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God bless America, the country I love. Stand by her side and guide her through the night with the light from above. mountains to prairies. To the oceans, white with foam. God bless America, my sweet home. Stand by her side and guide her through the night with the light from above From the mountains to the prairies to the foaming oceans God bless America my home sweet home From the mountains to the prairies to the foaming oceans God bless America my home treasury God bless America my home sweet home Scripture: St. 1 = Acc. 3:6, 15, Dan. 7:9, 13, 22 vv. 2 = Gen. 22:16-17, Mal. 3:6 art. 3 = Open 22:1-2 el. 4 = Jer. 23:6, Jeremiah 33:16 B.C. 5 = real. 6:3, Rev. 4:8-11 This text is based on the Hebrew doxology of the thirteen articles formulated by Moses ben Maimon (Maimonides) in the second half of the 12th century. A 14th-century metrical version of this doxology, Yigdal Elohim (Praise the Lord), is traditionally used in daily morning synagogue services and in Jewish family services on Saturday evening. This version is attributed to Daniel ben Judah or Immanuel ben Solomon, both of whom lived in Rome. After hearing this jigdal sung by the Jewish cantor Meyer Lyon at the Ducal Square Synagogue in London, England, Thomas Olivers (b Tregynon, Montgomeryshire, England 1725; d London, England 1799) prepared an English paraphrase in twelve stanzas (c. 1770). Olivers said of his paraphrase: I translated it from the Hebrew, gave it as Christian a character as possible, and turned to Leoni Cantor Lyon, who gave me the synagogue tune. That. Orphaned at the age of four, Olivers casually cared for various relatives and received very little formal education. He worked as a shoemaker, but led such a scandalous life that he was forced to leave his hometown. However, his life changed dramatically after George converted him.a sermon on the text Has not a knot been pulled out of the fire? (Zech. 3:2). Originally Oliver, a supporter of Whitefield, joined John and Charles Wesley (PHH 267) in 1753. He served as an itinerant Methodist preacher, traveling one hundred thousand miles through most of England, Scotland and Ireland by 1777. He became editor of the Arminian Magazine in 1775, but was fired by John Wesley in 1789 for gross typographical errors and the inclusion of articles Wesley disapproved of. Oliver wrote only a few hymns, the most famous of which is Praise the God of Abraham. Its text, with Leonius melody, was published as a pamphlet Hymn to the God of Abraham in 1772. This hymn was also published by John Wesley in his Sacred Harmony (1780) and in 1830 by Christian Lear (PHH 171). It appears in most modern hymns (but not to be confused with another translation of Igdahls hymns, beginning with Glory to the Living God by Max Landsberg, Newton Mann, and William Gannett). The Psalm of Songs includes stanzas 1, 4, 6, 7, and 12 of Oliver in a modernized text borrowed in part from Hymns for the Church Today (1982). Like Jigdal, this text begins by praising God for his sovereignty and loyalty to the people (steps 1-2). God gives his people a land flowing with milk and honey, an image that becomes a rich eschatological metaphor for the new creation (vv. 3-4), in which the angels sing Holy, holy, holy and all creation unites in the worship of God (page 5). Oliver included many biblical references in the margins of his text. The main stanzas of these stanzas are Exodus and the great doxologies in Revelation 4, 5, and 7. Liturgical use: as a monumental hymn of praise, especially at the end of a service; with eschatological preaching; During Advent. --Psalter Manual T. Oliver. Glory and devotion to the God of Abraham. On the originThe initial release of this hymn is somewhat controversial. The most important is the one Miller quotes from an authenticated source. (Singers & Songs, 1869, p. 245):-- A son of a Wesleyan minister said some years ago: I remember my father telling me that once he was standing in the aisle of the City Road Chapel during a conference, Thomas Oliver, one of the ministers, he came to him and said, Look at this; I translated it from the Hebrew, gave it as much of a Christian character as possible, and visited Leoni. , a Jew who gave me a suitable synagogue tune for it; Here is the tune, and it should be called Leoni. To Adler, Chief Rabbi of the British Empire, we consider this account of the origin of this hymn to be as close to the real facts as possible. The hymn is, Oliver says, a free rendering of the Jewish jigdala, or doxology, which he might say has a Christian character, and repeats thirteen verses of the Jewish creed in metrical form. Yigdal is believed to have been written by Daniel ben Judah, a medieval writer whose dates of birth and death are unknown. The thirteen scriptures were created by Moses Maimonides (), the first to formulate the dogmas of Judaism. The Yigdal is part of the Jewish daily prayer books and is sung on the eve of Sabbaths and holidays at the end of the service. Leoni, or rather Meyer Lyon, was choirmaster at the Great Synagogue, Dukes Place, to the tune now known as Leoni. It is still sung on Friday evenings in every synagogue in the British Empire and at family services in Jewish households (Dr. Adlers manuscript). According to tradition, Oliver wrote the hymn in 1770 at John Bevells house in Westminster. the copy we are printing from is undated; 4th edition is 1772; 5, 1772; 6 (London and Philadelphia) and 7, 1773; 8., Pine, Bristol, 1773. Next

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