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The End of Things Created

By William Bengo Collyer ; Anonymous (co-author) (1802) ; Thomas Cotterill (co-author) (1820) (1812)

Lyrics

1. Great God, what do I see and hear!
The end of things created!
The Judge of mankind doth appear
on clouds of glory seated!
The trumpet sounds; the graves restore
the dead which they contained before:
prepare, my soul, to meet him.
2. The dead in Christ shall first arise,
at the last trumpet's sounding,
caught up to meet him in the skies,
with joy their Lord surrounding;
no gloomy fears their souls dismay;
his presence sheds eternal day
on those prepared to meet him.
3. But sinners, filled with guilty fears,
behold his wrath prevailing;
for they shall rise, and find their tears
and sighs are unavailing:
the day of grace is past and gone;
trembling, they stand before the throne,
all unprepared to meet him.
4. Great God, what do I see and hear!
The end of things created!
The Judge of mankind doth appear
on clouds of glory seated!
Beneath his cross I view the day
when heav'n and earth shall pass away,
and thus prepare to meet him.
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Matthew 24:30-31; Matthew 25:31-32; Acts 1:11; 1 Corinthians 15:51-52; 1 Thessalonians 4:13-18; Revelation 20:11-13

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Hymn scripture: Matthew 24:30-31; Matthew 25:31-32; Acts 1:11; 1 Corinthians 15:51-52; 1 Thessalonians 4:13-18; Revelation 20:11-13

About This Hymn

The End of Things Created, beginning with the words "Great God, what do I see and hear!", is a solemn hymn about the second coming of Jesus Christ, the resurrection of the dead, and the final judgment. Its four stanzas present the great events associated with the end of the present world and call every person to prepare to meet the Lord. The hymn is a composite work rather than the writing of a single author. The first stanza is anonymous and was published in 1802. William Bengo Collyer contributed the additional stanzas in 1812, and Thomas Cotterill revised the text in 1820. Its history illustrates how hymns were sometimes developed through the contributions and editorial work of several people.

The opening stanza portrays Christ appearing as Judge upon the clouds of glory. The trumpet sounds, the graves give up their dead, and humanity is summoned to stand before its Maker. The repeated call to prepare the soul to meet the Lord gives the hymn its searching character. It directs attention away from the temporary concerns of earthly life toward the certainty of Christ's return. The biblical teaching of Matthew 25 and Revelation 20 provides the foundation for this picture of the final judgment, when all people will stand before God.

The second stanza turns to the resurrection of believers. Drawing particularly upon 1 Thessalonians 4:13-18, it describes the dead in Christ rising at the sound of the last trumpet and being gathered to meet the Lord. Unlike the fearful prospect facing those who remain unprepared, the coming of Christ brings joy and eternal comfort to His people. His presence removes the gloom of death and introduces the everlasting day of His kingdom. The hymn therefore holds together both the solemnity of judgment and the Christian hope of resurrection.

The third stanza offers a warning to those who have neglected God's call to repentance. It describes the terror of facing divine judgment without having made peace with God. The day of grace is portrayed as having passed, leaving the unprepared to stand before the throne. This is a serious reminder that the opportunity to respond to God's mercy should not be treated carelessly. The final stanza returns to the opening vision but adds a reference to the cross of Christ. In this way, the hymn directs the worshipper to the Saviour as the only hope when the heavens and earth pass away. Its closing appeal is not merely to fear the end of the world, but to be ready through faith in Jesus Christ.

The hymn is commonly associated with LUTHER'S HYMN, a German chorale melody connected with the Reformation-era hymn tradition and published in Joseph Klug's Geistliche Lieder in 1535. The tune's strong and dignified character suits the solemn subject of the text. The hymn remains appropriate for services concerning Christ's second coming, the resurrection, the last judgment, and Christian watchfulness.

From the Dictionary of Hymnology

Related terms and concepts automatically matched to this hymn.

Ein' feste Burg ist unser Gott Hymn

Luther’s Psalm 46 battle-hymn, first published in Klug’s Gesangbuch (Wittenberg, 1529), not in 1521 or 1530 as popular stories claim. Carlyle’s and Thring’s English versions lead common use.

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Ein neues Lied wir heben an Hymn

Luther’s first hymn-like piece (1523), a narrative ballad on the Brussels martyrdom of Voes and Esch. Messenger’s paraphrase “Flung to the heedless winds” is the main English congregational form.

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Erhalt uns, Herr, bei deinem Wort / Erskine, Ralph / Es giengen trew frewlach Hymn

Luther’s 1541 children’s hymn against Pope and Turk; Ralph Erskine (1685–1752), Associate Church minister and Gospel Sonnets author; and a thirteenth-century Easter carol on the holy women at the sepulchre.

Read more
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