Our Calling

John 15:16

You did not choose me, but I chose you and appointed you so that you might go and bear fruit—fruit that will last—and so that whatever you ask in my name the Father will give you.

One of my favourite songs of all time has got to be ‘Just where He needs me’  written by Miriam M. Richards. These are wonderful words to an equally wonderful tune.

You notice that in each verse especially the last one (my favourite) that’s where the Lord placed them.

1.
What can I say to cheer a world of sorrow?
How bring back hope where men have sorely failed?
Just where I am I’ll speak the word of comfort,
Tell how for me Christ’s sacrifice availed.
Chorus
Just where he needs me, my Lord has placed me,
Just where he needs me, there would I be!
And since he found me, by love he’s bound me
To serve him joyfully.

2.
What can I do to ease life’s heavy burdens?
What can I do to help mankind in need?
Just where I am I’ll share my neighbor’s hardship,
Lighten his load, and prove a friend indeed.

3.
What can I do to justify my living?
What can I be to worthwhile?
I’ll be a voice to call men to the Saviour,
Just where I am, and win my Father’s smile.

A wonderful Love

1 John 4 New International Version (NIV)

God’s Love and Ours

Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. Whoever does not love does not know God, because God is love. This is how God showed his love among us: He sent his one and only Son into the world that we might live through him. 10 This is love: not that we loved God, but that he loved us and sent his Son as an atoning sacrifice for our sins. 11 Dear friends, since God so loved us, we also ought to love one another. 12 No one has ever seen God; but if we love one another, God lives in us and his love is made complete in us.

13 This is how we know that we live in him and he in us: He has given us of his Spirit. 14 And we have seen and testify that the Father has sent his Son to be the Savior of the world. 15 If anyone acknowledges that Jesus is the Son of God, God lives in them and they in God. 16 And so we know and rely on the love God has for us.

God is love. Whoever lives in love lives in God, and God in them. 17 This is how love is made complete among us so that we will have confidence on the day of judgment: In this world we are like Jesus. 18 There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love.

19 We love because he first loved us. 20 Whoever claims to love God yet hates a brother or sister is a liar. For whoever does not love their brother and sister, whom they have seen, cannot love God, whom they have not seen. 21 And he has given us this command: Anyone who loves God must also love their brother and sister.

Being Real with God 

1 Peter 5:6-10 New International Version – UK 

Humble yourselves, therefore, under God’s mighty hand, that he may lift you up in due time. Cast all your anxiety on him because he cares for you.

Be alert and of sober mind. Your enemy the devil prowls around like a roaring lion looking for someone to devour. Resist him, standing firm in the faith, because you know that the family of believers throughout the world is undergoing the same kind of sufferings.

10 And the God of all grace, who called you to his eternal glory in Christ, after you have suffered a little while, will himself restore you and make you strong, firm and steadfast.

You are Beautiful God
You are Everlasting God
You are Beautiful God
You are Everlasting God
You Made Me like You
Gave Me Breath and Life
You Made Me like You
Gave Me Breath and Life

You are the One
You are the One
You are the Beautiful God
You are the One
You are the One
You are the Beautiful God

You Set Me Free from the World
Your Love has Changed My Life
You Set Me Free from the World
Your Love has Changed My Life
You Brought Me into Light
You are the Light of the World
You Brought Me into Light
You are the Light of the World

Lift Up Your Name
I Lift Up Your Name
You are the Beautiful God
Lift Up Your Name
I Lift Up Your Name
You are the Beautiful God

You Washed My Sins
Wiped My Tears & Sorrows
You Washed My Sins
Wiped My Tears & Sorrows
I will Never Go Back to My Own Life
I will Always Obey You God
I will Never Go Back to My Own Life
I will Always Obey You God

You are Almighty
You are Almighty
You are the Almighty God
You are Almighty
You are Almighty
You are the Almighty God

You are Beautiful God
You are Everlasting God
You are Beautiful God
You are Everlasting God
You Made Me like You
Gave Me Breath and Life
You Made Me like You
Gave Me Breath and Life

You are the One
You are the One
You are the Beautiful God
You are the One
You are the One
You are the Beautiful God

A Childs Burden

Matthew 6 – New International Version

Do Not Worry

25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?

