awakening in the English-speaking world made much of both justification and sanctification. It was this concern for people to be truly born again and devoted to Christ that led to the evangelistic preachers like the Wesleys and Whitefield being barred from the pulpits of so many Anglican churches. Bishops were offended at the suggestion that many of their parishioners (and even they themselves!) had never been converted.
The matter of growing in personal holiness (“take away the love of sinning”) is central to the lyrics. And yet, for some, the hints of the errors of perfectionism causes there to be a hesitancy in singing the hymn. Wesleyan theology was Arminian and included the danger of posing the possibility of attaining a virtually sin-free life. Of course, that could only be realized by changing the definition of “sin” and merely calling it “mistakes!” The extremes of this perfectionism blossomed in mainstream Pentecostal theology, an extreme which the Wesleys would have rejected. There it became the theology of “second blessing,” leading to “full sanctification.” These lyrics hint at such a goal actually being attainable. But singing the hymn with correct theological views can still find Wesley’s words as legitimate as the goal toward which we must all be constantly striving.
In “Love Divine, All Loves Excelling,” we find stanza four to be especially beautiful and biblical. As we find in some many of Wesley’ s hymns, this abounds with clear biblical allusions, if not quotations. Wesley’s phrase, “changed from glory into glory” is almost a direct quotation from 2 Corinthians 3:18 (KJV). Wesley describes that day in heaven when “we take our place, till we cast our crowns before thee, lost in wonder, love, and praise.”
We are fortunate to be the recipients of the poetic genius of Charles Wesley. He influenced Methodism more than any other hymn writer. Upon hearing of Charles’ death, an elderly Londoner asked, “Who will write poetry for us now?” What better way to be thought of, than by your poetic and spiritual impact on congregational song?
Stanza 1 sings to Jesus in terms that exalt His character and work magnificently. He excels all other forms of love in His love for the Father and for us, His bride. He is the “joy of heaven,” lauded in song by the saints and angels around the throne, singing “Worthy is the Lamb.” In His incarnation He has left the ivory palaces (Psalm 45:8), humbling Himself to dwell among us (John 1:14). And then look at the additional attributes ascribed to Him: mercy, compassion, pure unbounded love. And of course, Wesley was sure to round it out with the purpose for which Jesus came into world, to “visit us with Thy salvation.” The final phrase is the appropriate prayer response to this glorious Savior: “enter every trembling heart.”
Love divine, all loves excelling,
Joy of heav’n, to earth come down;
Fix in us Thy humble dwelling;
All Thy faithful mercies crown.
Jesus, Thou art all compassion,
Pure, unbounded love Thou art;
Visit us with Thy salvation,
Enter ev’ry trembling heart.
Stanza 2 sings to the Spirit, who sometimes in Scripture is called the Spirit of Jesus (Romans 8:9). As the Holy breath of God, we ask Him to breathe more of the work of advancing holiness into our breasts. That’s consistent with Paul’s challenging believers to be filled with the fruit of the Spirit in Galatians 5:22f. It’s noteworthy that Wesley described the believer’s breast (or heart) as “troubled.” Why would that be true? Most likely because every true believer wants to be closer to the Lord and less influenced by the old sin nature. This is the struggle that Paul wrote about in Romans 7 as he acknowledged that there was a war within him. Of course, he then went on to write in Romans 8 that “there is therefore now no condemnation for those who are in Christ.” And then, in a classic phrase, Wesley articulated the prayer of every one of us: “take away the *love of sinning.” We don’t want to love sinning, but we recognize that too often we do! Jesus, who is the beginning and the end of our faith (alpha and omega), is the one we pray will “set out hearts at liberty,” no longer enslaved to sin.
Breathe, O breathe Thy loving Spirit
Into ev’ry troubled breast.
Let us all in Thee inherit;
Let us find the promised rest.
Take away the love of sinning:
Alpha and Omega be;
End of faith as its Beginning.
Set our hearts at liberty.
*In the original, Wesley wrote “power” of sinning. Many feel that the modern version is better!
Stanza 3 sings to Jesus as the Almighty, who is able to deliver us, little by little, from these old ways as we grow in the new life we have received from Him. While some might see in this stanza a hint of that perfectionism which is sometimes found in Wesleyan circles, that need not be what we understand here. Our hearts long for Jesus to come into the temples of our hearts in a lasting and life-changing way so that we might have lives that are always seeking to be blessed by Him and to be a blessing to Him and to others. One day we will join the hosts above, praying and praising Him without ceasing, glorying in His perfect love. Oh, that we might have more of that even now as we pray that His kingdom would come and that His will would be done on earth, as it is in heaven.
Come, Almighty to deliver,
Let us all Thy life receive;
Suddenly return and never,
Nevermore Thy temples leave.
Thee we would be always blessing,
Serve Thee as thy hosts above,
Pray and praise Thee without ceasing.
Glory in Thy perfect love.
Stanza 4 sings more directly of that desire for sinlessness. To sing this text is not to expect that this desire would be met this side of heaven. But this is still the goal toward which we labor. The new creation has already begun in our regeneration, and will one day be finished when we are called into glory, or when Jesus returns in His second coming. That’s when we will be “perfectly restored” in Him, when the gradual process of our sanctification will be complete as we are being “changed from glory into glory” (2 Corinthians 3:18). The final phrases of this stanza make it clear that Wesley understood when this will be completed: not “till in heaven we take out place, till we cast our crowns before Thee” (Revelation 4:10). The hymn ends with another wonderfully memorable phrase, anticipating that glorious day when we will be “lost in wonder, love, and praise.” Yes, come quickly, Lord Jesus, and bring to completion this work of our sanctification.
Finish, then, Thy new creation;
Pure and spotless let us be.
Let us see Thy great salvation
Perfectly restored in Thee;
Changed from glory into glory,
Till in heav’n we take our place,
Till we cast our crowns before Thee,
Lost in wonder, love, and praise!
In the British Isles, the lyrics are often sung to the tune BLAENWERN. In some places, the tune HYFRYDOL is suggested. But in America, everyone associates it with the tune BEECHER, written by John Zundel (1815-1882) and first published in his “Christian Heart Songs. It was written specifically as a setting for this hymn of Wesley’s. Born near Stuttgart, Germany, after his schooling he went to St. Petersburg, Russia, where he served as organist of St. Anne Lutheran Church and was bandmaster of the imperial horse guards. He came to New York in 1847 and became the organist at Plymouth Congregational Church in Brooklyn (1850-1878). Henry Ward Beecher, the famous abolitionist preacher, was pastor of that congregation, and their joint ministry caused the Plymouth Church to become well known for its preaching, organ playing, and congregational singing. Zundell named this tune BEECHER after his Brooklyn pastor. Dissatisfied with existing hymnals, Beecher asked Zundel to help compile several new hymnals. Zundel provided twenty-eight hymn tunes for the “Plymouth Collection” and he edited the “Monthly Choir and Organ Journal” until his retirement in Germany in 1880, where he died two years later.
Here is a link to the congregation of Grace Community Church (John MacArthur, pastor) singing Wesley’s hymn.