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Frances
Havergal
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lyrics
Take my
life and let it be
Consecrated, Lord, to Thee.
Take my moments and my days,
Let them flow in endless praise.
Consecrated, Lord, to Thee.
Take my moments and my days,
Let them flow in endless praise.
Take my
hands and let them move
At the impulse of Thy love.
Take my feet and let them be
Swift and beautiful for Thee.
At the impulse of Thy love.
Take my feet and let them be
Swift and beautiful for Thee.
Take my
voice and let me sing,
Always, only for my King.
Take my lips and let them be
Filled with messages from Thee.
Always, only for my King.
Take my lips and let them be
Filled with messages from Thee.
Take my
silver and my gold,
Not a mite would I withhold.
Take my intellect and use
Every pow’r as Thou shalt choose.
Not a mite would I withhold.
Take my intellect and use
Every pow’r as Thou shalt choose.
Take my
will and make it Thine,
It shall be no longer mine.
Take my heart, it is Thine own,
It shall be Thy royal throne.
It shall be no longer mine.
Take my heart, it is Thine own,
It shall be Thy royal throne.
Take my
love, my Lord, I pour
At Thy feet its treasure store.
Take myself and I will be
Ever, only, all for Thee.
At Thy feet its treasure store.
Take myself and I will be
Ever, only, all for Thee.
Frances Ridley Havergal was an English religious poet and hymn writer. She
also wrote hymn melodies, religious tracts, and works for children.
Havergal was born into an Anglican family, at Astley in Worcestershire. Her
father, William Henry Havergal, was a clergyman, writer, composer, and
hymn-writer. Her brother, Henry East Havergal, was a priest in the Church of
England and an organist. In 1852 she studied in the Louisenschule, Düsseldorf,
and at Oberkassel. Otherwise, she led a quiet life, not enjoying consistent
good health; she traveled, in particular to Switzerland. She supported the
Church Missionary Society.
The Story Behind Take
My Life, and Let it Be
Frances Havergal (1836-1879) created
one of the classic hymns of Christian commitment. Referred to as the
"consecration poet," Havergal strived to live a life fully dedicated
to Christ and to those she saw in any physical or spiritual need.
We know that Havergal's spiritual journey began early in her life, memorizing passages in the Bible at age 4 and writing verse by age seven. She was nurtured by her father, an Anglican clergyman, also devoted to Christian hymnody. Though Havergal's health was frail and she lived barely 43 years, she learned several modern languages as well as Hebrew and Greek. She was also a singer of some note and known as an accomplished pianist.
We know that Havergal's spiritual journey began early in her life, memorizing passages in the Bible at age 4 and writing verse by age seven. She was nurtured by her father, an Anglican clergyman, also devoted to Christian hymnody. Though Havergal's health was frail and she lived barely 43 years, she learned several modern languages as well as Hebrew and Greek. She was also a singer of some note and known as an accomplished pianist.
This hymn of total dedication to Christ
seems to cover every aspect of submission to him. Each line begins with
the compulsory verb "Take," giving the sense of a continual prayer of
petition.
Frances
Ridley Havergal (14 December 1836 – 3 June 1879) was an English religious poet
and hymnwriter. Take My Life and Let it Be and Thy Life for Me (also known as I
Gave My Life for Thee) are two of her best-known hymns. She also wrote hymn
melodies, religious tracts, and works for children. She did not occupy, and did
not claim for herself, a prominent place as a poet, but by her distinct
individuality, she carved out a niche which she alone could fill.
Early
life and education
Frances
Ridley Havergal was born into an Anglican family, at Astley in Worcestershire,
14 December 1836. Her father, William Henry Havergal (1793–1870), was a
clergyman, writer, composer, and hymnwriter. Her brother, Henry East Havergal,
was a priest in the Church of England and an organist.
When
she was five, her father removed to the Rectory of St. Nicholas, Worcester. In
August, 1850, she entered Mrs. Teed's school, whose influence over her was most
beneficial. In the following year she says, "I committed my soul to the
Saviour, and earth and heaven seemed brighter from that moment." A short
sojourn in Germany followed. In 1852/3, she studied in the Louisenschule,
Düsseldorf, and at Oberkassel. Havergal's scholastic acquirements were
extensive, embracing several modern languages, together with Greek and Hebrew.
On
her return to England, she was confirmed in Worcester Cathedral, 17 July 1853.
Career
In
1860, she left Worcester upon her father resigning the Rectory of St. Nicholas,
and resided at different periods in Leamington, and at Caswell Bay, Swansea,
broken by visits to Switzerland, Scotland, and North Wales. It was during this
time—1873—that she read J. T. Renford's little booklet All For Jesus, which
"lifted her whole life into sunshine, of which all she had previously
experienced was but as pale and passing April gleams, compared with the
fullness of summer glory." She led a quiet life, not enjoying consistent
good health. She supported the Church Missionary Society.
Havergal's
hymns were frequently printed by J. & R. Parlane as leaflets, and in
Caswall & Co. as ornamental cards. They were gathered together from time to
time and published in her works as follows:— (1) Ministry of Song, 1869; (2)
Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4)
Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; and (7)
Life Echoes, 1883.
About
fifteen of the more important of Havergal's hymns, including “Golden harps are
sounding,” “I gave my life for thee," “Jesus, Master, Whose I am,” “Lord,
speak to me,” “O Master, at Thy feet,” “Take my life and let it be,” “Tell it
out among the heathen," &c., are annotated under their respective
first lines. The rest, which are in collections, number nearly fifty. These are
noted here, together with dates and places of composition, from the Havergal
manuscripts and the works in which they were published. Those which were
printed in Parlane's Series of Leaflets are distinguished as (P., 1872,
&c.) and those in Caswall's series (C., 1873, &c).
Most
of these hymns are given in Snepp's Songs of Grace and Glory, 1872 and 1876,
his †. 1874, and the Musical ed., 1880, and many of them are also in several
other hymn-books, including H. A. & M., Thring, Church Hys., Hy. Comp.,
&c., and some of the leading American collections.
Death
and legacy
Astley,
Worcestershire, St Peter's Church: grave of Frances Ridley Havergal and of her
father William Henry Havergal
Havergal
died of peritonitis near Caswell Bay on the Gower Peninsula in Wales at age 42.
She is buried in the far western corner of the churchyard at St Peter's parish
church, Astley, together with her father and near her sister, Maria Vernon
Graham Havergal.
Her
sisters saw much of her work published posthumously. Havergal College, a
private girls' school in Toronto, is named after her. The composer Havergal
Brian adopted the name as a tribute to the Havergal family.
Style
and themes
Her
hymns praised the love of God, and His way of salvation to this end, and for
this object, her whole life and all her powers were consecrated. She lived and
spoke in every line of her poetry.
Her
religious views and theological bias were distinctly set forth in her poems,
and may be described as mildly Calvinistic, without the severe dogmatic tenet
of reprobation. The burden of her writings was a free and full salvation,
through the Redeemer's merits, for every sinner who will receive it, and her
life was devoted to the proclamation of this truth by personal labours,
literary efforts, and earnest interest in Foreign Missions.
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