Man of sorrows! What a name
- Isaiah 35:10
- Isaiah 51:11
- Isaiah 53:3
- Jeremiah 31:11
- Matthew 26:64-68
- Matthew 27:27-31
- Matthew 27:39-44
- Mark 1:1
- Mark 14:62-65
- Mark 15:16-20
- Mark 15:29-32
- Luke 22:63-65
- Luke 23:35-39
- Luke 24:20
- John 12:32-34
- John 19:30
- John 3:14
- John 8:28
- Acts 2:33
- Acts 5:31
- Romans 3:25
- Romans 5:6-8
- Ephesians 1:7
- 1 Peter 1:19
- Revelation 19:1
- 433
Man of sorrows! what a name
for the Son of God, who came
ruined sinners to reclaim:
Hallelujah! What a Saviour!
2. Mocked by insults harsh and crude,
in my place condemned he stood;
sealed my pardon with his blood:
Hallelujah! What a Saviour!
3. Guilty, vile and helpless, we;
spotless Lamb of God was he:
full atonement-can it be?
Hallelujah! What a Saviour!
4. Lifted up was he to die,
‘It is finished!’ was his cry;
now in heaven, exalted high:
Hallelujah! What a Saviour!
5. When he comes, our glorious King,
all his ransomed home to bring;
then anew this song we’ll sing:
Hallelujah! Hallelujah!
Hallelujah! What a Saviour!
Philip P Bliss 1838-76
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Tune
-
Burney Lane (extended) Metre: - 777 8
Composer: - Jones, Roger
The story behind the hymn
‘Man of sorrows’ is a title of ‘the servant of the LORD’ found in Isaiah 53:3, and with biblical warrant applied (as here) to Jesus Christ, who is also praised as Saviour and King. It provides a memorable opening to this further N American hymn with a distinctive pattern and metre, on the passion of Christ. The hymn was first seen in The International Lessons Monthly in 1875, a year later in Bliss and Sankey’s Gospel Hymns N0.2, and decisively in further Sankey compilations. It is the one text in Praise! by Philip Bliss, though 3 of his tunes are included. Although Cliff Knight wrote in 1993 that it was not found in many British books, one 1980 list cites 10 hymnals, and the 1997 HymnQuest listed more than 20. Stz 2 originally began ‘Bearing shame and scoffing rude’, a line with problems altered by HTC and other books. The whole hymn expresses as clearly as any the truth of Christ’s substitutionary atonement; the cost and the consequences of his death.
The first tune BURNEY LANE was composed in 1985 by Roger Jones and newly arranged for the present book. The 2nd is the original and by now traditional GETHSEMANE (from Matthew 26:36 etc), to which the words were set on first publication. To avoid confusion with tunes by Monk and Ouseley it is often called MAN OF SORROWS, or even HALLELUJAH! WHAT A SAVIOUR.
A look at the author
Bliss, Philip P(aul)
b Clearfield Co, Pa, USA 1838, d nr Ashtabula, Ohio, USA 1876. Originally named ‘Philipp’, he later dropped the final ‘p’ and used it as a second initial. He was born in a log house and worked as a farm boy, then as a woodcutter in lumber camps. Making his confession of faith at the age of 12, he belonged to the Elk Run Baptist Ch. He attended Susquehanna Collegiate Institute in Towanda. He had a fine bass voice, and had his first music lessons from the composer-editors J G Towner and W B Bradbury. At 22 he studied at New York’s Normal Academy of Music, after which he became an itinerant music teacher during the winter and spent many summers at the Normal Academy in Geneseo, NY. At the First Congregational Ch in Chicago he was a choir member and Sunday Sch Superintendent. He sold his first song in 1864 and worked with its Chicago publishers for the next 4 years. D L Moody encouraged him to become a singing evangelist, and from 1874 he began work in mission or ‘revival’ meetings with Major Daniel W Whittle (aka ‘El Nathan’) through the south and mid-west. On his way to one such gathering in Moody’s Tabernacle in Chicago (or returning there from another engagement) he was killed in a vain attempt to rescue his wife from the burning wreckage which followed a train crash.
In the 1870s he helped in the compilation of at least 5 gospel song collections including two edited by Ira D Sankey. Not surprisingly his 100 or so compositions have been more widely used in the USA than in the UK; the 2001 Worship and Rejoice retains one text, one tune, and 2 hymns where both words and music are his. But his most popular hymn in Britain appears in over 20 current books, including mainstream hymnals from several denominations. The latest Salvation Army Song Book (1986) features 11 of his songs, and some Pentecostal collections also favour his distinctive style. D Whittle and W Guest edited a memoir of his ‘life and life’s work’, to which both Moody and Sankey contributed, in the year after PPB’s death. Moody saw him as a 2nd Wesley, but greatly admired his evident humility. No.433(ii), 804*, 972*