28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendor was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well. 34 Therefore do not worry about tomorrow, for tomorrow will worry about itself. Each day has enough trouble of its own.

The above passage has got to be one of the most well known passages on Worry in the Bible. So much so I recall using it in a blog about a week ago called ‘No Worries’

While Jesus tells both you and I not to worry I must admit this is a very hard thing to do sometimes.

Granted some of us worry more than others and our partners or friends may use the phrase ” I don’t know what your worrying about” I’ve said it myself.

A Childs Burden

My Mother’s name is worry, In summer she worries about the water; In winter she worries about coal and briquets, and all year long she worries about the rice.

In daytime my mother worries about living; At night she worries about her children, and all the day long she worries and worries.

Then, my mother’s name is worry. My father’s name is drunken frenzy. And mine is tears and sigh.

Resting in Jesus

Photo by Luis Quintero on Pexels.com

Matthew 11 New International Version

The Father Revealed in the Son

25 At that time Jesus said, “I praise you, Father, Lord of heaven and earth, because you have hidden these things from the wise and learned, and revealed them to little children. 26 Yes, Father, for this is what you were pleased to do.

27 “All things have been committed to me by my Father. No one knows the Son except the Father, and no one knows the Father except the Son and those to whom the Son chooses to reveal him.

28 “Come to me, all you who are weary and burdened, and I will give you rest. 29 Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. 30 For my yoke is easy and my burden is light.”

I feel as if I’m repeating myself from Sunday’s post, but here in verse 28 we are talking about anxiety and all the various things that comes with it.

1. Is there a heart o’erbound by sorrow?
Is there a life weighed down by care?
Come to the cross, each burden bearing;
All your anxiety—leave it there.

Refrain:
All your anxiety, all your care,
Bring to the mercy seat, leave it there,
Never a burden He cannot bear,
Never a friend like Jesus!

2. No other friend so swift to help you,
No other friend so quick to hear,
No other place to leave your burden,
No other one to hear your prayer.

3. Come then at once; delay no longer!
Heed His entreaty kind and sweet,
You need not fear a disappointment;
You shall find peace at the mercy seat.

 From Earth’s Confusion

Image result for prayer

1 Corinthians 14 26 -40 NIV

Good Order in Worship

26 What then shall we say, brothers and sisters? When you come together, each of you has a hymn, or a word of instruction, a revelation, a tongue or an interpretation. Everything must be done so that the church may be built up. 27 If anyone speaks in a tongue, two—or at the most three—should speak, one at a time, and someone must interpret.28 If there is no interpreter, the speaker should keep quiet in the church and speak to himself and to God.

29 Two or three prophets should speak, and the others should weigh carefully what is said. 30 And if a revelation comes to someone who is sitting down, the first speaker should stop. 31 For you can all prophesy in turn so that everyone may be instructed and encouraged. 32 The spirits of prophets are subject to the control of prophets. 33 For God is not a God of disorder but of peace—as in all the congregations of the Lord’s people.

34 Women<sup class="footnote" style="box-sizing:border-box;font-size:.625em;line-height:22px;position:relative;vertical-align:top;top:0;" data-fn="#fen-NIV-28713f" data-link="[f]”>[f] should remain silent in the churches. They are not allowed to speak, but must be in submission, as the law says. 35 If they want to inquire about something, they should ask their own husbands at home; for it is disgraceful for a woman to speak in the church.<sup class="footnote" style="box-sizing:border-box;font-size:.625em;line-height:22px;position:relative;vertical-align:top;top:0;" data-fn="#fen-NIV-28714g" data-link="[g]”>[g]

