Milo

April 17
BURDENS ARE LIFTED AT CALVARY
Words and Music by John M. Moore, 1925–
Come to Me, all you who are weary and burdened, and I will give you rest. (Matthew 11:28)
Today’s featured hymn was written in 1952 by one of our contemporary song writers, John M. Moore, currently a Baptist pastor and evangelist in Toronto, Canada. The hymn was prompted by an experience that Dr. Moore had while serving as the assistant superintendent of the Seaman’s Chapel in Glasgow, Scotland, one of that area’s outstanding evangelistic centers. He recalls:
I wrote “Burdens Are Lifted at Calvary” after a most interesting experience. The company secretary of a large shipping firm telephoned the Seaman’s Chapel and requested that I visit a young merchant seaman who was lying critically ill in a Glasgow hospital. After getting permission from the nursing sister, I went in to visit the young sailor. I talked for a few moments and then put my hand in my case for a tract, not knowing which one I would pull out. It happened to be a tract based on Pilgrim’s Progress, with a color reproduction of Pilgrim coming to the cross with a great burden on his back. I showed the young seaman this picture and told him the story in brief, adding that Pilgrim’s experience had been my experience too. I explained that when I came to the cross of Christ, my burden rolled away and my sense of sin and guilt before God was removed. He nodded his head when I asked him, “Do you feel this burden on your back today?” We prayed together and never shall I forget the smile of peace and assurance that lit up his face when he said that his burden was lifted!
Later that night, sitting by the fireside with paper and pen, I could not get the thought out of my mind—his burden is lifted! I started writing, but never for a moment did I imagine that this little hymn would become a favorite throughout the world. Since that time, I hear of people all over the world who are being blessed and saved through the singing of this hymn.

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Days are filled with sorrow and care; hearts are heavy and drear; burdens are lifted at Calvary—Jesus is very near.
Cast your care on Jesus today; leave your worry and fear; burdens are lifted at Calvary—Jesus is very near.
Troubled soul, the Savior can see ev’ry heartache and tear; burdens are lifted at Calvary—Jesus is very near.
Refrain: Burdens are lifted at Calvary, Calvary, Calvary. Burdens are lifted at Calvary; Jesus is very near.

For Today: Psalm 147:3; John 6:35; John 20:31; Colossians 1:20

Reach out to someone who is deeply burdened by sin and earthly cares and share your testimony of faith in Christ and the truth of this song.

April 16
BENEATH THE CROSS OF JESUS
Elizabeth C. Clephane, 1830–1869
For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God. (1 Corinthians 1:18 KJV)
There is no neutral ground when we face the cross: Either we accept its atoning work and become a new person, or we reject it and remain in our sinful self-centered state. When we take our stand with Christ and His redemption accomplished at Calvary, we are compelled to make two profound confessions: “The wonders of His glorious love and my own worthlessness.”
This hymn of commitment was written by a frail Scottish Presbyterian woman of the past century, Elizabeth Clephane, who, despite her physical limitations, was known throughout her charming community of Melrose, Scotland, for her helpful, cheery nature. Among the sick and dying in her area she won the name of “Sunbeam.” “Beneath the Cross of Jesus” was written by Miss Clephane in 1868, one year before her early death at the age of 39. She wrote eight hymns, all published posthumously. Besides this hymn, only one other has endured—“The Ninety and Nine,” made popular by the tune composed for it by Ira D. Sankey.
It is obvious that Elizabeth, like most Scottish Presbyterians of her day, was an ardent Bible student, for her hymn is replete with biblical symbolism and imagery. For example:
“the mighty Rock” is a reference from Isaiah 32:2
“the weary land” is a reference from Psalm 63:1
“home within the wilderness” is a reference from Jeremiah 9:2
“rest upon the way” is a reference from Isaiah 28:12
“noontide heat” is a reference from Isaiah 4:6
“burden of the day” is a reference from Matthew 11:30
Beneath the cross of Jesus I fain would take my stand, the shadow of a mighty rock within a weary land; a home within the wilderness, a rest upon the way from the burning of the noon day heat and the burden of the day.
Upon that cross of Jesus mine eye at times can see the very dying form of One who suffered there for me; and from my smitten heart with tears two wonders I confess—the wonders of His glorious love and my own worthlessness.
I take, O cross, thy shadow for my abiding place—I ask no other sunshine than the sunshine of His face; content to let the world go by, to know no gain nor loss, my sinful self my only shame, my glory all the cross.

