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I Shall Not Be Moved" (Roud 9134), also known as "We Shall Not Be Moved", is an African-American slave spiritual, hymn, and protest song dating to the early 19th century American south. [1] It was likely originally sung at revivalist camp-meetings as a slave jubilee .
The hymn was a last minute addition to the first church hymnal, Collection of Sacred Hymns published in Kirtland, Ohio, 1835 or 1836. [9] It appears as the last song (hymn 90) and in a different typeset than the rest of the hymnal. This original version had six stanzas. [10]
The Son of God Goes Forth to War (1812) is a hymn by Reginald Heber [1] which appears, with reworked lyrics, in the novella The Man Who Would Be King (1888), by Rudyard Kipling and, set to the Irish tune The Moreen / The Minstrel Boy, in the film The Man Who Would Be King (1975), directed by John Huston. [2]
The second stanza speaks of the mystery of the cross [6] and of atonement through the sacrifice of Christ, based on Isaiah 53:5 and 2 Corinthians 5:21. [ 3 ] The third stanza talks of the forgiveness of sin (c.f. Hebrews 9:22 , Ephesians 1:6–7 ), through which Man is made good ( 2 Cor 5:17 ), framing this as the gateway to Heaven, an imagery ...
"The Lord's My Shepherd" is a Christian hymn. It is a metrical psalm commonly attributed to the English Puritan Francis Rous and based on the text of Psalm 23 in the Bible. The hymn first appeared in the Scots Metrical Psalter in 1650 traced to a parish in Aberdeenshire. [1]
Through the theme of reversal, the Song of Hannah functions as an introduction to the whole book. Keil and Delitzsch argue that Hannah's experience of reversal was a pledge of how God "would also lift up and glorify his whole nation, which was at that time so deeply bowed down and oppressed by its foes."
Gateway Worship performed the song on their album Living for You and added a chorus to the song, calling it "Come Thou Fount, Come Thou King". The hymn appears on Phil Wickham's album 'Sing-A-Long'. This song is also sung by Clark Davis in the film Love Comes Softly and is a recurring background music in the film.
Not long after Longfellow's death, biographer Eric S. Robertson noted, "The 'Psalm of Life,' great poem or not, went straight to the hearts of the people, and found an echoing shout in their midst. From the American pulpits, right and left, preachers talked to the people about it, and it came to be sung as a hymn in churches."