‘When I Survey the Wondrous Cross’ communicates the profound personal meaning of atonement
This is the title I chose for my personal blog, which is meant to give me an outlet for one of my favorite crafts – writing – plus to use an image from my favorite sport, golf. Out of college, my first job was as a reporter for the Daily Astorian in Astoria, Oregon, and I went on from there to practice writing in all my professional positions, including as press secretary in Washington, D.C. for a Democrat Congressman from Oregon (Les AuCoin), as an Oregon state government manager in Salem and Portland, as press secretary for Oregon’s last Republican governor (Vic Atiyeh), and as a private sector lobbyist. This blog also allows me to link another favorite pastime – politics and the art of developing public policy – to what I write. I could have called this blog “Middle Ground,” for that is what I long for in both politics and golf. The middle ground is often where the best public policy decisions lie. And it is where you want to be on a golf course.
When I came across a story in the Wall Street Journal under the headline above, it struck a chord – pardon the play on words – with me.
“When I Survey the Wondrous Cross” is one of my favorite hymns and always has been since I was a young child and heard the words sung in the church I attended in Portland, Oregon with my parents and siblings.
The writer for the Wall Street Journal, Daniel Ritchie, made the lyrics come alive.
Here is how he started his column:
“Before Captain Ahab sets sail in quest of the white whale, a ‘small choice copy of Watts hymn [is placed] in each seaman’s berth’ by the sister of one of the Pequod’s owners. In 1851, nearly every reader of ‘Moby-Dick’ would have known the name of Isaac Watts (1674-1748), and the hymns that had made him famous.
“At Easter, many Christian congregations sang one of his most popular works, ‘When I Survey the Wondrous Cross.’ It appears in nearly 2,000 hymnals that span theological, ethnic and social lines.
“Above all, Watts was a pastor who aspired to be a poet. He could not abide the lame translations of the Psalms that were generally the sole texts allowed in congregational singing. But his ’Hymns and Spiritual Songs’ (1707), in which ‘When I Survey’ appeared, didn’t just offer better translations. It challenged the prevailing bias by offering altogether new works — hymns rather than psalms.
“In doing so, Watts helped lay the groundwork for revivals in America and England under latter-day Puritans like Jonathan Edwards and the founders of Methodism, John and Charles Wesley. Charles Wesley’s hymns, along with those of John Newton (“Amazing Grace”) and others, contributed powerfully to revival movements too. But few have weathered the years as well as ‘When I Survey.’”
Ritchie also comments on the poetic nature of the words which carry the potential to draw us to Christ.
“The language of ‘When I Survey,’ he says, “is easily understood, yet fully capable of communicating the profound personal meaning of Christ’s atonement. It obeys strict rhythms as the hymn genre demands, but its pauses and stresses guide one’s emotions throughout. Its structure moves dramatically, from ‘surveying’ the crucifixion scene to incorporating its cosmic meaning into one’s life.
“Watts gives Galatians 6:14 as his biblical text: ‘Far be it from me to boast except in the cross of our Lord Jesus Christ by which the world has been crucified to me, and I to the world.’ The opening stanza announces this theme, earnestly but quietly:
When I survey the wondrous cross,
On which the prince of glory dy’d,
My richest gain I count but loss,
And pour contempt on all my pride.
“The hymn then moves from reflection on the event to dialogue with God — a prayer:
Forbid it, Lord, that I should boast
Save in the death of Christ my God;
All the vain things that charm me most,
I sacrifice them to his blood.
“This is a bold declaration. But where is the emotional strength that will empower the singer to perform this ‘sacrifice’? For that, Watts moves away from the first-person perspective. The third stanza begins with an imperative verb addressed to one’s fellow singers, ending with two questions:
See from his head, his hands, his feet,
Sorrow and love flow mingled down;
Did e’er such love and sorrow meet?
Or thorns compose so rich a crown?
“In this stanza, his use of chiasmus — the repetition and reversal of ‘sorrow and love’ — draws us emotionally into the scene. Surprisingly, the blood of Christ, so central to his sacrifice, is not even mentioned. But its presence is palpable. Every reflective singer will recognize that the Savior’s blood has been transformed into his sorrow for our sins and his forgiving love for us. The poetry fuses them all at the cross.
“In the fourth stanza, Watts returns to his chiastic technique. But now he moves forward, taking the singers with him to identify with Christ’s death and ponder its significance for their place on earth.
His dying crimson like a robe
Spreads o’er his body on the tree,
Then am I dead to all the globe,
And all the globe is dead to me.
“The structure of the entire hymn has worked theologically and emotionally to guide the singers to this overwhelming moment. Now, in the final stanza, they are ready to present their entire being to Christ:
Were the whole realm of nature mine
That were a present far too small;
Love so amazing, so divine
Demands my soul, my life, my all.”
Many churches have swept aside old hymns to make room for newer devotional music – and, while it is possible to bemoan the loss of some great hymns like ‘When I Survey, I also like the new songs, especially when, as in Southwest Church in La Quinta, California, where my wife and I attend, they are done in a pulsating, upbeat style that allows you to exclaim about the goodness of God.
Ritchie concludes:
“…some churches will pause to survey Watts’ wondrous cross, whether to the familiar 1824 tune by Lowell Mason or in the popular 2000 setting by Chris Tomlin. The personal significance of the hymn’s atonement is central to every branch, twig, and leaf of the Christian tree. And the power of ‘When I Survey’ to take us to Calvary’s tree guarantees that this small, choice selection from Watts will echo for generations to come.”
And, for me, the echo continues unabated.