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Augustus was sitting on the throne of the Roman Empire, and the touch of his finger could set the machinery of government in motion over well-nigh the whole of the civilized world. He was proud of his power and wealth, and it was one of his favorite occupations to compile a register of the populations and revenues of his vast dominions. So he issued an edict, as the Evangelist Luke says, ‘that all the world should be taxed,’ or, to express accurately what the words probably mean, that a census, to serve as a basis for future taxation, should be taken of all his subjects. One of the countries affected by this decree was
Palestine, whose king, Herod the Great, was a vassal of Augustus. It set the whole land in motion; for, in accordance with ancient Jewish custom, the census was taken, not at the places where the inhabitants were at the time residing, but at the places to which they belonged as members of the original twelve tribes.
Among those whom the edict of Augustus thus from afar drove forth to the highways were a humble pair in the Galilean village of Nazareth - Joseph, the carpenter of the village, and Mary, his espoused wife. They had to go a journey of nearly a hundred miles in order to inscribe themselves in the proper register; for, though peasants, they had the blood of kings in their veins, and belonged to the ancient and royal town of Bethlehem, in the far south of the country. Day by day the emperor’s will, like an invisible hand, forced them southward along the weary road, till at last they climbed the rocky ascent that led to the gate of the town, - he terrified
with anxiety, and she well-nigh dead with fatigue. They reached the inn, but found it crowded with strangers, who, bent on the same errand as themselves, had arrived before them. No friendly house opened its door to receive them, and they were fain to clear for their lodging a corner of the inn-yard, else occupied by the beasts of the numerous travelers. There, that very night, she brought forth her first-born Son; and, because there was neither womanly hand to assist her nor couch to receive him, she wrapped Him in swaddling-clothes and laid Him in a manger. Such was the manner of the birth of Jesus.
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Tell me the story of Jesus,
Write on my heart every word.
Tell me the story most precious,
Sweetest that ever was heard.
Tell how the angels in chorus,
Sang as they welcomed His birth.
“Glory to God in the highest!
Peace and good tidings to earth.”
Fasting alone in the desert,
Tell of the days that are past.
How for our sins He was tempted,
Yet was triumphant at last.
Tell of the years of His labor,
Tell of the sorrow He bore.
He was despised and afflicted,
Homeless, rejected and poor.
Tell of the cross where they nailed Him,
Writhing in anguish and pain.
Tell of the grave where they laid Him,
Tell how He liveth again.
Love in that story so tender,
Clearer than ever I see.
Stay, let me weep while you whisper,
Love paid the ransom for me.
Tell me the story of Jesus,
Write on my heart every word.
Tell me the story most precious,
Sweetest that ever was heard. - Fanny Crosby
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George Fredrick Handel All The Bright Seraphim Joan Sutherland, Performed in the '60s Listen
Let the bright Seraphim in burning
row,
Their loud
uplifted Angel-trumpets blow:
Let the Cherubic
host, in tuneful choirs,
Touch their immortal harps with
golden wires.
Words: Newburgh
Hamilton, after Milton /
Music: Georg Friedrich Handel, from his
oratorio "Samson", 1743
FromWhere the bright Seraphim . . . Harps
of golden wires. George Frederic Handel set
these four lines to music in "Let the
Bright Seraphim" (performace by Ken
Whitcomb at MidiWorld.com/handel), an aria
added to an oratorio that Handel composed
based on Samson from Milton's Samson
Agonistes. Samson,
After a
stay in Ireland in 1742, during which
Messiah was premiered, Handel returned to
London. There he finished preparations for
his next oratorio,
Samson, which he had begun in 1741.
This oratorio, together with
Messiah, was to form the staple of
twelve performances at Covent Garden during
the Lent season (Haweis 181). The first
performance of
Samson took place at Covent Garden
in London on February 18, 1743. Newburgh
Hamilton tailored the libretto of the
oratorio from John Milton’s (1608-1674)
Samson Agonistes (1761), an
adaptation of the biblical story of Samson
in Judges 13-16, as well as other Milton
poems (Hicks online).
As Handel originally completed
Samson in October 1741, the oratorio
ended with the effective chorus and solo,
"Bring the laurels." In preparation for the
Covent Garden season, Handel revised the
piece, adding the jubilant “To song and
dance”, and the magnificent mutual taunting
between Israelites and Philistines, “Great
Dagon has subdued our foe” (Keates 249). He
also reworked the finale, ending the opera
with the joyfully melismatic trumpet aria,
“Let the bright seraphim" and the
triumphant chorus, "Let their celestial
concerts." In stylistic 18th-century
fashion, this ending redeemed the
reflective tone of the original Miltonic
ending.
Samson’s enormous success guaranteed
several revivals during Handel’s lifetime
and for the next two centuries (Keates
248).
Where the bright
Seraphim . . . Harps of golden wires.
George Frederic Handel set these four lines
- from Milton's poem AT A SOLEM MUSIC - to
music in "Let the Bright Seraphim", an aria
added to an oratorio that Handel composed
based on Samson from Milton's Samson
Agonistes.
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THE life of Christ in history cannot cease. His influence waxes more and more; the dead nations are waiting till it reach them, and it is the hope of the earnest spirits that are bringing in the new earth. All discoveries of the modern world, every development of juster ideas, of higher powers, of more exquisite feelings in mankind, are only new helps to interpret Him; and the lifting-up of
life to the level of His ideas and character is the programme of the human race. –James Stalker
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Handel's Messiah
Word Book
Pray
Stalker's Life of Jesus Christ
St Patrick
Distilled Bible
Sam P Jones
Things Kept Secret
Oliver Cromwell
The Christian Admiral
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