Milo

April 12
THERE IS A FOUNTAIN
William Cowper, 1731–1800
But now in Christ Jesus you who once were far away have been brought near through the blood of Christ. (Ephesians 2:13)
William Cowper is viewed by some as one of the finest of all English writers. But Cowper’s emotional life was one of great turmoil. At an early age he was directed by his father to study law. Upon completion of his studies, however, the prospect of appearing for his final examination before the bar so frightened him that it caused a mental breakdown and even an attempted suicide. Later he was placed in an insane asylum for 18 months. During this detention, he one day read from the Scriptures the passage in Romans 3:25 that Jesus Christ is “set forth to be a propitiation through faith in His blood, to declare His righteousness for the remission of sins that are past, through the forbearance of God.” Through his reading of the Bible, Cowper soon developed a personal relationship with Christ and a sense of forgiveness of sin. This was in 1764, when he was 33 years old.
Three years later, Cowper was invited to move to Olney, England, where John Newton pastored the parish Anglican Church. It was here for nearly two decades that Newton and Cowper had a close personal friendship. In 1799 their combined talents produced the famous Olney Hymns hymnal, one of the most important single contributions made to the field of evangelical hymnody. In this ambitious collection of 349 hymns, sixty-seven were written by Cowper with the remainder by Newton.
“There Is a Fountain” was originally titled “Peace for the Fountain Opened.” The hymn, with its vivid imagery, is based on the Old Testament text, Zechariah 13:1—“In that day there shall be a fountain opened to the house of David and to the inhabitants of Jerusalem for sin and uncleanness.”
Only eternity will reveal the hosts who, through the singing of this hymn, have been made aware of the efficacy of Christ’s complete atonement.
There is a fountain filled with blood drawn from Immanuel’s veins, and sinners plunged beneath that flood lose all their guilty stains.
The dying thief rejoiced to see that fountain in his day, and there may I, though vile as he, wash all my sins away.
Dear dying Lamb, Thy precious blood shall never lose its pow’r, till all the ransomed Church of God be saved to sin no more.
E’er since by faith I saw the stream Thy flowing wounds supply, redeeming love has been my theme and shall be till I die.
When this poor lisping, stamm’ring tongue lies silent in the grave, then in a nobler, sweeter song, I’ll sing Thy pow’r to save.

For Today: John 19:34; Ephesians 1:7; Colossians 1:20; Hebrews 9:12–14

Carry the joy of “redeeming love” as your day’s theme.

April 11
ROCK OF AGES
Augustus M. Toplady, 1740–1778
For I do not want you to be ignorant of the fact, brothers, that our forefathers were all under the cloud and that they all passed through the sea … they all ate the same spiritual food and drank the same spiritual drink; for they drank from the spiritual rock that accompanied them and that rock was Christ. (1 Corinthians 10:1, 3, 4)
This fervent plea for Christ our eternal rock to grant salvation through His sacrifice and to be a place of refuge for the believer is one of the most popular hymns ever written. With strong emotional impact, it proclaims Christ’s atonement on the cross to be the only means of salvation, making man’s tears and efforts to justify himself of no avail. Also it urges us to find consolation and security in Christ our rock—even at the time of death.
Augustus Toplady’s strong and passionate lines were actually written to refute some of the teachings of John and Charles Wesley during a bitter controversy with them concerning Arminianism (which stresses man’s free will) versus John Calvin’s doctrine of election. “Rock of Ages” was the climax to an article that Toplady wrote in The Gospel Magazine in 1776, in which he supported the doctrine of election by arguing that just as England could never pay her national debt, so man through his own efforts could never satisfy the eternal justice of a holy God. Despite the belligerent intent of this text, God has preserved this hymn for more than 200 years to bring blessing to both Arminian and Calvinistic believers around the world.
At the age of 16, as he sat in a barn and listened to the preaching of an uneducated man, Toplady was dramatically converted. Later, he became a powerful and respected minister of the Anglican church. While he was the busy pastor of several churches in England, Augustus Toplady wrote many hymn texts, but few have survived. “Rock of Ages” is the one for which he is known today.
Rock of ages, cleft for me, let me hide myself in Thee; let the water and the blood, from Thy wounded side which flowed, be of sin the double cure, save from wrath and make me pure.
Could my tears forever flow, could my zeal no languor know, these for sin could not atone—Thou must save and Thou alone: In my hand no price I bring; simply to Thy cross I cling.
While I draw this fleeting breath, when my eyes shall close in death, when I rise to worlds unknown and behold Thee on Thy throne, Rock of Ages, cleft for me, let me hide myself in Thee.

