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About the Book
"Living in the Grace of God" by Rob Rufus explores the transformative power of God's grace in our lives, emphasizing that we are saved by grace through faith, not by our own works. The book encourages readers to embrace God's unconditional love and walk in freedom, purpose, and joy. Rufus highlights how understanding and living in God's grace can bring about healing, restoration, and transformation in every area of our lives.
Isaac Watts
"Joy to the world, the Lord is come / Let earth receive her King / Let every heart, prepare him room / And heaven and nature sing."
In his later years, Isaac Watts once complained about hymn singing in church: "To see the dull indifference, the negligent and thoughtless air that sits upon the faces of a whole assembly, while the psalm is upon their lips, might even tempt a charitable observer to suspect the fervency of their inward religion."
He had been bemoaning such since his late teens. His father, tired of his complaints, challenged him to write something better. The following week, the adolescent Isaac presented his first hymn to the church, "Behold the Glories of the Lamb," which received an enthusiastic response. The career of the "Father of English Hymnody" had begun.
Head of a genius
At Isaac's birth in 1674, his father was in prison for his Nonconformist sympathies (that is, he would not embrace the established Church of England). His father was eventually freed (and fathered seven more children), but Isaac respected his courage and remembered his mother's tales of nursing her children on the jail steps.
Young Isaac showed genius early. He was learning Latin by age 4, Greek at 9, French (which he took up to converse with his refugee neighbors) at 11, and Hebrew at 13. Several wealthy townspeople offered to pay for his university education at Oxford or Cambridge, which would have led him into Anglican ministry. Isaac refused and at 16 went to London to study at a leading Nonconformist academy. Upon graduation, he spent five years as a private tutor.
His illness and unsightly appearance took its toll on his personal life. His five-foot, pale, skinny frame was topped by a disproportionately oversized head. Almost every portrait of him depicts him in a large gown with large foldsâan apparent attempt by the artists to disguise his homeliness. This was probably the reason for Elizabeth Singer's rejection of his marriage proposal. As one biographer noted, "Though she loved the jewel, she could not admire the casket [case] which contained it."
Though German Lutherans had been singing hymns for 100 years, John Calvin had urged his followers to sing only metrical psalms; English Protestants had followed Calvin's lead.
Watts's 1707 publication of Hymns and Spiritual Songs technically wasn't a collection of hymns or metrical psalms, but it was a collection of consequence. In fact, it contained what would become some of the most popular English hymns of all time, such as "When I Survey the Wondrous Cross."
Watts didn't reject metrical psalms; he simply wanted to see them more impassioned. "They ought to be translated in such a manner as we have reason to believe David would have composed them if he had lived in our day," he wrote. Psalms of David Imitated in the Language of the New Testament followed in 1719.
Many of his English colleagues couldn't recognize these translations. How could "Joy to the World" really be Psalm 98? Or "Jesus Shall Reign Where'er the Sun" be Psalm 72>, or "O God Our Help in Ages Past" be Psalm 90?
Watts was unapologetic, arguing that he deliberately omitted several psalms and large parts of others, keeping portions "as might easily and naturally be accommodated to the various occasions of Christian life, or at least might afford us some beautiful allusions to Christian affairs." Furthermore, where the psalmist fought with personal enemies, Watts turned the biblical invective against spiritual adversaries: sin, Satan, and temptation. Finally, he said, "Where the flights of his faith and love are sublime, I have often sunk the expressions within the reach of an ordinary Christian."
Such looseness brought criticism. "Christian congregations have shut out divinely inspired psalms and taken in Watts's flights of fancy," protested one detractor. Others dubbed the new songs "Watts's whims."
But after church splits, pastor firings, and other arguments, Watts's paraphrases won out. "He was the first who taught the Dissenters to write and speak like other men, by showing them that elegance might consist with piety," wrote the famed lexicographer (and Watts's contemporary) Samuel Johnson.
More than a poet, however, Watts was also a scholar of wide reputation, especially in his later years. He wrote nearly 30 theological treatises; essays on psychology, astronomy, and philosophy; three volumes of sermons; the first children's hymnal; and a textbook on logic that served as a standard work on the subject for generations.
But his poetry remains his lasting legacy and earned him acclaim on both sides of the Atlantic. Benjamin Franklin published his hymnal, Cotton Mather maintained a long correspondence, and John Wesley acknowledged him as a geniusâthough Watts maintained that Charles Wesley's "Wrestling Jacob" was worth all of his own hymns.
