The Doxology Expanded

You might say simplicity is the silent strength that kept the Doxology in use for hundreds of years. Many of us reading this, myself included, have fond memories of this hymn from our formative years. We might think of the Doxology as having been ingrained into the culture of Christendom as a whole, but where did it originate?

Online sources indicate the lyrics were part of the morning prayers of English Bishop Thomas Ken around 1695. The melody can be traced at least as far back as the 1551 Geneva Psalter. Reformation composers were attempting to paraphrase biblical psalms in order to make them easier for commoners to learn. Paraphrasing Psalm 134, writer Louis Bourgeois modified a formula of notes which had been used in religious “plainsong” (similar to Gregorian chants) in France and Belgium from the 1400’s. As the melody grew in popularity, it became known simply as “old hundredth” and was also used for paraphrases of Psalm 100, among others. Bourgeois’ melody was not officially paired with Ken’s prayer hymn until around 1790 in Boston, making the current song an American innovation.

The hymn’s structure is interesting. Each line begins with the directive to “praise”. Next we see that the endings of lines 1 & 2 rhyme, while the end of line 3 rhymes with the end of line 4. Reading slowly, we notice the song was written in the common musical pattern known as “long meter” (four lines of eight syllables, notated as “8-8-8-8”). Originally, the song had only one set of notes, which the congregation was to sing a capella and in unison. If you carefully listen to contemporary remakes of the Doxology as full-length worship songs, you may notice some of these original features are simply not present. While the desire to pass this influential hymn to the next generation is commendable, attention should be given to utilizing its simple rhythm, which has stood the test of time. 

I experimented in deriving extra verses for the hymn that satisfy the requirements of the original pattern as a devotional exercise. After a lot of trial and error, the final result was a theologically rich version of the song, having separate verses praising the Father, Son, and Holy Ghost. I would be thrilled to hear if your congregation chooses to sing it. To God be the glory!

Praise God from whom all blessings flow

Praise Him all creatures here below

Praise Him above ye heavenly hosts

Praise Father, Son, and Holy Ghost

Praise Father who made earth and sky

Praise Him who hears His children cry

Praise for His covenant of love

Praise sovereign giver high above

Praise Christ the Son who washes clean

Praise Lamb through whom our Father’s seen

Praise church’s head who took our doom

Praise Him who rose free from the tomb

Praise Holy Ghost, helper within

Praise Him who strengthens against sin

Praise Him who came with tongues of fire

Praise for the word He did inspire