For Today: Psalm 22:7; Matthew 27:33, 37; Luke 9:23; Galatians 6:14

“My glory all the cross.” Determine to live the truth of this phrase. Reflect on these musical expressions—

April 15
IN THE CROSS OF CHRIST I GLORY
John Bowring, 1792–1872
May I never boast except in the cross of our Lord Jesus Christ, through which the world has been crucified to me, and I to the world. (Galatians 6:14)
The cross has been the most significant symbol of the Christian faith throughout church history. It is said that as many as 400 different forms or designs of it have been used—among them the usual Latin Cross, the Greek Cross, the Budded Cross. Regardless of design, the symbol of the cross should always remind us of the price that was paid by the eternal God for man’s redemption. “In the Cross of Christ I Glory” is generally considered one of the finest hymns on this subject. It was written by John Bowring, one of the most remarkable men of his day as well as one of the greatest linguists who ever lived. It is said that he could converse in over 100 different languages before his death.
Some writers claim that John Bowring had visited Macao, on the South Chinese Coast, and was much impressed by the sight of a bronze cross towering on the summit of the massive wall of what had formerly been a great cathedral. This cathedral, originally built by the early Portuguese colonists, overlooked the harbor and had been destroyed by a typhoon. Only one wall, which was topped by the huge metal cross, remained. This scene is said to have so impressed Bowring that it eventually served as the inspiration for this hymn text.
The writing of the tune for this hymn is also most interesting. It was composed 24 years after Bowring’s text by an American organist and choir leader of the Central Baptist Church of Norwich, Connecticut. The composer, Ithamar Conkey, was sorely disappointed at one Sunday morning service when only one choir member appeared, a faithful soprano by the name of Mrs. Beriah Rathbun. Before the evening service Conkey composed a new tune for this text and named it after his one faithful choir member.
The preaching of the cross may be a foolish message to many “but unto us who are saved it is the power of God” (1 Corinthians 1:18 KJV).
In the cross of Christ I glory, tow’ring o’er the wrecks of time; all the light of sacred story gathers round its head sublime.
When the woes of life o’er take me, hopes deceive and fears annoy, never shall the cross forsake me: Lo! it glows with peace and joy.
When the sun of bliss is beaming light and love upon my way, from the cross the radiance streaming adds more luster to the day.
Bane and blessing, pain and pleasure, by the cross are sanctified; peace is there that knows no measure, joys that thru all time abide.

For Today: John 19; Romans 5:6–11; 1 Corinthians 1:17–19; Ephesians 2:16

Determine to allow the glory of Christ’s cross to be evident in all that you do. Sing this musical testimony as you go realizing that—