36 Or did the word of God originate with you? Or are you the only people it has reached? 37 If anyone thinks they are a prophet or otherwise gifted by the Spirit, let them acknowledge that what I am writing to you is the Lord’s command. 38 But if anyone ignores this, they will themselves be ignored.<sup class="footnote" style="box-sizing:border-box;font-size:.625em;line-height:22px;position:relative;vertical-align:top;top:0;" data-fn="#fen-NIV-28717h" data-link="[h]”>[h]

39 Therefore, my brothers and sisters, be eager to prophesy, and do not forbid speaking in tongues. 40 But everything should be done in a fitting and orderly way.

 

Safe in His Arms

Isaiah 40:9-11 New International Version (NIV)

You who bring good news to Zion,
go up on a high mountain.
You who bring good news to Jerusalem,[a]
lift up your voice with a shout,
lift it up, do not be afraid;
say to the towns of Judah,
“Here is your God!”
10 See, the Sovereign Lord comes with power,
and he rules with a mighty arm.
See, his reward is with him,
and his recompense accompanies him.
11 He tends his flock like a shepherd:
He gathers the lambs in his arms
and carries them close to his heart;
he gently leads those that have young.

With the title of today’s blog there’s only one song I could think of and that was the old Fanny Crosby favourite.

  1. Safe in the arms of Jesus,
    Safe on His gentle breast;
    There by His love o’ershaded,
    Sweetly my soul shall rest.
    Hark! ’tis the voice of angels
    Borne in a song to me,
    Over the fields of glory,
    Over the jasper sea.

    • Refrain:
      Safe in the arms of Jesus,
      Safe on His gentle breast;
      There by His love o’ershaded,
      Sweetly my soul shall rest.
  2. Safe in the arms of Jesus,
    Safe from corroding care,
    Safe from the world’s temptations;
    Sin cannot harm me there.
    Free from the blight of sorrow,
    Free from my doubts and fears;
    Only a few more trials,
    Only a few more tears!
  3. Jesus, my heart’s dear Refuge,
    Jesus has died for me;
    Firm on the Rock of Ages
    Ever my trust shall be.
    Here let me wait with patience,
    Wait till the night is o’er;
    Wait till I see the morning
    Break on the golden shore.

Biography of William Holman Hunt

Childhood, Early Education and Training

The child of humble working-class parents (his father earned his living as a Cheapside warehouse manager) William Holman Hunt (he changed his name from Hobman Hunt on the discovery of the fact that a clerk had misspelled his name on his baptism certificate) was raised as a devout Christian, dedicating his early childhood to reading the Bible in its finest detail. This being Victorian England, Hunt began his working life aged just 12 as an office clerk. It would take a further five years before his parents agreed, albeit reluctantly, to his enrolment at the Royal Academy art school (in 1844). Once there, Hunt made the acquaintance of John Everett Millais and, a little later on, the painter and poet Dante Gabriel Rossetti.

Hunt's portrait of a youthful Dante Gabriel Rossetti, executed in 1853.

Hunt had already made his mark having exhibited at Royal Manchester Institution in 1845, and at the Royal Academy and the British Institution a year later, before the three men formed the Pre-Raphaelite Brotherhood – at Millais’s modest townhouse on Gower Street in Bloomsbury, London – in 1848. The men had grown disenchanted by their experience at the Royal Academy, having taken collective issue with the seemingly entrenched codes of artistic convention; not least the current orthodoxy of working from dark to light. The Brotherhood aspired to a brighter, more dynamic style of painting, driven primarily by close attention to picture detail. Together, they rejected the scholarly conventions of painting in favor of an acutely observation-driven style of representation. Rossetti summarized the aims of the Brotherhood as follows: “1. To have genuine ideas to express; 2. to study Nature attentively, so as to know how to express them; 3. to sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; 4. and most indispensable of all, to produce thoroughly good pictures and statues”.

