One There is Above All Others

Marianne Nunn was a 19th-century British author and hymn writer who, despite living a life of relative seclusion, produced one of the most beloved children's hymns in the English-speaking world. Born in Colchester, Essex, in 1778, she was the sister of the Reverend John Nunn, a clergyman who played a pivotal role in the dissemination of her work. Though she authored several hymns and a book titled The Benevolent Merchant, her historical reputation rests almost entirely on her creative adaptation of an existing text to a popular folk melody.

Her most significant contribution to hymnody is the text "One There Is Above All Others," which is distinguished by its recurring refrain, "O how He loves!" Nunn wrote this version specifically to adapt John Newton’s longer and more complex hymn of the same name to the meter of the traditional Welsh air, "Ar hyd y nos" (best known as the tune for "All Through the Night"). While Newton’s original was a sophisticated theological poem, Nunn’s adaptation transformed it into a simple, repetitive, and deeply emotional song that resonated particularly well with children and in evangelical mission settings.

The hymn first appeared in her brother’s collection, Psalms and Hymns, in 1817. Its popularity crossed the Atlantic in 1830 when it was included in Joshua Leavitt’s The Christian Lyre, one of the first major American tunebooks. Over time, the hymn underwent various alterations; in some American collections, such as Curwen's The New Child's Own Hymn Book, it was modified to begin with the line "There’s a Friend Above All Others." These variations helped cement its status as a foundational piece of Victorian Sunday School music.

Marianne Nunn never married and spent much of her life dedicated to supporting her brother’s ministry and maintaining an interest in mission work. She died in 1847, leaving behind a legacy of "simple piety" that bridged the gap between the formal hymnody of the 18th century and the more accessible, melody-driven gospel songs of the 19th century. Her adaptation remains a classic example of how a well-placed refrain can breathe new life into a traditional text, ensuring it remains "circulated" for generations.