Download Song Ancient Words Ever True NEW!

The best! I honestly never get tired of that experience. I write primarily for congregational singing, so if a roomful of people can sing one of my songs together in worship to God, that is the ultimate mark of success for me.

We have been taught at a young age to read the Bible; some of us were told by our parents and Sunday school teachers to read the Bible everyday, and to keep the words of the Gospel close to our hearts. But I think as kids, not all of us understood why the Bible was such an important book to read and remember.

Download Song Ancient Words Ever True

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My soul is "warmed" when the Holy Spirit speaks through those ancient, yet ever-present, words to my heart. And this reminds me of one of my favorite Gospel stories of the resurrected Christ with His disciples (Luke 24).

And so, dear brothers and sisters, may you be "warmed" as you listen to this old but ever new song, celebrating the gift of God's Speaking voice in the pages of the Scriptures. And may we all be encouraged not to neglect, nor take for granted, the precious words from the mouth of our God found in the Bible.

This song is highly poetic, hinting and tugging at important ideas balanced with enough clarity to prevent alternative interpretations to Christianity as equally valid. It speaks of the ancient words of Christ, almost 2,000 years old from our perspective, and its transformative power on our collective lives through the cross. Our response is obedience, participating as empty vessels waiting for God to full.

Unbelievers should have little struggle interpreting this as Christian. The song is stepped in religious terminology, stemming from a more traditional (Roman Catholic?) look and feel, making it slightly more difficult for the unchurched to follow along.

Ah, Lord, God thank You for every word, every phrase, every letter of Your Word. Heavenly Father place a real hunger in our hearts to know Your words and use them for our lives. Let us not only read them but let us use them. Put teachers in our lives to help us understand them. Drench us with the Holy Spirit as we read and learn how to apply them. Make it so in Jesus name!

Holy words long pre served

For our walk in this world

They resound with God's

Own heart

O let the ancient

Words im part

Words of life words of hope

Give us strength help us cope

In this world wher e'er we roam

Ancient words will guide us home

This is one of my favorite songs. My granddaughter, Alana (Lulu), sand this to open a concert for Danny Gokey to a packed house. That "old" song coming from an 11 year old had tears in everyone's eyes. xo Diana

The ancient philosopher provides the foundational critique of poetry based upon his theory of forms, deferring the true essence of things to the intelligible realm. Humanity is left bereft, in his view, of the cognitive access to these essences. Accordingly, all our artistic representations of what we perceive through sense impressions become reduced to inaccurate representations of the world. Stevens responds by developing a theory of poetry that is as philosophically serious as his poems are technically accomplished. Plato's claims for the failings of poetry, which stem from his attraction to idealism, equip him with a helpful point of reference.3 Plato's idealized forms are final; Stevens's abstractions [End Page 129] often turn out not to be ends in themselves. They allow him to test out different hypotheses, like an actor donning successive masks. "The Idea of Order at Key West" is a case in point, describing "Whatever self the sea had became the self / That was her song."4 He then returns at the close of the poem to tactile and lyric particulars:

Nevertheless, the folk-lorist treats his subject-matter as tenderly as Isaak Walton bade the angler hook his worm, for he remembers what poetry the song and saga hold, and that laughter and tears are ever young.

These essays range over a wide field, both of space and time. The earlier in arrangement deal with subjects which are purely literary and modern, and justify their presence only in the reasons advanced by the author. But the major number come within the ken of the folk-lorist, and appeal not to him only, but to all who are moved by the passion and sincerity of primitive poetry, in the skill and sympathy with which the varied note of folk-song in East and West is interpreted. In some of the examples, however, notably those from Roumania, Mr. Williams does not sufficiently allow for the modern dress in which the peasant verse is clothed.

