Isaac Tang – Poet, Author, Composer

By Isaac Tang

Hymns have played an important part of my life – whether it be comforting and encouraging me, or inspiring me in my work, art and life. There are many hymns that have shone the light of revelation upon me, but these are the top five hymns, in my humble opinion.

Number FIVE: Turn Your Eyes Upon Jesus

This short hymn, with both lyrics and music composed by Helen Lemmel, is the epitome of what a true hymn means: with simple words and a simple tune, it communicates eternal truths. It is, in essence, a hymn from the toolbox of the earnest missionary. The first verse is a consolation to the weary and troubled soul who has awakened to the awful realisation of darkness that surrounds them and offers them a life-changing glimpse of the Saviour. The hymn then emphasises the main messages of the gospel, which are everlasting life and dominion over sin, before the final exhortations in the third verse to keep strong in the faith and obey the command to spread the word to a dying world. In between each verse, the chorus repeats a beautiful meditation on the “wonderful face” of Jesus which makes all things on Earth “strangely dim.” The words do not even follow a prescribed meter, and are more prosaic than they are poetic. There is also no challenging vocabulary in this hymn and no peculiar metaphors or conceits—just simple elementary school words to describe a faith that transcends human and natural boundaries. It is not the magnum opus of a systematic theologian, but it is more than daily bread to the childlike believer.

Rarely would I describe a melody as perfect, but in this case, the tune provided by Lemmel to her own lyrics is faultless. Although the rendition by Michael Smith omits the verses and solely celebrates the chorus/refrain (which is great in itself), the haunting sweetness from the solo violin introducing the melody fantastically lingers in the mind for decades.

Number FOUR: When I Survey The Wondrous Cross

Many have said that Charles Wesley made this remark: that he would have given up all his hymns to have written this one hymn. While Isaac Watts, the man who wrote the hymn ‘When I Survey’, is now remembered as the father of English hymnody, it is of my humble opinion that many of his hymns could have been better. I wonder whether his restrictive upbringing somewhat curtailed the potential of his literary talent. It is said that when Isaac Watts was a child, he was caught daydreaming during family prayers, watching a mouse scuttle across the room instead of focusing on his religious duty. He described his observations in prodigious but playful rhyme, saying, “There was a mouse for want of stairs, ran up the rope to say his prayers.” I believe if he had nurtured this imaginative spontaneity into adulthood, his hymns would have been much more vibrant. Perhaps he could have been a successor of George Herbert or Henry Vaughan.

However, the hymn ‘When I Survey’ is indeed a masterpiece; it is a meditative reflection on the central event of the Christian faith. The word “survey” somehow transports the singer to a place of vast expanses that concentrate onto its lonely subject “the wondrous cross.” Like the hymn ‘Turn Your Eyes Upon Jesus,’ it explores the worthlessness of all material objects when compared to the cross, for “my richest gain I count but loss, and pour contempt on all my pride.” Watts then proceeds to describe the agony of Christ of the cross, in an unexpectedly pictorial manner that is almost akin to the Roman Catholic crucifix: “see from his head, his hands, his feet; sorrow and love flow mingled down.” It moves the congregation to grief and worship of the sacrifice. The fourth verse is often omitted, which is a shame, because it conveys the important message that the death of Christ has made the Christian dead to the world and “all the globe is dead to me.” Finally, the last verse is incredibly triumphant, comparing the “whole realm of nature” as inadequate to repay the work of the Cross. Therefore, it concludes that “love so amazing, so divine, demands my soul, my life, my all.”

There are many melodies that have been used for this hymn. My favourite is definitely the use of the Scottish/British folk melody ‘O Waly Waly’, which supports the reflective mood of the hymn.

Number THREE: Here is Love Vast as the Ocean

This is another hymn about the crucifixion. Although this hymn is not well-known, this Welsh hymn is extremely poignant and beautiful, incorporating truly poetic descriptions. The first simile is expected; love is “vast as the ocean.” But the second simile is less so; loving-kindness “as the Flood” (emphasis mine), not just like any flood, but like the devastating Flood of Noah. The Flood of Noah destroyed the world from a spirit of anger and punishment but the Flood of Christ shall restore the world with love and kindness. Christ is referred to as the “Prince of Life” shedding his blood, celebrating the mystery and irony of the crucifixion. This is then followed by two rhetorical questions: “Who His love will not remember? Who can cease to sing His praise?” The hymn becomes no longer didactic but interactive, prompting deeper thought within the congregation.