A key stimulus on the Brotherhood project was the critical writing of John Ruskin. Ruskin, author of the book(s) Modern Painters (1843), was a renowned polemicist, moralist, and artist who had, most famously perhaps, championed the seven (tone, color, space, skies, earth, water and vegetation) “truths of natural form” in the expressive landscape paintings of J.M.W. Turner. (Much later, in 1880, Hunt, who was by now well known, wrote to John Ruskin praising him for the influence he had exercised over Hunt’s own art. He explained to Ruskin how he had come to be possessed, not by Turner, but by the poetry of John Keats, and how he (Hunt), under Ruskin’s influence, had come to regard Keats at a benchmark for the material reality he sought in his painting.) Hunt duly invested in the painterly ideal of a spiritual truth that would resound in material objects. It was from Ruskin indeed that Hunt derived the principle that it was not only good to depict things truthfully, it was also morally right. Thus, whereas previously Hunt had pursued a detailed, materially descriptive style, now he comprehended the way that material reality was the stuff of divine creation, and therefore indivisible from a sacred reality.

The Brotherhood lasted only about five years. Of the three founders it was Hunt who remained most committed to the ideals of the Brotherhood (Millais took over the presidency of the Royal Academy while the “amoral” Rossetti used his art to explore the beauty of the female form). In 1950 Hunt sold A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids to one Thomas Combe. Combe became Hunt’s close friend and business adviser and two years later he sold Hunt’s The Hireling Shepherd to the City of Manchester Art Galleries. Shepherds was significant because it was Hunt’s first work to display his style of divine realism. Meanwhile, Hunt and Millais vacationed at a farm in Surrey in 1853 and it was here that the former produced his first masterpiece: The Light of the World.

Mature Period

Portrait of Hunt by Sir William Blake Richmond (1900)

A year later the artist left England for Egypt and the Holy Land. To mark his departure, Millais gifted his friend a signet ring. The ring, which Hunt wore for the rest of his life, would become an emblem of the men’s life-long friendship. Hunt’s expedition lasted two years during which time he visited the Great Sphinx of Giza and the Pyramids though he remarked later that “[t]heir only association that I value is that Joseph, Moses and Jesus must have looked upon them.” For his painting The Scapegoat (1854–56), one of his signature pieces, Hunt travelled sixty miles outside Jerusalem where he found a suitably arid, desolate place for the setting of his painting. As he described it in his memoirs (published in 1905 and 1906) his own journey seemed to parallel that of the scapegoat in the picture, with Hunt the artist emerging as the hero of his own narrative. Indeed, Hunt returned to England in February 1856 sporting a voluminous beard. He saw the beard (as illustrated in William Blake Richmond’s 1877 and 1900 portraits of the artist) as somehow prophetic and he was to present himself henceforward as an untamed artistic genius.

Hunt's portrait of his first wife Fanny Hunt née Waugh (1866-68)

In 1865 Hunt married Fanny Waugh. The couple soon embarked on a tour of the Middle East in 1866 and it was while in quarantine in Florence that Fanny gave birth to a son. Their joy was short-lived however as Fanny lost her life to miliary fever. In 1868, Hunt returned to Florence to work on a memorial to Fanny (which beautifies the city’s Protestant Cemetery to this day). Hunt journeyed to the Holy Land again in August 1869. This time his stay lasted five years, during which time he worked tirelessly on the detail for his painting The Shadow of Death. Hunt worked on the background to the picture while in Nazareth (“whence he could command a charming panorama of cultivated landscape and distant hills”, according to his biographer A.C. Gissing). Indeed, the Holy Land exercised a huge pull on Hunt’s romantic vision of the past, though by physically inhabiting the places he sought to represent through his art, Hunt was able to achieve the material accuracy he sought in his updated renderings of Biblical narratives.

