"Amazing Grace" is a Christian hymn published in 1779 by the English clergyman John Newton. With a message that forgiveness and redemption are possible regardless of the sins people commit and that the soul can be delivered from despair through the mercy of God, it is among the most sung and recorded hymns in the world and is especially popular in the United States, where it is used for both religious and secular purposes.
Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life's path was formed by a variety of twists and coincidences that were often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel so severely that he called out to God for mercy. The moment marked his spiritual conversion, Newton began studying Christian theology and later became a British abolitionist.
Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have simply been chanted by the congregation. It debuted in print in 1779 in Newton and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.
American historian Gilbert Chase writes that it is "without a doubt the most famous of all the folk hymns" and Jonathan Aitken, a Newton biographer, estimates that the song is performed about 10 million times annually. It has had particular influence in folk music, and has become an emblematic black spiritual. "Amazing Grace" became newly popular during the 1960s revival of American folk music, and it has been recorded thousands of times during and since the 20th century.
Contents
John Newton's conversion
According to the Dictionary of American Hymnology, "Amazing Grace" is John Newton's spiritual autobiography in verse.
In 1725, Newton was born in Wapping, a district in London near the Thames. His father was a shipping merchant who was brought up as a Catholic but had Protestant sympathies, and his mother was a devout Independent, unaffiliated with the Anglican Church. She had intended Newton to become a clergyman, but she died of tuberculosis when he was six years old. For the next few years, while his father was at sea Newton was raised by his emotionally distant stepmother. He was also sent to boarding school, where he was mistreated. At the age of eleven, he joined his father on a ship as an apprentice; his seagoing career would be marked by headstrong disobedience.
As a youth, Newton began a pattern of coming very close to death, examining his relationship with God, then relapsing into bad habits. As a sailor, he denounced his faith after being influenced by a shipmate who discussed with him Characteristicks of Men, Manners, Opinions, Times, a book by the Third Earl of Shaftesbury. In a series of letters Newton later wrote, "Like an unwary sailor who quits his port just before a rising storm, I renounced the hopes and comforts of the Gospel at the very time when every other comfort was about to fail me." His disobedience caused him to be pressed into the Royal Navy, and he took advantage of opportunities to overstay his leave. He deserted the navy to visit Mary "Polly" Catlett, a family friend with whom he had fallen in love. After enduring humiliation for deserting, he was traded as crew to a slave ship and began a career in slave trading.
Newton often openly mocked the captain by creating obscene poems and songs about him, which became so popular that the crew began to join in. His disagreements with several colleagues resulted in his being starved almost to death, imprisoned while at sea, and chained like the slaves they carried. He was himself enslaved by the Sherbro people of modern-day Sierra Leone and forced to work on a plantation near the Sherbro River. After several months he came to think of Sierra Leone as his home, but his father intervened after Newton sent him a letter describing his circumstances, and crew from another ship happened to find him. Newton claimed the only reason he left Sierra Leone was because of Polly.
Olney curate
Working as a customs agent in Liverpool starting in 1756, Newton began to teach himself Latin, Greek, and theology. He and Polly immersed themselves in the church community, and Newton's passion was so impressive that his friends suggested he become a priest in the Church of England. He was turned down by John Gilbert, Archbishop of York, in 1758, ostensibly for having no university degree, although the more likely reasons were his leanings toward evangelism and tendency to socialise with Methodists. Newton continued his devotions, and after being encouraged by a friend, he wrote about his experiences in the slave trade and his conversion. William Legge, 2nd Earl of Dartmouth, impressed with his story, sponsored Newton for ordination by John Green, Bishop of Lincoln, and offered him the curacy of Olney, Buckinghamshire, in 1764.