Will You Praise Him While You Wait
I have trusted in your steadfast love; my heart shall rejoice in your salvation. (Psalm 13:5) If faith is the beating heart of a Christianâs spiritual anatomy, then praise is the healthy pulse. When faith looks back upon Godâs wondrous deeds of redemption, we cannot help but praise. We praise him for parting the Red Sea with a word. We praise him for felling giants with a shepherdâs sling. We praise him for sending his Son to suffer and die. We praise him for raising Christ from the grave. âIf faith is the beating heart of a Christianâs spiritual anatomy, then praise is the healthy pulse.â Yet faith goes further still. Not content to praise God only on the far side of deliverance, faith teaches us to praise him before deliverance even comes: not only after heâs parted the Red Sea, but while the Egyptian army still presses in; not only after Goliath lies slain, but as he still taunts the hosts of Israel; not only after the stone rolls away from the tomb, but during the Sabbath silence of Holy Saturday. As David shows us in Psalm 13, such praise does not arise effortlessly. Often, it comes on the other side of agonizing prayer. How Long, O Lord? Without introduction or preamble, Psalm 13 opens in anguish: âHow long, O Lord?â The question is a familiar one for most, even if our straits have not been quite so dire as Davidâs. Pressure builds. Prayer apparently goes unheard. All the while, Godâs promises rest unfulfilled. No matter where David looks, comfort eludes him. Above, a wall of clouds hides Godâs face (Psalm 13:1). Within, cares and sorrows swirl (Psalm 13:2). Around, enemies threaten the tottering king (Psalm 13:2). Four times in two verses, David repeats his question: âHow long? . . . How long? . . . How long? . . . How long?â Yet even here, faith has not forsaken him. For all the misery wrapped up in Davidâs question, he knows that Godâs intervention is a matter not of if, but of when â not of âWill you?â but of âHow long?â His is no cry of despair thrown up into a godless sky, but rather the song of distressed trust. âConsider and Answer Meâ With each breath in the psalm, faith grows firmer. By verse 3, God is not only âO Lord,â but âO Lord my God.â At the same time, lament gives way to petition: âConsider and answer me . . . light up my eyesâ (Psalm 13:3). Genuine faith may often speak the language of lament and complaint, but eventually it takes up the language of specific request. David follows his prayers to be seen, answered, and revived with three reasons: âLest I sleep the sleep of death, lest my enemy say, âI have prevailed over him,â lest my foes rejoice because I am shakenâ (Psalm 13:3â4). These reasons may seem, at first, simply like the logic of desperation: âAnswer me or I will die!â But more is going on here than that. âWhen we merely give vent to the chaos within us, our prayers often leave us right where we started.â David, desperate as he may be, is appealing to God on the basis of his own promises. Early in Davidâs public life, God pledged that the shepherd boy would sit on the throne of Israel. Then he sealed that pledge with covenant promises: âI will make for you a great name. . . . I will give you rest from all your enemies. . . . When your days are fulfilled and you lie down with your fathers, I will raise up your offspring after youâ (2 Samuel 7:9, 11â12). In Psalm 13, those promises seem to be in jeopardy. So David sends them back to God, wrapped in prayer. When we merely give vent to the chaos within us, our prayers often leave us right where we started. But when we pray in the slipstream of Godâs promises, we often find, with David, faith slowly rising. âI Will Sing to the Lordâ Many Christians are familiar with the famous âBut Godâ statements of the New Testament (Ephesians 2:4, for example). Yet we can look not only at our sin and say, âBut Godâ; we can look also at our despair and say, âBut Iâ: But I have trusted in your steadfast love; my heart shall rejoice in your salvation. I will sing to the Lord, because he has dealt bountifully with me. (Psalm 13:5â6) No circumstance has changed; no prayer has been answered; no deliverance has arrived. Yet in a moment, enemies grow small, sorrow and care loosen their grip, and lament gives way to praise. Why? Because Davidâs prayerful meditation on Godâs promises has reminded him of something more powerful than his enemies, more certain than his sorrow: âyour steadfast love.â Another psalm of David shows us why steadfast love had such an effect on the fainting king. From the perspective of time, the steadfast love of the Lord is âfrom everlasting to everlastingâ; from the perspective of space, it is âas high as the heavens are above the earthâ; from the perspective of Godâs character, it flows from him with abundance (Psalm 103:8, 11, 17). Such steadfast love is the pledge of all Godâs promises. No wonder David sings. Today, we have even greater assurances of Godâs steadfast love: a bloody cross, an empty tomb, and a Savior who sits on the throne. And if this steadfast love is ours, then we too can sing with abandon, far before deliverance comes. For if Christ has come, and if we are in him by faith alone, then God will not fail to deal bountifully with us. Article by Scott Hubbard