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Like many hymns, Love Divine is loosely Trinitarian in organization: Christ is invoked in the first stanza as the expression of divine love; the Holy Spirit in the second stanza as the agent of sanctification; the Father in the third stanza as the source of life; and the Trinity (presumably) in the final stanza as the joint Creator of the New ...
has four additional stanzas in similar rhythm, the last three being apparently a paraphrase of part of a prayer in the "Contemplatio ad amorem spiritualem in nobis excitandum" of Ignatius Loyola's Spiritual: "Take, O Lord, my entire liberty … whatever I have or possess you have bestowed on me; back to thee I give it all, and to the rule of thy will deliver it absolutely.
Charles Wesley's hymn "Love Divine, All Loves Excelling" was first sung to Purcell's music for "Fairest Isle", and in places echoes its lyrics. [8] In 1770, when David Garrick staged a version of King Arthur deprived of many of Purcell's songs, particularly those in the act 5 masques, "Fairest Isle" survived the cuts. [9]
The second stanza surrenders worldly pleasures, and the third prays to "feel the Holy Spirit". Stanza four asks to be filled with Jesus's love, power, and blessing. In the fifth stanza, the singer feels "the sacred flame" – an image of the Holy Spirit – and the joy of "full salvation" born of surrender. [8]
An acclamation "O Herr" (O Lord) begins the central fifth line, and the thoughts culminate in a double Hallelujah in the last line. The Spirit is asked: "fill with the goodness of your grace / the heart, spirit and mind of your believers, / kindle in them your ardent love!" [2] Martin Luther added two more stanzas.
The musicologist Anne Leahy of the Dublin Institute of Technology notes that Bach had possibly stanza 3 in mind, which speaks of love, and used the instrument which is named after love. [ 63 ] The oboe d'amore plays the richly ornamented melody of the Pentecost hymn " Komm, Heiliger Geist, Herre Gott " [ 64 ] ("Come, Holy Spirit, Lord God, fill ...
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The hymn "When I Survey the Wondrous Cross" was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first couplet of the second verse paraphrases Galatians 6:14a and the second couplet of the fourth verse paraphrases Gal. 6:14b.