Olney Hymns
Olney was a village of about 2,500 residents whose main industry was making lace by hand. The people were mostly illiterate and many of them were poor. Newton's preaching was unique in that he shared many of his own experiences from the pulpit; many clergy preached from a distance, not admitting any intimacy with temptation or sin. He was involved in his parishioners' lives and was much loved, although his writing and delivery were sometimes unpolished. But his devotion and conviction were apparent and forceful, and he often said his mission was to "break a hard heart and to heal a broken heart". He struck a friendship with William Cowper, a gifted writer who had failed at a career in law and suffered bouts of insanity, attempting suicide several times. Cowper enjoyed Olney – and Newton's company; he was also new to Olney and had gone through a spiritual conversion similar to Newton's. Together, their effect on the local congregation was impressive. In 1768, they found it necessary to start a weekly prayer meeting to meet the needs of an increasing number of parishioners. They also began writing lessons for children.
Partly from Cowper's literary influence, and partly because learned vicars were expected to write verses, Newton began to try his hand at hymns, which had become popular through the language, made plain for common people to understand. Several prolific hymn writers were at their most productive in the 18th century, including Isaac Watts – whose hymns Newton had grown up hearing – and Charles Wesley, with whom Newton was familiar. Wesley's brother John, the eventual founder of the Methodist Church, had encouraged Newton to go into the clergy. Watts was a pioneer in English hymn writing, basing his work after the Psalms. The most prevalent hymns by Watts and others were written in the common meter in 8.6.8.6: the first line is eight syllables and the second is six.
Newton and Cowper attempted to present a poem or hymn for each prayer meeting. The lyrics to "Amazing Grace" were written in late 1772 and probably used in a prayer meeting for the first time on 1 January 1773. A collection of the poems Newton and Cowper had written for use in services at Olney was bound and published anonymously in 1779 under the title Olney Hymns. Newton contributed 280 of the 348 texts in Olney Hymns; "1 Chronicles 17:16–17, Faith's Review and Expectation" was the title of the poem with the first line "Amazing grace! (how sweet the sound)".
Critical analysis
The general impact of Olney Hymns was immediate and it became a widely popular tool for evangelicals in Britain for many years. Scholars appreciated Cowper's poetry somewhat more than Newton's plaintive and plain language, expressing his forceful personality. The most prevalent themes in the verses written by Newton in Olney Hymns are faith in salvation, wonder at God's grace, his love for Jesus, and his cheerful exclamations of the joy he found in his faith. As a reflection of Newton's connection to his parishioners, he wrote many of the hymns in first person, admitting his own experience with sin. Bruce Hindmarsh in Sing Them Over Again To Me: Hymns and Hymnbooks in America considers "Amazing Grace" an excellent example of Newton's testimonial style afforded by the use of this perspective. Several of Newton's hymns were recognised as great work ("Amazing Grace" was not among them), while others seem to have been included to fill in when Cowper was unable to write. Jonathan Aitken calls Newton, specifically referring to "Amazing Grace", an "unashamedly middlebrow lyricist writing for a lowbrow congregation", noting that only twenty-one of the nearly 150 words used in all six verses have more than one syllable.
William Phipps in the Anglican Theological Review and author James Basker have interpreted the first stanza of "Amazing Grace" as evidence of Newton's realisation that his participation in the slave trade was his wretchedness, perhaps representing a wider common understanding of Newton's motivations; though Newton is not known to have connected writing the hymn known as "Amazing Grace" to anti-slavery sentiments. After leaving Olney in the 1780s, Newton became an ardent and outspoken abolitionist and joined forces with William Wilberforce, the British Member of Parliament who led the Parliamentarian campaign to abolish the slave trade in the British Empire, culminating in the Slave Trade Act 1807.
The lyrics in Olney Hymns were arranged by their association to the Biblical verses that would be used by Newton and Cowper in their prayer meetings, and did not address any political objective. For Newton, the beginning of the year was a time to reflect on one's spiritual progress. At the same time he completed a diary – which has since been lost – that he had begun 17 years before, two years after he quit sailing. The last entry of 1772 was a recounting of how much he had changed since then.
