“Come, Thou Fount of every blessing” is a cherished hymn, deeply embedded in Christian worship traditions across English-speaking countries. The song lyrics, “Come, Thou Fount of every blessing,” resonate with themes of gratitude, redemption, and divine guidance. However, the seemingly straightforward hymn has a rich and somewhat debated history. This article delves into the origins of “Come, Thou Fount of every blessing,” exploring its historical journey, authorship questions, and the enduring appeal of its powerful lyrics.
A Hymn’s Journey Through Time: The History of “Come, Thou Fount”
Tracing the precise history of “Come, Thou Fount of every blessing” reveals a fascinating timeline. An early reference point is found in the records of Robert Robinson of Cambridge. In his church book, an entry in Robinson’s own handwriting notes a hymn published by a “Mr. Wheatley of Norwich” in 1758, beginning with the now-familiar words “Come, Thou Fount of every blessing.” This 1758 date marks the earliest known mention of the hymn.
While efforts to locate this “Mr. Wheatley of Norwich” publication have been unsuccessful, the earliest printed version of the hymn discovered to date appears in A Collection of Hymns used by the Church of Christ in Angel-Alley, Bishopsgate, published in 1759. This collection, housed in the library of Drew Theological College, presents the hymn as the very first entry, featuring four stanzas. These stanzas begin with “Come, Thou Fount of every blessing,” “Here I raise my Ebenezer,” “O, to grace how great a debtor,” and “O, that day when free from sinning.”
The hymn gained further traction, appearing in Hearers of the Apostles Collection of Hymns (Nottingham, 1777) and a Dublin Collection (1785). However, it seemingly experienced a period of reduced usage shortly thereafter. A significant shift occurred with the emergence of a second, more widely recognized form of the hymn. This version, comprising the first three stanzas of the original 1759 text, omitting the fourth stanza, was published in Martin Madan’s Psalms & Hymns in 1760. This shorter, three-stanza version found its way into numerous hymnbooks, including George Whitefield’s Psalms & Hymns (1767) and the Countess of Huntingdon’s Collection (1764), becoming the standard text adopted by most modern hymn compilers. This is the version often found in collections like Lyra Britannica (1867).
The Authorship Debate: Robinson vs. Huntingdon
The authorship of “Come, Thou Fount of every blessing” has been a subject of debate, with claims attributed to both Robert Robinson and Selina Hastings, the Countess of Huntingdon. Evidence supporting Robert Robinson’s authorship is substantial. Firstly, the entry in his Cambridge Church Book directly lists the hymn among his works, dating back to 1758. Secondly, the third edition of A Collection of Hymns adapted to Public Worship (1778) credits the hymn to Robinson, a practice that continued in subsequent hymn collections. Furthermore, historical accounts, such as Mr. Dyer’s Memoirs of the Life & Writings of S. Robinson (1796), mention correspondence from Dr. Rippon, a hymn compiler, acknowledging Robinson as the author of “Come, Thou Fount of every blessing.” The inclusion of the hymn in Benjamin Flower’s edition of Robinson’s Miscellaneous Works (1807) and the claim by Rev. W. Robinson in Select Works of the Rev. Robert Robinson (1861) further solidify the case for Robert Robinson’s authorship.
Conversely, the claim for the Countess of Huntingdon’s authorship rests primarily on a manuscript found bound with a copy of J. & C. Wesley’s Hymns & Sacred Poems (1747). This manuscript, dated 1759 and linked to a Diana Bindon, includes “Come, Thou Fount of every blessing” attributed to the Countess of Huntingdon. However, this evidence has been largely discredited. Historical investigations, including those by D. Sedgwick, initially championed the Countess’s claim based on this manuscript but were later refuted by stronger evidence and testimonies, including denials from Lady Huntingdon’s biographer. The consensus among hymnologists and historical researchers strongly favors Robert Robinson as the author.
“Here I Raise My Ebenezer”: Exploring Key Lyrics
The lyrics of “Come, Thou Fount of every blessing” are rich in biblical imagery and theological depth. The second stanza, beginning “Here I raise my Ebenezer,” is particularly evocative. “Ebenezer,” meaning “stone of help,” references 1 Samuel 7:12, where the prophet Samuel sets up a stone to commemorate God’s help in battle against the Philistines. In the hymn, “Ebenezer” symbolizes a personal monument to God’s past faithfulness and provision. The line “Hither by Thy help I’m come” further emphasizes this journey of faith sustained by divine assistance.
Another powerful line, “O, to grace how great a debtor,” expresses profound gratitude for God’s unmerited favor. It acknowledges the immense debt of grace owed by believers for salvation and spiritual blessings. These lyrics, central to “Come, Thou Fount of every blessing,” resonate deeply with worshippers, articulating core Christian beliefs about God’s grace, guidance, and the believer’s grateful response.
Conclusion
“Come, Thou Fount of every blessing” stands as a testament to the enduring power of hymnody. While historical details surrounding its earliest publication and authorship were once debated, strong evidence points to Robert Robinson as its author. The hymn’s journey from a possible 1758 origin to its widespread adoption in the 1760s and beyond highlights its lasting appeal. The song lyrics “Come, Thou Fount of every blessing” continue to inspire and uplift congregations worldwide, offering a timeless expression of thankfulness for divine grace and unwavering faith in God’s providential care.