Late Period

Hunt’s self-styled piety was to be demeaned when he married Fanny’s sister, Edith, in 1875. According to English law, it was illegal to marry the sister of one’s deceased wife (the ceremony was conducted overseas) the legal consensus being that the new marriage constituted a form of incest. The couple duly took leave in Jerusalem where Hunt began work on The Triumph of the Innocents (1870–1903). At home meanwhile the scandal had caused considerable disquiet, especially within the Waugh clan, who considered it a stain on the family’s proud history. Some fifty years on – perhaps as an act of familial ‘revenge’ – Evelyn Waugh, the novelist and great nephew of the Waugh sisters, published a monograph, not about Hunt, but rather on the artist’s erstwhile colleague Rossetti.

Julia Margaret Cameron's photograph of Hunt in eastern costume, taken in 1864.

Though Hunt had exhibited regularly at the Royal Academy between the 1840s and 1860s, he made a definitive break with the organization in the 1870s. His final involvement with the Academy was in 1874, when he exhibited a portrait of his patron Thomas Fairbairn. Intriguingly, in the exhibition catalogue for that year he gave a split address, suggesting dual residence between 10 The Terrace, Hammersmith, and Jerusalem. He was living in Jerusalem in fact when the 1874 exhibition took place. Thereafter, Hunt preferred to exhibit at the Grosvenor Gallery and the New Gallery, both of which were aligned with an eclectic milieu of painters that ranged from other Pre-Raphaelites to (what Hunt saw as vain and ‘foppish’) aesthetes like J.A.M. Whistler.

Despite his advancing years, Hunt remained actively involved with art world politics during the 1880s. For instance, in 1886, with George Clausen and Walter Crane, he signed a letter lambasting the Royal Academy for its restrictive exhibition practices, while in the same year, with Ford Madox Brown, he established the Arts and Crafts Exhibiting Society. Though not directly affiliated with the Arts and Crafts Movement, the Society’s intention was to facilitate the exhibition of “fine art” alongside a so-called “decorative art”, including furniture and designs for stained glass windows. Hunt himself had paid special attention to the framing of his works throughout his career, treating his frames as iconographical extensions of the pictures that they contained.

Hunt’s first career retrospective was held in London in 1886 and was complemented with a collection of articles on the Pre-Raphaelite Brotherhood in the Contemporary Review. Though future artistic undertakings were curtailed due to deteriorating eyesight and a serious asthma condition, Hunt visited the Middle East one last time in 1892. In 1905 he was awarded the Order of Merit and an honorary Doctorate of Civil Law by Oxford University. Following the publication of his memoirs in 1905-06, In 1907 his painting The Ship was purchased by a group of benefactors who presented the work to the Tate Gallery as a mark of respect, and to commemorate the artist’s eightieth birthday. Hunt died in London in 1910.

The Legacy of William Holman Hunt

In a fate that befell other Pre-Raphaelite painters, Hunt’s work fell from grace in the later decades of the nineteenth century. Though Hunt continued to work through this period, he had been long-since overtaken in the popular imagination by more youthful, frivolous, and less earnest forms of art. However, the dandyish aestheticism of J.A.M. Whistler – an artist who did so much to dent Hunt’s reputation – was largely a response to the Pre-Raphaelites. Hunt, and the Ruskinian milieu in which he worked, were in fact central to later developments in art, not least because artists like Whistler, if they were to make a name for themselves at all, had to reject what had gone before. As is so often the case with art, however, the division between Hunt and Whistler’s paintings was not so clear cut and in fact they merely define one another. Indeed, the two artists exhibited alongside each other on a number of occasions.