The words of these windlass and bowline "shanties" have, of course, little of the element of finished poetry about them. They are not songs, but chants, whose purpose is to give accentuation and force to the exertion of united strength rather than to the expression of sentiment, and of which the rhythmical melody is the essential element. Whether they be new or old, they always have been essentially improvisations, capable of being stopped at any moment or added to indefinitely, and, like the refrains of the old ballads, are dependent upon the sound rather than the sense for their effect. Nevertheless, however imperfect and indefinite their expression, they took their tone and color originally from the elements in which they were born, and gave out not only the voice of the sea and the wind, the notes of the never silent olian harp of the cordage and the bellying sails, but the prevailing sentiment of the human heart upon the great deep, its underlying oppression, its longing for home, its craving for relief from monotony; and it is a dull ear that would not detect this, under the most absurd and uncouth words ever strung together in a sailor's shanty.

There were many, with slight American variants, which were undoubtedly of English origin, and have been heard on English merchant ships from time immemorial; some which relate especially to the operations of whaling; and some which had their origin on the river flatboats and in the choruses of the roustabouts on the Ohio and Mississippi, and have been only slightly changed for salt-water purposes, the quality being as little varied as the number is endless. Their essential quality was that of an improvised chant, and the dominant feeling was to be found in the intermingling of the words and the cadence, as in the apparently meaningless refrain of the old ballads. They expressed, through all their rudeness and uncouthness, and more through the melody than the words, the minor chords which distinguish all folk music, the underlying element in the human heart oppressed by the magnitude and solitude of nature, as well as the enlivening spirit of strong exertion; and no sensitive ear could ever call them really gay, however vigorous and lively they might be. The shanties are passing away with the substitution of iron cranks and pulleys for the muscles of men, and the clank of machinery has taken the place of the melodious chorus from human throats. It is not probable that they will ever entirely disappear so long as men go down to the sea in ships; but whatever life and flavor they had will fade away, and the first-class leading tenor among the "shanty men" will vanish with the need and appreciation of his skill. As for the old words, they will also be utterly lost, because they have no existence except in oral recitation and memory, and do not contain enough of the elements of pure poetry to secure their preservation in print, as the folk songs and ballads have been preserved. They are relics of custom rather than of literature; and although any poet or musician who deals with the sea will miss a source of very valuable inspiration if he does not possess himself of the spirit of their weird melody and the unconscious power of their vigorous rhythm, in themselves they are likely to be lost with the chants of the Phoenician sailors or the rowers of the galley of Ulysses, which they have succeeded, and some of whose melody they have perhaps reproduced.

The genuine sea songs differ from the shanties in that they had a definite poetical purpose to tell a story or express emotion, and were not merely words strung together to give voice to a rhythm of labor. It cannot be said that the genius of the American sailor has turned itself especially to expressing his emotions in song, any more than that of the English. His nature is entirely too practical, and the touch of tender sentiment which, in the Scotch nature, produced the beautiful fishing songs of the coast and the grand rowing and boat songs of the Western Islands, is wanting alike in him and his English associate.

the Fair American, commanded by Captain Daniel Hawthorne, which fought a British snow, laden with troops, off the coast of Portugal, and whose exploits are recorded in a ballad of very considerable spirit, and evidently by one of the crew; and some others, who did not happen to have a poet on board or a laureate on shore, and are not embalmed in verse. To this period, however, belongs what is, perhaps, the very best of American sea songs. We do not know whether its authorship was of that time or not, although it probably was, and from internal evidence would seem to have been composed by one of the very crew of the Ranger, Paul Jones's ship, which escaped from a British squadron in the Irish Channel in 1778. It was first published by Commodore Luce, in his collection of Naval Songs, with the statement that it was taken down from the recitation of a sailor. It is one of the gems of forecastle song, has the full scent of the brine and the gale, and the ship does not manouvre as if she were a wagon on dry land, as was said of Allan Cunningham's account of Paul Jones's cruises. The title given is

This battle, fought in the North Atlantic on August 2, 1812, between the American frigate Constitution, Captain Isaac Hull, and the British frigate Guerriere, Captain James R. Dacres, and one of consummate seamanship as well as fighting capacity on the part of Hull, was the theme of the best and most spirited song of the whole war; one which still keeps its place in the forecastle, and, it may be hoped, will keep it so long as Uncle Sam has a war-ship afloat. It is set to a very lively and emphatic air, called, indifferently, The Landlady of France and The Bandy-Legged Officer, from the coarsely comical words which George Colman the younger had written to it. ff782bc1db