He is despised and rejected of men; a man of sorrows, and acquainted with grief:
and we hid as it were our faces from him; he was despised, and we esteemed him not.
Surely he hath borne our griefs, and carried our sorrows:
yet we did esteem him stricken, smitten of God, and afflicted.
But he was wounded for our transgressions, he was bruised for our iniquities:
the chastisement of our peace was upon him; and with his stripes we are healed.
All we like sheep have gone astray; we have turned every one to his own way;
and the LORD hath laid on him the iniquity of us all.
Isaiah 53:3-6
Background of the Hymn:
- Refer to the hymn or song by Johann Heerman (words in 1630) and Johann Cruger (music in 1640).
- The common words were translated into English by Robert S. Bridges in the Yattendon Hymnal (1899).
- The common score for the 11-11-11-5 metered hymn is, Herzliebster Jesu, German for Beloved Jesus, which was further harmonized by J.S. Bach and used by him in at least three different compositions.
- An alternative score for those not appreciating minor songs, even for this theme, is by F. F. Flemming.
- The original hymn had fifteen stanzas and was first published in Heerman’s work, Devoti Musica Cordis Hauss-und Herz-Musica (1630), with the caption, “The cause of the bitter sufferings of Jesus Christ and consolation from His love and grace. From Augustine.”
- Song’s themes likely came from Jean de Fecamp (990-1079) work in Meditationes Sanctorum Patrum.
- Consider that Heerman was compared to Paul Gerhardt (1607-1676), translator of, O Sacred Head, Now Wounded, which had been written by Bernard of Clairvaux (1091-1153), two timing similarities.
- The Hymnal of the Evangelical and Reformed Church of 1941 is unique by using Bridges’s translation but substitutes “Dearest” for “Holy” and “dear” for “kind” twice, though no explanation for it is given.
- It is a shame that the Trinity Hymnal not only loses all three references to “dear” Jesus, but does not capitalize pronouns referring to him, unlike the rare hymnal of the Christian Reformed that does both.
- For history about the author, composer, the hymn’s themes, musical variations … here, here, here, here.
Introduction to the Sermon:
- Preaching is to declare and explain the word of God, and here such is based on prompts we often sing.
- Paul warned Corinth to sing with the Spirit and with the understanding, which means we should know what we are singing, which David also taught in the Old Testament (I Cor 14:13; Ps 47:7; Col 3:16).
- A young man of 19, though he had known about Jesus and his need to be saved by Christ, while being converted to know and convicted to love and serve the Savior, found this hymn with perfect timing.
- It was the proverbial needle in a haystack that he found it, for neither he nor anyone he knew had sung it or used the book it was in, and to continue God’s marvelous work, he has loved it now for 50 years, and for any asking, the gift of four books by a closet Calvinist occurred about that time totally separate.
- This hymn or song, using the first person, is perfect for personal reflection about our Lord’s death, your complicit guilt in it, your desperate need for it, and your large debt of worship because of it.
- The hymn progresses beautifully for soul contemplation from why Jesus had to die … to personal guilt by sin of His crucifixion … to the purpose designed … to the personal claim … to personal commitment.
- Having just studied the facets of salvation, which was doctrinal in nature, now it is time for personal meditation at the foot of the cross pondering the reason for His death and any resulting obligations.
- If we limited ourselves to one passage of scripture for it, we should prefer Isaiah 52:13-15; 53:1-12, where Jehovah’s Servant (though Son) gave Himself for rebellious sinful rabble to gain heaven’s glory.
- Preparing an outline to preach, though necessary, was at times a distraction from personal spiritual joy.
- The song is not inspired (though preserved); the inspired and preserved scriptures back up each line.