For Today: Exodus 17:1–6; 33:17–23; Psalm 78:35; Acts 4:12

Give sincere praise to Christ our “Rock of Ages” for His great gift of salvation and for His provision of a place of refuge for us, even unto death.

April 10
O SACRED HEAD, NOW WOUNDED
Attributed to Bernard of Clairvaux, 1091–1153
Translated into German by Paul Gerhardt, 1607–1676
Translated into English by James W. Alexander, 1804–1859
And when they had plaited a crown of thorns, they put it upon His head, and a reed in His right hand; and they bowed the knee before Him, and mocked Him, saying, “Hail, King of the Jews!” And they spit upon Him, and took the reed, and smote Him on the head. (Matthew 27:29, 30 KJV)
It is difficult to join our fellow believers each Lenten season in the singing of this passion hymn without being moved almost to tears. For more than 800 years these worshipful lines from the heart of a devoted medieval monk have portrayed for parishioners a memorable view of the suffering Savior.
This remarkable text has been generally attributed to Bernard of Clairvaux, the very admirable abbot of a monastery in France. Forsaking the wealth and ease of a noble family for a life of simplicity, holiness, prayer, and ministering to the physical and spiritual needs of others, Bernard was one of the most influential church leaders of his day. Martin Luther wrote of him, “He was the best monk that ever lived, whom I admire beyond all the rest put together.”
“O Sacred Head, Now Wounded” was part of the final portion of a lengthy poem that addressed the various parts of Christ’s body as He suffered on the cross. The seven sections of the poem considered His feet, knees, hands, side, breast, heart, and face. The stanzas of the hymn were translated into German in the 17th century and from German into English in the 19th century. God has preserved this exceptional hymn, which has led Christians through the centuries to more ardent worship of His Son.
O sacred Head, now wounded, with grief and shame weighed down, now scornfully surrounded with thorns Thy only crown; how art Thou pale with anguish, with sore abuse and scorn! How does that visage languish which once was bright as morn!
What Thou, my Lord, hast suffered was all for sinners’ gain: Mine, mine was the transgression, but Thine the deadly pain. Lo, here I fall, my Savior! ’Tis I deserve Thy place; look on me with Thy favor; vouch-safe to me Thy grace.
What language shall I borrow to thank Thee, dearest Friend, for this Thy dying sorrow, Thy pity without end? O make me Thine forever! And, should I fainting be, Lord, let me never, never outlive my love to Thee!

For Today: Isaiah 53; Matthew 27:39–43; Philippians 2:8; 1 Peter 3:18

Ponder anew your suffering Savior; then commit your life more fully to Him. Allow these musical truths to help you in your meditation—

