I Sing the Mighty Power of God

Isaac Watts (1674–1748), often hailed as the "Father of English Hymnody," left an enduring legacy on Christian worship through his prolific hymn writing. Frail in health for most of his life, Watts spent the last thirty years as something of an invalid, residing in the home of his dear friend, Sir Thomas Abney. Despite his physical limitations, these years became some of his most productive. In the comfort and care of the Abney household, Watts composed many of the beloved hymns that still resonate in churches today. His own words captured his humble ambition: “My design was not to exalt myself to the rank and glory of poets, but I was ambitious to be a servant to the churches, and a helper to the joy of the meanest Christian.” This statement exemplifies Watts’s commitment to spiritual edification over literary fame.

Though he faced physical frailty and was reportedly unusual in appearance—standing only five feet tall, with a disproportionately large head and a long, hooked nose—Watts’s intellect and genius were undisputed. He was a scholar of remarkable breadth, contributing significantly to theology, philosophy, logic, and literature. His published works include volumes of sermons, catechisms, and treatises on theology, as well as educational texts like textbooks on logic. Among his many contributions to Christian literature was his heartfelt concern for children. In 1715, he authored “Divine Songs for Children,” the first hymnal ever written specifically for young readers. This collection, still treasured today, was recently republished by Oxford University Press, a testament to its lasting influence.

One of the most tender examples of his writing for children appears in these lines:

“Hush, my dear, be still and slumber,
Holy angels guard thy bed;
Heavenly blessings without number
Gently falling on thy head.”
Such verses reflect Watts’s affectionate heart and sincere desire to make the truths of Scripture accessible and comforting, even to the youngest members of the church. In the preface to Divine Songs, he emphasized that “children of high and low degree, of the Church of England or dissenters, baptized in infancy or not, may all join together in these songs.” His aim was clear: to elevate young minds to spiritual truths using simple but dignified language.

The particular hymn in question, set in Common Meter Doubled (86.86.86.86), is based on a text from Watts’s 1715 collection. While the original verses came from his pen, later editors and compilers made minor alterations over the years. Among Watts's most famous hymns are timeless classics such as “Jesus Shall Reign,” inspired by Psalm 72:8 (“He shall have dominion also from sea to sea, and from the river unto the ends of the earth”), “O God, Our Help in Ages Past,” “When I Survey the Wondrous Cross,” “Am I a Soldier of the Cross?” and “Joy to the World!” These hymns have shaped Protestant worship globally and are frequently sung in both traditional and contemporary services.

The musical setting commonly used for this text is the jubilant and well-loved tune known as “Ellacombe.” The melody first appeared in 1784 in Gesangbuch der Herzogl. Württemberg, a hymnal compiled for use in the Roman Catholic Chapel of the Duke of Württemberg. Curiously, although published for a Catholic context, the hymnal featured texts and tunes by a majority of German Protestant hymn writers, reflecting the complex religious crosscurrents of the time.

“Ellacombe” made its way into English hymnody in 1868 when it appeared in the Appendix to Hymns Ancient and Modern, one of the most influential Anglican hymnals of the 19th century. The tune is characterized by its stately and joyful progression, making it suitable for celebratory texts that proclaim Christ’s reign and dominion. The tune was named after the village of Ellacombe in Devonshire, England, further reflecting the Anglican tradition of naming hymn tunes after places.

Together, Watts’s noble text and the regal tune of “Ellacombe” have produced one of the church’s most enduring combinations. Whether used to proclaim the universal kingship of Christ or to teach children the foundations of faith, this hymn endures because it unites poetic depth, theological richness, and musical joy. Like many of Watts’s hymns, it transcends its original era, continuing to stir hearts and inspire worship in countless congregations across the world.