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The lyrics also show a trend toward those more commonly associated with "Children, Go Where I Send Thee." For instance, the line "Two, two, the lily-white boys clothed all in green" in Grainger's recording has become "One was the little white babe all dressed in blue" in the Bellwood Prison Camp recording. [7] [2]
Augustine: "Good preachers, however, who preach Christ, are as angels of God; i. e. they ascend and descend upon the Son of man; as Paul, who ascended to the third heaven, and descended so far even as to give milk to babes. He saith, We shall see greater things than these: (2 Cor. 12:2. 1 Cor. 3:2) because it is a greater thing that our Lord ...
The first verse of the psalm calls to praise in singing, in English in the King James Version: "O sing a new song unto the Lord". Similar to Psalm 98 ("Cantate Domino") and Psalm 149 , the psalm calls to praise God in music and dance, because he has chosen his people and helped them to victory.
The Prayer of Azariah and Song of the Three Holy Children, abbreviated Pr Azar, [1] is a passage which appears after Daniel 3:23 in some translations of the Bible, including the ancient Greek Septuagint translation. The passage is accepted by some Christian denominations as canonical. The passage includes three main components.
"Lift Every Voice and Sing" is a hymn with lyrics by James Weldon Johnson (1871–1938) and set to music by his brother, J. Rosamond Johnson (1873–1954). Written from the context of African Americans in the late 19th century, the hymn is a prayer of thanksgiving to God as well as a prayer for faithfulness and freedom, with imagery that evokes the biblical Exodus from slavery to the freedom ...
enter into the kingdom of heaven; but he that doeth the will of my Father which is in heaven. John 6:40 “And this is the will of him that sent me, that everyone which seeth the Son, and believeth on him, may have everlasting life: and I will raise him up at the last day.” King James Version The World English Bible translates the passage as:
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Noted American folk singer Pete Seeger began singing the song some time in the 1930s or 1940s, [12] and in the mid to late 1960s added a new verse ("We are dancing Sarah's circle") to reflect, as he saw it, a more feminist, less hierarchical, less restrictive, and more joyful meaning. [13] These lyrics were publicly sung at least as early as ...