April 9
THE OLD RUGGED CROSS
Words and Music by George Bennard, 1873–1958
He Himself bore our sins in His body on the tree, so that we might die to sins and live for righteousness; by His wounds you have been healed. (1 Peter 2:24)
The author and composer of this beloved hymn, George Bennard, began his Christian ministry in the ranks of the Salvation Army. Eight years later he was ordained by the Methodist Episcopal church, where his devoted ministry as an evangelist was highly esteemed for many years.
One time, after returning to his home in Albion, Michigan, Bennard passed through a particularly trying experience, one that caused him to reflect seriously about the significance of the cross and what the apostle Paul meant when he spoke of entering into the fellowship of Christ’s sufferings (Philippians 3:10). George Bennard began to spend long hours in study, prayer, and meditation until one day he could say:
I saw the Christ of the cross as if I were seeing John 3:16 leave the printed page, take form and act out the meaning of redemption. The more I contemplated these truths the more convinced I became that the cross was far more than just a religious symbol but rather the very heart of the gospel.
During these days of spiritual struggle, the theme for “The Old Rugged Cross” began to formulate itself in Bennard’s mind. But an inner voice seemed to keep telling him to “wait.” Finally, however, after returning to Michigan, he began to concentrate anew on his project. This time the words and melody began to flow easily from his heart. Shortly thereafter, Bennard sent a manuscript copy to Charles Gabriel, one of the leading gospel hymn writers of that time. Gabriel’s prophetic words, “You will certainly hear from this song, Mr. Bennard,” were soon realized as the hymn became one of the most widely published songs, either sacred or secular, throughout America.
On a hill far away stood an old rugged cross, the emblem of suff’ring and shame; and I love that old cross where the dearest and best for a world of lost sinners was slain.
O that old rugged cross, so despised by the world, has a wondrous attraction for me; for the dear Lamb of God left His glory above to bear it to dark Calvary.
To the old rugged cross I will ever be true, its shame and reproach gladly bear; then He’ll call me some day to my home far away, where His glory forever I’ll share.
Chorus: So I’ll cherish the old rugged cross, till my trophies at last I lay down; I will cling to the old rugged cross, and exchange it some day for a crown.

For Today: Isaiah 53:3–12; John 19:17–25; Romans 5:6–11; Hebrews 9:27, 28

Ponder the significance of Christ’s cross in your salvation. Sing this musical testimony—

April 8
AT CALVARY
William R. Newell, 1868–1956
In Him we have redemption through His blood, the forgiveness of sins, in accordance with the riches of God’s grace that He lavished on us with all wisdom and understanding. (Ephesians 1:7, 8)
Calvary, meaning “the place of the skull,” is a place that everyone has heard about and that thousands of Holy Land tourists visit every year. But the significance of the events that took place on this hill nearly two thousand years ago are often not truly realized by many of those who merely view its location. “At Calvary” focuses our attention on the wondrous mercy and grace that Christ demonstrated through His death on the cross. The hymn exalts our Lord for conquering sin and death and bringing salvation to all who will accept Him as Redeemer and Lord. The “mighty gulf” between God and man was bridged with Christ’s sacrificial atonement at Calvary.
William R. Newell was a noted evangelist, Bible teacher, and later assistant superintendent at the Moody Bible Institute. One day on his way to teach a class, he was meditating about Christ’s suffering at Calvary and all that it meant to him as a lost sinner. These thoughts so impressed themselves on his mind that he stepped into an empty classroom and quickly scribbled down the lines of this hymn on the back of an envelope. A few minutes later he met his friend and colleague, Daniel B. Towner, music director at the institute, and showed him the text he had just written, suggesting that Towner try composing music for it. An hour later as Newell returned from class, Dr. Towner presented him with the melody and they sang their completed hymn together.
Following its publication in 1895, Christians everywhere have used this hymn enthusiastically to rejoice in the “riches of God’s grace” made available “At Calvary.”
Years I spent in vanity and pride, caring not my Lord was crucified, knowing not it was for me He died on Calvary.
By God’s Word at last my sin I learned—then I trembled at the law I’d spurned, till my guilty soul imploring turned to Calvary.
Now I’ve giv’n to Jesus ev’rything; now I gladly own Him as my King; now my raptured soul can only sing of Calvary.
O the love that drew salvation’s plan! O the grace that bro’t it down to man! O the mighty gulf that God did span at Calvary!
Chorus: Mercy there was great, and grace was free; pardon there was multiplied to me. There my burdened soul found liberty—at Calvary.

For Today: Romans 5:6–11; 1 Corinthians 1:18; Colossians 1:19–23

Give joyful praise from a grateful heart for what the cross means—an instrument of human indignity became the means of our salvation.