The authorship of this hymn swung at time between two hymn writers, Rev. Edward Perronet and Rev. Dr. John Duncan. Due to the persistent claim of the family of the latter to the authorship, it has become necessary for hymnologists to put in place some historical facts leading to the authentic authorship of the hymn. From a resume’ of these facts as compiled by George Arthur Crawford (M.A.), here is an extract from which it was established that Edward Perronet indeed wrote the hymn:

“Edward Perronet, after the rupture with Lady Huntingdon, continued to preach to a small congregation of dissenters at Canterbury, where he died in 1792. He wrote many small poetical pieces of which a few were printed, but always anonymously. In 1779, Shrubsole, who had been a chorister in Canterbury Cathedral, and was then about 20 years of age, wrote for Perronet’s hymn, then still in manuscript, the tune afterwards known as “Miles Lane”…”

In addition to the above extract, other expositions revealed the error which connected Duncan to the authorship, but the sources of the error were detected by those who committed the error. The concluding part of the resume of facts by Crawford which put paid to the question is also stated as follows:

“In 1808, when Thomas Young, Perronet’s successor at Canterbury, compiled his Beauties of Dr Watts, etc, he used Dobell’s Selection, and, not knowing the author, repeated the ascription of “Exalied High” 10 Duncan, hut correctly gives” All Hail” to Perroner, from whole trade of 1750 and his Occasional Verses, he quoressomo other pieces in the 3rd Edinonf Dr Wans er 1817and in the 4th Edition 1820, Voung, while retaining the Permonel ascription to “All Hail” omitted that of Duncan to called High’ thereby implying that he had discovered his error about Duncan.”

Rev Edward Perronet was from a French Huguenot family who fled to Switzerland and later to England in a bid to escape religious persecution. He was born in 1726 in the quaint village of Shoreham, Kent. His father was for 50 years vicar of Shoreham and was popularly known as “Bishop of Methodism” because of his strong support for the Wesleys.

Edward followed the footsteps of his father and was ordained to the ministry of the Anglican Church but with strong sympathy to the more virile evangelistic ministry of the Wesleys. Later he joined the Wesleys in pursuing their common evangelistic endeavours. While strongly attached to the Wesleys, he was for eight years an itinerant evangelistic preacher.

He later broke away from the Wesleys on some grounds of practice, one of which was the question of lay administration of the sacraments and also his strong attack on the Church of England. He immediately became a chaplain of the Countess of Huntingdon, but his continuous attacks on the Church of England became too strong and unbearable for the Countess. He, therefore, had no other choice than to leave the services of the Countess and eventually became a minister of an Independent Church in Canterbury.

It was in 1779 while serving in Canterbury that he wrote the hymn “All Hail The Power of Jesus’ Name.”He died at Canterbury on January 2, 1792. The last words credited to him were “Glory to God in the height of His Divinity! Glory to God in the depth of His Humanity! Glory to, God in His all-sufficiency! Into His hands, I commend my spirit.”

The Hymn

The hymn was originally written in eight stanzas in 1779 with the heading His D OF LORDS”-.keb.1920 “On the Resurrection.”11 first appeared in one stanza form in the of the Gospel Magazine, 1779, with a tune composed by” Miles Lane.” As a result of popular stanzas were released in the April 1780 edition of the same magazine with the title, “On the resurrection, the Lord is being subjected to series of alterations and amendments, notably from the hands of G. Burder who captioned the hymn as “The Coronation Anthem”, and Dr.J. Rippon who gave it the heading, “The Spiritual Coronation.”It is interesting to note that Dr. Rippon not only made some alterations, he, also added three stanzas and the text of his revised and rewritten edition forms the basis of all the modern versions of this hymn which are consequently designated “E. Perronet 1779-80; J. Rippon 1787″.

Despite the numerous alterations, the hymn has survived very well. One of its distinctive features is the continuous rhyme with “all”, which encourages the variations on the rhythmic sounds of ‘Fall’ ‘Ball’ ‘Call” ‘Gall’ and ‘Enthrall’ as have appeared in alternate lines of the various versions.

The Tune

Credit must be given to the dynamic nature of the original tune, which indeed projected it into prominence. As mentioned earlier, Rev. William Shrubsole, 1760-1865, composed the tune used in 1779 with the first stanza of the hymn. The tune was then titled Shrubsole, but later changed to MilesLane after a chapel in Miles Lane, London, where Rev. Shrubsole ministered for some time.

The tune is noted for its majestic mood and rousing nature, with an appropriate rising repetition of “Crown Him” producing a natural and exciting crescendo. The effect of this tune projected and promoted the hymn to the extent that the release of the remaining stanzas was highly demanded.

Another thrilling tune titled, “Coronation” after the last line “And Crown Him Lord of All” was produced by Oliver Holden (1765 1844). This tune “Coronation” is regarded as the   Oldest American tune in general use today

There is yet a third tune popularly composed in 1838 by James Ellorof Lancashire, England. He was 19 years old when he composed this tune while preparing for a Sunday School anniversary. ‘Diadem’ is well noted for its dramatic setting and dynamic movement. The most recent tune composed for this hymn is Ladywell, a Double C.M. tune which has not yet ‘caught’ the scene as others. The combined effect of these tunes has been so spectacular to the extent that the messages of the hymn are always effectively carried, expressed, and delivered.

The Message

Volumes could be written on the messages of this hymn, the central of which is to affirm the kingship and lordship of Christ and to call on all and sundry to proclaim Him so, and to “Crown Him Lord of all”. The majestic imperative of the words “And crown Him, Crown Him, Crown Him Lord of all” has reflected the power and glory of Christ to Christians all over the world.

The version of this hymn currently being used in different combinations of stanzas is given below with “suitable” titles for each of the stanzas.

Angels

All hail the power of Jesus’ name;

Let angels prostrate fall;

Bring forth His royal diadem

And crown Him Lord of all.

Martyrs

Crown Him, ye martyrs of your God,

Who from His altar call;

Praise Him whose way of praise ye trod,

And crown Him Lord of all.

Converted Jews

Ye chosen seed of Israel’s race,

Ye ransomed from the fall,

Hail Him who saves you by His grace,

And crown Him Lord of all.

The Created Order

Crown Him ye morning Stars of Light,

Who fixed this floating ball;

Now hail the strength of Israel’s might,

And crown Him Lord of all.

The Church

The New Israel Hail Him, y

Ye heirs of David’s line,

Whom David Lord did call:

Singing with

Under Standing

The God incarnate, Man Divine,

And crown Him Lord of all.

Redeemed Sinners

Sinners, whose love can never forget

The wormwood and the gall,

Go spread your trophies at His feet,

And crown Him Lord of all.

All Mankind

Let every tongue and every tribe

On this terrestrial ball,

To Him all majesty ascribe

And crown Him Lord of all.

Ourselves

O that with yonder sacred throng

We at His feet may fall,

We’ll join the everlasting song,

And crown Him Lord of all,

The Challenge

As we sing this “national anthem of Christendom,” may we be reminded that the angels in heaven, and the ransomed souls from ‘every kindred, every tribe’ on earth are worshipping with us even now, with the assurance that we will one day all join together in singing “the everlasting song”- when Christ is crowned “Lord of all.