The title ascribed to the hymn, "1 Chronicles 17:16–17", refers to David's reaction to the prophet Nathan telling him that God intends to maintain his family line forever. Christians interpret this as a prediction that Jesus Christ, as a descendant of David, was promised by God as the salvation for all people. Newton's sermon on that January day in 1773 focused on the necessity to express one's gratitude for God's guidance, that God is involved in the daily lives of Christians though they may not be aware of it, and that patience for deliverance from the daily trials of life is warranted when the glories of eternity await. Newton saw himself a sinner like David who had been chosen, perhaps undeservedly, and was humbled by it. According to Newton, unconverted sinners were "blinded by the god of this world" until "mercy came to us not only undeserved but undesired ... our hearts endeavored to shut him out till he overcame us by the power of his grace."
Dissemination
More than 60 of Newton and Cowper's hymns were republished in other British hymnals and magazines, but "Amazing Grace" was not, appearing only once in a 1780 hymnal sponsored by the Countess of Huntingdon. Scholar John Julian commented in his 1892 A Dictionary of Hymnology that outside of the United States, the song was unknown and it was "far from being a good example of Newton's finest work". Between 1789 and 1799, four variations of Newton's hymn were published in the US in Baptist, Dutch Reformed, and Congregationalist hymnodies; by 1830 Presbyterians and Methodists also included Newton's verses in their hymnals.
Although it had its roots in England, "Amazing Grace" became an integral part of the Christian tapestry in the United States. The greatest influences in the 19th century that propelled "Amazing Grace" to spread across the US and become a staple of religious services in many denominations and regions were the Second Great Awakening and the development of shape note singing communities. A tremendous religious movement swept the US in the early 19th century, marked by the growth and popularity of churches and religious revivals that got their start on the frontier in Kentucky and Tennessee. Unprecedented gatherings of thousands of people attended camp meetings where they came to experience salvation; preaching was fiery and focused on saving the sinner from temptation and backsliding. Religion was stripped of ornament and ceremony, and made as plain and simple as possible; sermons and songs often used repetition to get across to a rural population of poor and mostly uneducated people the necessity of turning away from sin. Witnessing and testifying became an integral component to these meetings, where a congregation member or stranger would rise and recount his turn from a sinful life to one of piety and peace. "Amazing Grace" was one of many hymns that punctuated fervent sermons, although the contemporary style used a refrain, borrowed from other hymns, that employed simplicity and repetition such as:
Simultaneously, an unrelated movement of communal singing was established throughout the South and Western states. A format of teaching music to illiterate people appeared in 1800. It used four syllables to distinguish the intervals of the major scale: fa-sol-la-fa-sol-la-mi-fa. Each syllable was associated with a specifically shaped note, and thus the use of books printed in this format became known as shape note singing. The method was simple to learn and teach, and schools were established throughout the South and West. Communities would come together for an entire day of singing in a large building where they sat in four distinct areas surrounding an open space, one member directing the entire gathering. Some groups sang outdoors, on benches set up in a square. Preachers used shape note music to teach hymns to people on the frontier and to raise the emotion of camp meetings. Most of the music was Christian, but the purpose of communal singing was not primarily spiritual. Communities either could not afford instruments for accompaniment, or rejected their use due to a Calvinistic sense of simplicity, so the songs were sung a cappella.
