Praise God from Whom All Blessings Flow: An Analysis
Introduction
Historical background of the hymn
Thomas Ken (1637–1711) received his early education from Winchester College before earning his Bachelor of Arts and a Master of Arts from Hart Hall and New College in Oxford. Known for his eloquent sermons, faithfulness, and integrity, Ken had an impressive résumé which included multiple roles and positions in educational institutions and churches as well as chaplaincies, one of which was to King Charles II of England.
He eventually returned to Winchester College where he held the positions of prebendary, fellow, and chaplain, while maintaining parochial charge of St. John’s Church. It was during this time of service when he published A Manual of Prayers for the Use of the Scholars at Winchester College (1674). Although there was a possible allusion to his own compositions for morning, evening, and midnight hymns, it was his 1695 edition of this manual which included their texts in its appendix.
When King Charles II died, Ken became bishop of Bath and Wells. He, along with six other bishops, were imprisoned in the Tower of London by the new king — James II — for refusing to grant Roman Catholics religious freedom via the Declaration of Indulgence. When James II fled, and William III acquired the throne, Ken refused allegiance due to his sworn oath to James II.
His position as bishop was taken away in 1691. Although this office was later offered back to him, he refused it and lived out his remaining years in the house of his friend Lord Weymouth in Longleat, Wiltshire. Buried at sunrise, the song for his funeral was “Praise God from Whom All Blessings Flow,” later to become known simply as “Doxology.”
Two of Ken’s hymns, “Awake, My Soul, and With the Sun” and “Glory to Thee My God, this Night,” were first published in a twelve-page pamphlet (1692). He composed a third hymn, “Lord, Now My Sleep Does Me Forsake” for use at midnight. The third hymn is lesser known than the others due to its lack of suitability for use by congregants.
He authored several influential works including Hymns for the Festivals which is credited for influencing Keble’s The Christian Year. However, none of these have the same strength or style by comparison with his three hymns composed for devotional use by the boys at Winchester College.
The first two hymns found their place in almost every English hymnal for the past century and a half. Even his third hymn found its way into some collections. Although each has been adapted and/or sub-divided, twelve hymns based upon portions of Ken’s three compositions are in common use today. Although sixty-four texts are listed, these appear to be translations and/or portions of his three hymns broken up for use in various collections. No tunes or hymnals were created by Ken, but the prominent tune associated with this text over the centuries is OLD HUNDREDTH, attributed to Louis Bourgeois. This Long Meter (8.8.8.8) tune was originally published in the Genevan Psalter (1551).
The composition of his three hymns was innovative in England at his time since public worship limited itself to the use of Psalms and English hymnody was yet to come. The hymns were to be used to encourage the boys in their personal spiritual formation, sung privately in their rooms. As the titles indicated, the first hymn, (with its thirteen stanzas), was to be sung when they woke up and the second song before going to bed. For those having difficulty sleeping, the third hymn was to be used. All three hymns ended with a common stanza which is now stands on its own due to its wide usage over time around the planet:
Praise God, from Whom all blessings flow;
Praise Him, all creatures here below;
Praise Him above, ye heavenly host;
Praise Father, Son, and Holy Ghost.
Observations of its structure of Trinitarian syntax
The most obvious Trinitarian reference is the last verse. However, Trinitarian theology is present in the entire stanza. Considering the first three verses in light of the fourth creates a striking statement of One God, Three Persons. One God is the source of all blessings. One God is to be praised by all earthly and heavenly creatures. This One God is Father, Son, and Holy Spirit.
Analysis of Each Verse
Summary of main themes
The main theme is summarized by its title. Doxology comes from the Greek words doxa and logos. This literally means a “spoken word of glory.” Thus, doxology is spoken praise to God and is expressed verbally whether in speech or song. So, the theme and the theme’s expression of “Doxology” are both doxological in nature.
Biblical echoes/allusions
Considering Ken’s reference to the Psalms on page 69 of his A Manual of Prayers for the Use of the Scholars of Winchester College, along with the fact that Psalms were used exclusively in the church services of his time, it would stand to reason that the verses of his hymn would contain allusions to passages therein. With his ecclesial rank, it is assumed he was well versed in biblical knowledge of both Testaments. In light of this, allusions emerge as possible reflections spanning the entirety of Scripture:
Praise God, from Whom all blessings flow;
(Ps 21:3, 6; 128:4–5; Eph 1:3; Jas 1:17).