It was not until the early decades of the twentieth century however that Hunt started to excite the imagination of the new generation of painters. A retrospective held in 1906 and 1907, touring from London to Manchester, Liverpool and Glasgow, marked a revival of interest in his work. Certain works by painters like Harold Speed, such as in his 1905 portrait of the Arts and Crafts pioneer C.F.A. Voysey, suggest a debt of influence to Hunt. Other artists at this time, like Charles Ricketts and Charles Haslewood Shannon, (though their own preference was for Venetian painting and Tintoretto) seem to have absorbed Hunt’s approach to history too, specifically through their debt to a hallowed pre-Raphaelite style. Though Hunt had various defenders in the twentieth century (including, conversely, Evelyn Waugh who owned works by him) Hunt’s reputation would often languish due not least to the sweeping onset of modernism (in 1978, the Oxford Companion to Art stated in fact that “[m]ost of his works are now regarded as failures”). More recently, however, the ebb and flow of artistic taste has allowed for a critical revision of nineteenth-century British painting and in that context, Hunt emerges as one of its most revered sons.

Holmun Hunt also painted a picture of Jesus sanding outside a door knocking and I believe this can be seen in St Paul’s Cathedral, London.

Image result for jesus knocking at the door painting

O Jesus, thou art standing,
outside the fast closed door,
in lowly patience waiting
to pass the threshold o’er:
shame on us, Christian brothers,
his Name and sign who bear,
O shame, thrice shame upon us,
to keep him standing there!

O Jesus, thou art knocking;
and lo, that hand is scarred,
and thorns thy brow encircle,
and tears thy face have marred:
O love that passeth knowledge,
so patiently to wait!
O sin that hath no equal,
so fast to bar the gate!

O Jesus, thou art pleading
in accents meek and low,
“I died for you, my children,
and will you treat me so?”
O Lord, with shame and sorrow
we open now the door;
dear Savior, enter, enter,
and leave us never more.

How to Worship

1 Corinthians 14 New International Version

Good Order in Worship

26 What then shall we say, brothers and sisters? When you come together, each of you has a hymn, or a word of instruction, a revelation, a tongue or an interpretation. Everything must be done so that the church may be built up. 27 If anyone speaks in a tongue, two—or at the most three—should speak, one at a time, and someone must interpret. 28 If there is no interpreter, the speaker should keep quiet in the church and speak to himself and to God.

29 Two or three prophets should speak, and the others should weigh carefully what is said. 30 And if a revelation comes to someone who is sitting down, the first speaker should stop. 31 For you can all prophesy in turn so that everyone may be instructed and encouraged. 32 The spirits of prophets are subject to the control of prophets. 33 For God is not a God of disorder but of peace—as in all the congregations of the Lord’s people.

34 Women[f] should remain silent in the churches. They are not allowed to speak, but must be in submission, as the law says. 35 If they want to inquire about something, they should ask their own husbands at home; for it is disgraceful for a woman to speak in the church.[g]

36 Or did the word of God originate with you? Or are you the only people it has reached? 37 If anyone thinks they are a prophet or otherwise gifted by the Spirit, let them acknowledge that what I am writing to you is the Lord’s command. 38 But if anyone ignores this, they will themselves be ignored.[h]

39 Therefore, my brothers and sisters, be eager to prophesy, and do not forbid speaking in tongues. 40 But everything should be done in a fitting and orderly way.

One of my favourite prayer choruses is ‘Prayer gently lifts me’ and the words to this simple chorus are displayed in the video

Unlimited Love

1 Corinthians 13 New International Version – UK 

13 If I speak in the tongues[a] of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal. If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but do not have love, I am nothing. If I give all I possess to the poor and give over my body to hardship that I may boast,[b] but do not have love, I gain nothing.

Image result for god's unlimited love

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonour others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.

Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. For we know in part and we prophesy in part, 10 but when completeness comes, what is in part disappears. 11 When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put the ways of childhood behind me. 12 For now we see only a reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.

13 And now these three remain: faith, hope and love. But the greatest of these is love.

Not so long ago The Salvation Army released music of the same title of today’s blog to which they put the words of a well known hymn.

  1. When I survey the wondrous cross
    On which the Prince of glory died,
    My richest gain I count but loss,
    And pour contempt on all my pride.
  2. 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.
  3. 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?
  4. 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.