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"Glory to His Name" (also called "Down At The Cross") is a hymn written by Elisha A. Hoffman in 1878. It is thought that Hoffman was reading about the crucifixion of Jesus in the Bible and began to think about how God saved men from their sins by allowing Jesus to die on the cross. The poem Hoffman wrote based on these thoughts was called ...
German – "Herr, dein Name sei erhöht" (Lord, Your name be exalted) Portuguese – "O Teu nome exaltarei" (I will exalt your name) Korean – "주의 이름 높이며" (As I Lift Lord's name) Malayalam – "Yeshu naamathe uyarthidam" (Let us lift Jesus' name) Norwegian – "Gud, jeg opphøyer ditt navn" (God, I exalt your name)
Songwriter Ian Anderson described the song as "a blues for Jesus, about the gory, glory seekers who use his name as an excuse for a lot of unsavoury things. You know, 'Hey Dad, it's not my fault — the missionaries lied.'" [3] Sean Murphy of PopMatters wrote that, "For “Hymn 43” Anderson sets his sights on the US and in quick order sets about decimating the hypocrisy and myth-making of ...
The Benedicite (also Benedicite, omnia opera Domini or A Song of Creation) is a canticle that is used in the Catholic Liturgy of the Hours, and is also used in Anglican and Lutheran worship. The text is either verses 35–65 or verses 35–66 of The Song of the Three Children . [ 1 ]
Give unto the Lord the glory due unto his name; worship the Lord in the beauty of holiness. [9] The same words as verse 2b, worship the Lord in the beauty of holiness, arise in Psalm 96:9. These words form the title of a hymn by Irish clergyman John Samuel Bewley Monsell. [10] Alexander Kirkpatrick comments that
The hymn appears in many hymnals, including the Baptist Hymnal (Southern Baptist Convention), the Book of Praise (Presbyterian Church in Canada), Baptist Praise and Worship, the Catholic Book of Worship (Canadian Conference of Catholic Bishops), the Chalice Hymnal (Christian Church (Disciples of Christ)), Common Praise (Anglican Church of Canada), Common Praise (Church of England), The Hymnal ...
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[12] [13] As with other traditional hymns, the music was significantly altered; Eddie Glaude has described such hymns as being "radically transformed by haunting and beautiful arrangements." [12] The hymn has been influential for George W. Bush, who based the title of his 1999 autobiography A Charge to Keep on this hymn.