What is exceptionally glorious about this hymn is how the water motif is continued and explored throughout. The second verse leads us to examine the “Mount of Crucifixion” and find, to our surprise and delight, that there are “fountains opened deep and wide.” God’s mercy has “floodgates” that are now flung open and we see “Grace and Love like mighty rivers pour incessant from above.” The “justice” of Noah’s Flood has been tempered by “Heaven’s peace” such that both have now tenderly “kissed a guilty world in love.” Theology and art are masterfully and effortlessly intertwined.

It should be noted that there are various other verses sometimes appended to this hymn. I am not sure regarding the authenticity of these verses. To me personally, the two verses are adequate for this hymn and convey the message well without the need for additional lyrics. Adding to it would only detract from its already sublime quality.

Number TWO: How Can I Keep From Singing?

This hymn is a masterpiece, although the author appears to be anonymous. The lyrics and melody (by Robert Lowry) are so wonderful that secular artists have tried to take the hymn, modify the words and somehow keep the essence. These attempts are futile as its essence is only felt because of the many allusions to scripture. The lyricist was indeed a great poet, though forgotten, for they have abandoned the stiff and moralising nature of the stereotypical hymn and embraced the freedom of Christ through the imagination and joy that He has given through nature. The life of the lyricist does not just flow; it flows “in endless song,” and defies the gravity of “earth’s lamentations.” In this moment of ecstasy, the lyricist hears “the sweet though far-off hymn that hails a new creation.” This far-off hymn is audible even amidst “the tumult and the strife” and “finds an echo in my soul.” The voice of the Lord is heard and the soul readily responds; all is bright and happy.

The second verse is an antiphon, starting with dark, fearful questions. “What though my joys and comforts die?” the lyricist asks, suddenly assailed by doubt. “What though the darkness gather round?” The assurance from the believing heart, however, comes quick and steady: “The Lord my Saviour liveth” and indeed, “Songs in the night he giveth.” This then gives way to a dramatic portrayal of the soul “clinging” to the “Rock”, where “no storm can shake my inmost calm,” followed by the declaration that “Love is lord over heaven and earth.” The final verse then becomes uplifting—“I lift my eyes, the cloud grows thin; I see the blue above it!” Furthermore, the lyricist becomes increasingly confident that “day by day, the pathway smooths, since first I learned to love it.” The soul praises the “peace of Christ” which “makes fresh my heart,” for it is “a fountain ever springing.” At the end, it rhetorically asks its listener, “How can I keep from singing?” I am aware that I am literally quoting the whole hymn, but this is evidence of the perfection in its word choice and flow of ideas. This hymn is undoubtedly a glorious celebration of the life that the Lord promises. It shows us that, despite trials and tribulations, we can still lift our eyes and see the never-ending blue above all the tumult and the strife.

Number ONE: Be Thou My Vision

Who can fault this ancient hymn? In my mind, I have always envisioned this hymn and its riveting pentatonic melody being sung by some solitary wanderer, perhaps perched on a cliff and looking down on the green rolling hills of a Northern Isle. This is a grand romantic hymn, that references the “heart” multiple times. The first verse introduces the singer’s desire for God to be his vision; it is introduced not just as a thought, but as “my best thought by day and by night” (emphasis mine). This is again reiterated: “waking or sleeping,” God’s presence shall be “my light.” The second verse then makes it more than a thought—the Lord is “wisdom” and the “true Word,” a trustworthy and reliable teacher. Then the singer decides that the Lord is more than a teacher, he is his “great Father.” This is rapidly followed by the realisation that God dwells in his believers, thus making them “one.”

The third verse infuses the hymn with a sense of adventure and a taste of ancient warfare. God is a “battle shield” and a “sword for the fight.” These are perhaps also references to Ephesians chapter 6 where St Paul draws analogy between the gifts of God and the armour of war. As the verse continues, we find that God is not just helpful in attack but also in defence, a “shelter” for the soul and a “high Tower” that raises us “heavenward.” The singer describes God as not just power, but indeed the “power of my power,” for without God, he can accomplish nothing. Now that he has found the source of his power, the singer finds no use in “riches” or “man’s empty praise.” Instead, the Lord is his true “Inheritance” who shall be “first in my heart.” The description of Christ as the “high king of Heaven” adds a distinctly Celtic (or even Narnian) touch to the hymn.

The last verse is exultant and again addresses God as the “High King” and repeats the word “Heaven” three times in quick succession. Previously, the singer called God the “power of my power”; now he is the “heart of my own heart” which highlights the intimacy of this poem. He finishes his song by saying, “Whatever befall, still be my vision, O Ruler of All.” In doing so, he brings the hymn to a satisfying close, looping back to the original idea presented in the first line. With such magnificent structure enclosing grand and lofty ideals, yet at times affectionate and intimate, ‘Be Thou My Vision’ is hence my pick for the best English hymn written thus far.