"New Britain" tune
When originally used in Olney, it is unknown what music, if any, accompanied the verses written by John Newton. Contemporary hymnbooks did not contain music and were simply small books of religious poetry. The first known instance of Newton's lines joined to music was in A Companion to the Countess of Huntingdon's Hymns (London, 1808), where it is set to the tune "Hephzibah" by English composer John Jenkins Husband. Common meter hymns were interchangeable with a variety of tunes; more than twenty musical settings of "Amazing Grace" circulated with varying popularity until 1835, when American composer William Walker assigned Newton's words to a traditional song named "New Britain" in his shape note tunebook Southern Harmony. This song was an amalgamation of two melodies ("Gallaher" and "St. Mary"), first published in the Columbian Harmony by Charles H. Spilman and Benjamin Shaw (Cincinnati, 1829). Spilman and Shaw, both students at Kentucky's Centre College, compiled their tunebook both for public worship and revivals, to satisfy "the wants of the Church in her triumphal march". Most of the tunes had been previously published, but "Gallaher" and "St. Mary" had not. As neither tune is attributed and both show elements of oral transmission, scholars can only speculate that they are possibly of British origin. A manuscript from 1828 by Lucius Chapin, a famous hymn writer of that time, contains a tune very close to "St. Mary", but that does not mean that he wrote it.
"Amazing Grace" was, according to author Steve Turner, a "marriage made in heaven ... The music behind 'amazing' had a sense of awe to it. The music behind 'grace' sounded graceful. There was a rise at the point of confession, as though the author was stepping out into the open and making a bold declaration, but a corresponding fall when admitting his blindness." Walker's collection was enormously popular, selling about 600,000 copies all over the US when the total population was just over 20 million. Another shape note tunebook named The Sacred Harp (1844) by Georgia residents Benjamin Franklin White and Elisha J. King became widely influential and continues to be used.
Another verse was first recorded in Harriet Beecher Stowe's immensely influential 1852 anti-slavery novel Uncle Tom's Cabin. Three verses were emblematically sung by Tom in his hour of deepest crisis. He sings the sixth and fifth verses in that order, and Stowe included another verse, not written by Newton, that had been passed down orally in African-American communities for at least 50 years. It was one of between 50 and 70 verses of a song titled "Jerusalem, My Happy Home", which was first published in a 1790 book called A Collection of Sacred Ballads:
Urban revival
Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. In the late 19th century, Newton's verses were sung to a tune named "Arlington" as frequently as to "New Britain" for a time.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the US and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the US were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the incipits (first line of the lyrics), or the name of the tune such as "New Britain". Publisher Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910. His version of "Amazing Grace" became the standard form of the song in American churches.
Recorded versions
With the advent of recorded music and radio, "Amazing Grace" began to cross over from primarily a gospel standard to secular audiences. The ability to record combined with the marketing of records to specific audiences allowed "Amazing Grace" to take on thousands of different forms in the 20th century. Where Edwin Othello Excell sought to make the singing of "Amazing Grace" uniform throughout thousands of churches, records allowed artists to improvise with the words and music specific to each audience. AllMusic lists more than 1,000 recordings – including re-releases and compilations – as of 2019.
Its first recording is an a cappella version from 1922 by the Sacred Harp Choir.
It was included from 1926 to 1930 in Okeh Records' catalogue, which typically concentrated strongly on blues and jazz. Demand was high for black gospel recordings of the song by H. R. Tomlin and J. M. Gates. A poignant sense of nostalgia accompanied the recordings of several gospel and blues singers in the 1940s and 1950s who used the song to remember their grandparents, traditions, and family roots. It was recorded with musical accompaniment for the first time in 1930 by Fiddlin' John Carson, although to another folk hymn named "At the Cross", not to "New Britain". "Amazing Grace" is emblematic of several kinds of folk music styles, often used as the standard example to illustrate such musical techniques as lining out and call and response, that have been practised in both black and white folk music.
Mahalia Jackson's 1947 version received significant radio airplay, and as her popularity grew throughout the 1950s and 1960s, she often sang it at public events such as concerts at Carnegie Hall. Author James Basker states that the song has been employed by African Americans as the "paradigmatic Negro spiritual" because it expresses the joy felt at being delivered from slavery and worldly miseries. Anthony Heilbut, author of The Gospel Sound, states that the "dangers, toils, and snares" of Newton's words are a "universal testimony" of the African American experience.