Praise Him, all creatures here below;
(Ps 148:7–13;103:22; 109:30; 150:3–6; Phil 2:10).
Praise Him above, ye heavenly host;
(Ps 148:1–6, 13; 103:20–22; 150:1; Rev 5:14; 7:11: 19:4–5; Phil 2:10).
Praise Father, Son, and Holy Ghost.
(Father: Matt 11:25; Luke 10:21; Phil 1:11. Son: Matt 21:16; Rom 9:5; Eph 1:12; 1 Peter 1:7. Spirit: John 4:24; Eph 1:13–14; Triune God: Matt 28:19; Genesis 1 in light of John 1:1–3, 9–10, 14).
Because the Creator of the heavens and earth is the only source of true blessing and is the only One worthy of praise, many other scriptural references could be considered as allusions to this hymn. Those noted above seemed most representative but are not comprehensive in this regard.
Trinitarian theology
The Church of England used (and continues to use) the Apostles’ Creed and Nicene Creed in worship services. These fourth century summaries of Christian belief were central to Ken’s Trinitarian theological understanding as he would have adhered to these creeds, used them in services of worship, and taught them to others. This credo permeation is evident in the summary verse of the “Doxology.” The second and third verse reflect the first statement of both creeds. The Nicene (Constantinople) Creed of 381 makes clear that all three Persons of the Trinity are one substance. Thus, the Creator in verse one who is praised by all creation in verses two and three is Father, Son, and Holy Spirit. There is One God in Three Persons who are all fully God.
Evaluation of Trinitarian Theology in Hymn
Strengths of Hymn
Thomas Ken’s hymn, “Praise God from Whom All Blessings Flow,” has several strengths. First, he simplifies a complex theological construct to make it accessible to all without compromising orthodoxy. Second, he used a poetic meter which makes it easily adaptable to existing tunes and open to the composition of new tunes and arrangements for this ancient text. Third, the brevity of this hymn contributed to its common usage and enabled it to stand the test of time.
Weaknesses of Hymn
“Doxology” has a few weaknesses as well. First, with three verses, and a wealth of Scripture available, Ken could have penned one verse for each person of the Trinity. Ignoring the economic Trinity ignores the importance of what each Person of the Trinity does. This weakness led to its second: a lack of individual focus on each Person of the Trinity gives more attention to God the Father. This implicit subordination is in line with the Monarchy of the Father doctrine and takes away from the ontological immanence of Triune God. The third weakness emerges from the first two. One could argue that by ignoring the economic Trinity while implying a Trinitarian monarchy either weakens or eliminates the perichoretic relationship of the Three Persons.
It is my opinion that the first strength mentioned above outweighs the weaknesses of the hymn. I believe Ken would not intentionally express an unorthodox view. With his firm theological stances in the face of personal loss, it is unlikely he would have purposely put forth an Eastern doctrine. His creedal beliefs were well-known to his students. His aim was obvious — to encourage young men in their spiritual formation.
This brief Trinitarian hymn from the seventeenth century, sung to a tune from the sixteenth century, is far from obscure in modern worship. One wonders if contemporary congregants realize their voices are joined with countless others from past centuries. One day all Christians from all time will join with one voice in doxa-logos to God (Rev 19:5).
References
The Celebration Hymnal: Songs and Hymns for Worship — Worship Resource Edition. Brentwood, TN: Word/Integrity, 1997.
Doyle, Sheila. “Thomas Ken.” The Canterbury Dictionary of Hymnology. Canterbury Press. http://www.hymnology.co.uk/t/thomas-ken.
“Louis Bourgeois.” https://hymnary.org/person/Bourgeois_Louis.
Morgan, Robert J. Then Sings My Soul: 150 of the World’s Greatest Hymn Stories. Nashville: Thomas Nelson Publishers, 2003.
“OLD HUNDREDTH.” https://hymnary.org/tune/old_hundredth_bourgeois.
“Thomas Ken.” https://hymnary.org/person/Ken_Thomas.
“What is the Doxology?” https://www.gotquestions.org/doxology.html