April 14
THERE IS A GREEN HILL FAR AWAY
Mrs. Cecil Frances Alexander, 1823–1895
Finally Pilate handed Him over to them to be crucified. (John 19:16)
The full understanding of the depth of suffering that our Savior endured at Calvary for our redemption is difficult to grasp. When Mrs. Cecil Alexander, one of England’s finest hymn writers, was attempting to explain to her Sunday school class the meaning of the phrase from the Apostles’ Creed, “suffered under Pontius Pilate, was crucified, dead and buried,” she felt inadequate. She had always believed that one of the most effective ways to teach sound spiritual truths to children is through the use of appropriate hymns. She decided, therefore, to put the details of Christ’s suffering and death on the cross into a simply worded but appealing song that could be easily understood by the children in her class. Although the hymn with its direct style of wording and clearly expressed thoughts was originally intended for youth, it had an immediate appeal to adults as well. After the lilting melody was composed for the text in 1878 by George C. Stebbins, the hymn became widely used in the Moody-Sankey evangelistic campaigns, as it has been in church services since then.
Friends of Mrs. Alexander said that her life was even more beautiful than her writing. After her marriage to William Alexander, archbishop and primate of the Anglican church for all of Ireland, she engaged herself in parish duties and charity work. Her husband said of her, “From one poor home to another she went. Christ was ever with her, and all felt her influence.” Mrs. Alexander had been active before her marriage in the Sunday school movement, and her love of children and interest in their spiritual instruction never diminished. Almost all of the 400 poems and hymns that she wrote were prompted by this concern.
Adults as well as children have loved this particular hymn, written by a devoted woman who had a sincere desire to help others to truly appreciate the extent of Christ’s agony on the cross and the magnitude of His love.
There is a green hill far away, outside a city wall, where the dear Lord was crucified, who died to save us all.
We may not know, we cannot tell, what pains He had to bear; but we believe it was for us He hung and suffered there.
He died that we might be forgiv’n. He died to make us good, that we might go at last to heav’n, saved by His precious blood.
There was no other good enough to pay the price of sin; He only could unlock the gate of heav’n and let us in.
Chorus: O dearly, dearly has He loved! And we must love Him too, and trust in His redeeming blood, and try His works to do.

For Today: John 19; Romans 5:6–11; Ephesians 1:7, 8; Titus 2:13, 14

Express your gratitude for Christ’s “redeeming blood.” Let the truth of His great love motivate you to “try His works to do.”

April 13
IN THE GARDEN
C. Austin Miles, 1868–1945
Mary Magdalene went to the disciples with the news: “I have seen the Lord!” And she told them that He had said these things to her. (John 20:18)
It was in 1912 that music publisher Dr. Adam Geibel asked author and composer C. Austin Miles to write a hymn text that would be “sympathetic in tone, breathing tenderness in every line; one that would bring hope to the hopeless, rest for the weary, and downy pillows to dying beds.” Mr. Miles has left the following account of the writing of this hymn:
One day in April, 1912, I was seated in the dark room, where I kept my photographic equipment and organ. I drew my Bible toward me; it opened at my favorite chapter, John 20—whether by chance or inspiration let each reader decide. That meeting of Jesus and Mary had lost none of its power and charm.
As I read it that day, I seemed to be part of the scene. I became a silent witness to that dramatic moment in Mary’s life, when she knelt before her Lord, and cried, “Rabboni!”
My hands were resting on the Bible while I stared at the light blue wall. As the light faded, I seemed to be standing at the entrance of a garden, looking down a gently winding path, shaded by olive branches. A woman in white, with head bowed, hand clasping her throat, as if to choke back her sobs, walked slowly into the shadows. It was Mary. As she came to the tomb, upon which she placed her hand, she bent over to look in, and hurried away.
John, in flowing robe, appeared, looking at the tomb; then came Peter, who entered the tomb, followed slowly by John.
As they departed, Mary reappeared; leaning her head upon her arm at the tomb, she wept. Turning herself, she saw Jesus standing, so did I. I knew it was He. She knelt before Him, with arms outstretched and looking into His face cried, “Rabboni!” I awakened in sun light, gripping the Bible, with muscles tense and nerves vibrating. Under the inspiration of this vision I wrote as quickly as the words could be formed the poem exactly as it has since appeared. That same evening I wrote the music.

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I come to the garden alone, while the dew is still on the roses; and the voice I hear, falling on my ear, the Son of God discloses.
He speaks, and the sound of His voice is so sweet the birds hush their singing; and the melody that He gave to me within my heart is ringing.
I’d stay in the garden with Him tho the night around me be falling; but He bids me go—thru the voice of woe, His voice to me is calling.
Refrain: And He walks with me, and He talks with me, and He tells me I am His own, and the joy we share as we tarry there, none other has ever known.

For Today: Matthew 20:28; Matthew 28:5–9; John 20; Romans 5:6, 10, 11

Let your mind join Mary and the disciples in the garden when Christ first appeared to them following His resurrection. Respond as did Mary—“Rabboni!” (my Master). Carry this musical truth throughout the day—