We do not often think about what a mere name can mean. There is the literal meaning of the word, often in another language, of which there are several examples in the Bible, such as Jesus: “… you shall call his name Jesus, for he will save his people from their sins” (Matthew 1:21 ESV); “Jesus” comes from the Hebrew for “The Lord Saves.” Another meaning of a name is the things that are mentally connected to the name. This hymn focuses on the things associated with Jesus' name – God's love, guidance, and comfort.
Text:
The stanzas of this hymn were written in 1855 by Frederick Whitfield, an English clergyman. The text was first printed in hymn sheets and leaflets, and was published in 1861 by Whitfield in his Sacred Poems and Prose in London. It was first published in the United States no later than 1864.
The refrain is anonymous, and was paired with many other hymns in the second half of the nineteenth century, including “Amazing Grace” by John Newton and “Alas! and Did My Savior Bleed” by Isaac Watts. Its earliest known appearance in publication was during the 1860s.
Of the nine original stanzas Whitfield wrote, only four are in common use today; they are the first, second, fourth, and fifth. A few hymnals omit the third of these (“It tells me what my Father has”). The stanzas' theme is the many pleasant associations and promises that the name of Jesus has for a devout Christian believer.
Tune:
The origins of the tune O HOW I LOVE JESUS lie in the camp-meetings of nineteenth-century America. The tunes of the stanzas and the refrain may have originated separately. Though they blend well together, the stanza tune begins with an upbeat and has a steady long-short rhythm, while the refrain tune emphasizes the main beats of the measure. The whole tune has a gentle, almost dance-like quality and is easy to sing.
When/Why/How:
This hymn is good for general use at any time of year as a devotional song. Two Scripture passages that the hymn could be sung with are I John 4:19, which the refrain quotes, and Hebrews 4:15-16, at which the final stanza hints. Another possibility is the broad theme of the love of Jesus, perhaps in medley with other hymns on the same theme, such as in the extended choral medley “More Love to Thee” or the piano medley in “Prayludes for Summer.”
Tiffany Shomsky,
Hymnary.org
Whitfield, Frederick, B.A., son of H. Whitfield, was born at Threapwood, Shropshire, Jan. 7, 1829, and educated at Trinity College, Dublin, where he took his B.A. in 1859. On taking Holy Orders, he was successively curate of Otley, vicar of Kirby-Ravensworth, senior curate of Greenwich, and Vicar of Stanza John's, Bexley. In 1875 he was preferred to St. Mary's, Hastings. Mr. Whitfield's works in prose and verse number upwards of thirty, including Spiritual unfolding from the Word of Life; Voices from the Valley Testifying of Jesus; The Word Unveiled; Gleanings from Scripture, &c. Several of his hymns appeared in his Sacred Poems and Prose, 1861, 2nd Series, 1864; The Casket, and Quiet Hours in the Sanctuary. The hymn by which he is most wid… Go to person page >
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