Isaac Watts

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Watts, Isaac,

1674–1748, English clergyman and hymn writer, b. Southampton. He was one of the most eminent Dissenting divines of his day. As a pastor in London he was known for his sermons, but beginning in 1712 poor health caused him to live in semiretirement. His several hundred hymns embody a stern Calvinism assuaged with a gentleness and sympathy. The few hymns that are included in present-day hymnals are among the finest examples of English metrical hymnody. Those beginning "Jesus shall reign where'er the sun," "When I survey the wondrous cross," "Joy to the world," and "O God, our help in ages past," appeared in his Psalms of David Imitated (1719).
References in periodicals archive ?
(16) The variety of hymns printed in various pocket hymnals reveal that the hymns of Isaac Watts and Charles Wesley were well known in America years before the war began.
Cousland, 1948, "The Significance of Isaac Watts in the Development of Hymnody," Church History 17(4), pp.
Two crucial hymns in Chapter XXXVIII affirm Tom's humanity: "Amazing Grace" by John Newton and "When I Can Read My Title Clear" by Isaac Watts. Both of these hymns correlate with the strength of Tom's endurance--not the endurance of a mindless brute, but the endurance of a compassionate, tortured man.
And so, Vaughn concludes, only "a noble patience quells the spite / Of Fortune, and disarms her quite." In a third version, Isaac Watts addresses a weeping woman and tells her that if tears could "wash our mortal cares away" he'd give "both Indies for a tear," but these "rather feed than heal our woe." Since "one drop calls another down, / Till we are drown'd in seas of grief," she must stop those "useless streams" and put on "native courage." Watts simply eliminates the passage on the bullying of Fortune or Fate.
Perhaps best known as "lining out," it has also been called "deaconing," "long-meter," or "surge-singing." The tradition is based on the English hymn, particularly those composed by Isaac Watts, and was the dominant form of worship music in the United States before the emergence of choir singing in the nineteenth century.
Thank goodness for the comfortable Millennium Hotel, a splendid Georgian building overlooking the impressive George's Square with its statues of Sir Walter Scott, Robert Burns and Isaac Watts.
Among those quoted are John Knox, Samuel Rutherford, Isaac Watts, Robert Burns, Thomas Carlyle, and Edwin Muir.
These radio talks reflected the poet's long love affair with English religion and the twenty-eight talks deal with a wide variety of hymn-writers, from Keble and the Tractarians to Isaac Watts, the Wesleys, Nonconformists and American writers but the main emphasis is on the Victorian era.
In point of fact, "the harp with a thousand strings," a phrase out of an Isaac Watts hymn and easily found in Bartlett's Familiar Quotations, was one of the favorite cliches of the Victorian era.
Isaac Watts's hymns by African slaves during the slave masters church services and how this impacted the black Baptist services and African American music genres in the United States.
Isaac Watts famously hymned, "How doth the little busy bee / Improve each shining hour," and Insect Poetics improves an understanding of insect language and image in places high and low.
Isaac Watts heard this psalm as he composed his famous Christmas hymn "Joy to the World."