During the civil rights movement and opposition to the Vietnam War, the song took on a political tone. Mahalia Jackson employed "Amazing Grace" for Civil Rights marchers, writing that she used it "to give magical protection – a charm to ward off danger, an incantation to the angels of heaven to descend ... I was not sure the magic worked outside the church walls ... in the open air of Mississippi. But I wasn't taking any chances." Folk singer Judy Collins, who knew the song before she could remember learning it, witnessed Fannie Lou Hamer leading marchers in Mississippi in 1964, singing "Amazing Grace". Collins considered the hymn a talisman of sorts, and saw its equal emotional impact on the marchers, witnesses, and law enforcement who opposed the civil rights demonstrations. According to fellow folk singer Joan Baez, it was one of the most requested songs from her audiences, but she never realised its origin as a hymn; by the time she was singing it in the 1960s she said it had "developed a life of its own". It even made an appearance at the Woodstock Music Festival in 1969 during Arlo Guthrie's performance.
In American popular culture
"Amazing Grace" is an icon in American culture that has been used for a variety of secular purposes and marketing campaigns. Since 1954, when an organ instrumental of "New Britain" became a best-seller, "Amazing Grace" has been associated with funerals and memorial services. It is referenced in the 2006 film Amazing Grace, which highlights Newton's influence on the leading British abolitionist William Wilberforce, in the 2014 film Freedom which tells the story of Newton's composition of the hymn, and in the 2017 biographical film Newton's Grace.
An instrumental version appears in the credits of the 2007 documentary The Camden 28, as well as in file footage of a group of Catholic clergy and laypeople and their supporters singing the hymn after they were acquitted by jury nullification of breaking into a draft board office to oppose the Vietnam War.
The hymn has become a song that inspires hope in the wake of tragedy, becoming a sort of "spiritual national anthem" according to authors Mary Rourke and Emily Gwathmey. For example, President Barack Obama recited and later sang the hymn at the memorial service for Clementa Pinckney, who was one of the nine victims of the Charleston church shooting in 2015.
Modern interpretations
In recent years, the words of the hymn have been changed in some religious publications to downplay a sense of imposed self-loathing by its singers. The second line, "That saved a wretch like me!" has been rewritten as "That saved and strengthened me", "save a soul like me", or "that saved and set me free". Kathleen Norris in her book Amazing Grace: A Vocabulary of Faith characterises this transformation of the original words as "wretched English" making the line that replaces the original "laughably bland". Part of the reason for this change has been the altered interpretations of what wretchedness and grace means. Newton's Calvinistic view of redemption and divine grace formed his perspective that he considered himself a sinner so vile that he was unable to change his life or be redeemed without God's help. Yet his lyrical subtlety, in Steve Turner's opinion, leaves the hymn's meaning open to a variety of Christian and non-Christian interpretations. "Wretch" also represents a period in Newton's life when he saw himself outcast and miserable, as he was when he was enslaved in Sierra Leone; his own arrogance was matched by how far he had fallen in his life.
Due to its immense popularity and iconic nature, the meaning behind the words of "Amazing Grace" has become as individual as the singer or listener. Bruce Hindmarsh suggests that the secular popularity of "Amazing Grace" is due to the absence of any mention of God in the lyrics until the fourth verse (by Excell's version, the fourth verse begins "When we've been there ten thousand years"), and that the song represents the ability of humanity to transform itself instead of a transformation taking place at the hands of God. "Grace", however, had a clearer meaning to John Newton, as he used the word to represent God or the power of God.
The transformative power of the song was investigated by journalist Bill Moyers in a documentary released in 1990. Moyers was inspired to focus on the song's power after watching a performance at Lincoln Center, where the audience consisted of Christians and non-Christians, and he noticed that it had an equal impact on everybody in attendance, unifying them. James Basker also acknowledged this force when he explained why he chose "Amazing Grace" to represent a collection of anti-slavery poetry: "there is a transformative power that is applicable ... : the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature."