Ah Holy Jesus

Ah Holy Jesus is an English translation of a 17th century German hymn that is in turn based upon an 11th century Latin work. It is a beautiful and poignant statement of the suffering and death of Jesus as a result of our own sin; and our response to such a gift.

Submission

Submitted By

Tim Duke

Reason for the Submission

Once you have sung this hymn, you'll understand why Tim would desire to use it in worship.

Research

Research Conducted By

Jim Duke

Copyright Information

The hymn, the hymn tune, the various translations are all in the Public Domain.

Sources

1. Cyber Hymnal Entry for Ah Holy Jesus
2. Hymnary entry for Ah Holy Jesus, how hast thou offended
3. Hymnary entry for Oh Dearest Jesus
4. Hymnary entry for Herzliebster Jesu

Hymn

Johann Heerman took his inspiration for "Ah, Holy Jesus" from a Latin text originally attributed to Augustine (354-430). Recent scholarship attributes the text to Jean de Fecamp (c.1000-1079). The poetry was originally published in a fifteenth-century devotional book entitled Meditationes sanctorum patrum. Heerman's hymn version first appeared in his Devoti Musica Cordis, ca. 1630.

Heerman wrote during the Thirty Years War, a time when many hymn writers became introspective. Writing during this time of uncertainty and trouble, Heerman's hymn emerged from a backdrop of his own personal suffering. In the lyrics, Heerman describes the afflictions of Jesus, and admits his own part in Jesus' death.

Available English Translations

For the English translation, there are two main sources: the one translated by Catherine Winkworth - often referred to as "O dearest Jesus", and the one translated by Robert Bridges - often referred to as "Ah, Holy Jesus". Hymnary provides 11 variants for the Winkworth translation; and no less than 32 variants of the Bridges translation.

I'm not going to repeat all of those different versions. Many of the variants hold to the archaic Elizabethan style; others modernize the language. Some hold to the rhythmic meter and rhyming scheme of the original German (and the tune) better than others. I'll present what I think is the version that best represents the following qualities:

1. Effectively communicates the message
2. Holds to the poetic meter of the original (which will match the tune best).
3. Uses more modern language where it doesn't cause the poetry to fail.

While Winkworth's translation is arguably the better translation of the original German; Roberts' was really a paraphrase of the original with the intent of preserving the thoughts while simultaneously preserving the poetic structure.

Based on these observations, and examining all the versions available, I ended up back where I started; with the Sumphonia hymnal version.

Preferred translation

1. Ah holy Jesus, how have you offended
   that mortal judgment has on You descended?
   By foes derided, by your own rejected,
   O most afflicted.

2. Who was the guilty? Who brought this upon You?
   It is my treason, Lord, that has undone You.
   'Twas I, Lord Jesus. I it was denied You;
   I crucified You.

3. Lo, the Good Shepherd for the sheep is offered;
   The slave has sinned, and yet the Son has suffered.
   For my atonement, though I nothing heeded,
   God interceded.

4. For me, kind Jesus, was Your incarnation,
   Your mortal sorrow and your life's oblation,
   Your death of anguish and Your bitter passion,
   For my salvation.

5. Therefore, dear Jesus, since I cannot pay You.
   I do adore you, and will ever pray You.
   Think on your pity and your love unswerving,
   Not my deserving.

Variations in the text

There are vast variations available as described above.

Objections

Some may have trouble accepting the phrase "I crucified You." Some may object with this personalization of the doctrine of substitutionary atonement. In that aspect Ah, holy Jesus is similar to "I'm the One".

Tune

Partially based on earlier melodies (including the Genevan tune for Psalm 23), HERZ LIEBSTER JESU was composed by Johann Crüger (b.1598 - d.1662) and published in his Neues vollkömliches Gesangbuch (1640). Johann S. Bach used the tune in both his St. Matthew Passion and St. John Passion, and various other composers have written preludes on the chorale.

HERZLIEBSTER JESU is a sober tune in minor tonality; it provides a strong match for Heermann's text.

Researcher Recommendation

I have no objections to the text. On the contrary, I find it extremely powerful.

“Surely He has borne our griefs And carried our sorrows; Yet we esteemed Him stricken, Smitten by God, and afflicted. But He was wounded for our transgressions, He was bruised for our iniquities; The chastisement for our peace was upon Him, And by His stripes we are healed. All we like sheep have gone astray; We have turned, every one, to his own way; And the LORD has laid on Him the iniquity of us all.” (Isaiah 53:4–6, NKJV)

“For He made Him who knew no sin to be sin for us, that we might become the righteousness of God in Him.” (2 Corinthians 5:21, NKJV)

“who was delivered up because of our offenses, and was raised because of our justification.” (Romans 4:25, NKJV)

“who Himself bore our sins in His own body on the tree, that we, having died to sins, might live for righteousness—by whose stripes you were healed.” (1 Peter 2:24, NKJV)