Take my life, and let it be
Consecrated, Lord, to Thee.
Take my moments and my days;
Let them flow in ceaseless praise.
Take my hands, and let them move
At the impulse of Thy love.
Take my feet, and let them be
Swift and “beautiful” for Thee.
Take my voice, and let me sing
Always, only, for my King.
Take my lips, and let them be
Filled with messages from Thee.
Take my silver and my gold;
Not a mite would I withhold.
Take my intellect, and use
Every power as Thou shalt choose.
Take my will, and make it Thine;
It shall be no longer mine.
Take my heart, it is thine own;
It shall be Thy royal throne.
Take my love; my Lord, I pour
At Thy feet its treasure-store.
Take myself, and I will be
Ever, only, ALL for Thee.
Written February 4, 1874, Frances and also others called this the consecration hymn.
Miss Janet Grierson in her valuable biography of F.R.H. wrote that Frances wrote this hymn at Areley House on the edge of Stourport, Worcestershire County, the home of Mr. and Mrs. Joseph Rogers, connected by marriage with Frances’ sister Miriam Crane.1 Frances wrote this about the hymn: 2
“Perhaps you will be interested to know the origin of the
consecration hymn, ‘Take my life.’ I went for a little visit of five
days. There were ten persons in the house, some unconverted
and long prayed for, some converted but not rejoicing Christians.
He gave me the prayer, “Lord, give me all in this house!” And He
just did. Before I left the house every one had got a blessing. The
last night of my visit I was too happy to sleep, and passed most
of the night in praise and renewal of my own consecration, and
these little couplets formed themselves and chimed in my heart
one after another, till they finished with, ‘Ever, only, ALL for Thee!’ ”
Frances had cards printed with this hymn, with her name as the author omitted and a blank space for a reader’s signature. Her sister Maria wrote an account of Frances very near the end of her life: 3
“As she gave the cards, she asked them to make that hymn a
test before God, and if they could really do so, to sign it on their
knees at home.”
In the United States the Consecration Hymn is nearly always sung to the hymn score “Hendon” composed by Henri Abraham César Malan, a beautiful score; that has been used so long for this hymn, that any other score would seem ill-fitting to so many of us who know the hymn set to “Hendon.” F.R.H. clearly wanted the Consecration Hymn sung to her father’s (William Henry Havergal’s) score “Patmos.” In a letter to Charles Henry Purday written on December 30, 1878, she wrote,4
. . . . The only tune I do not like, and cannot possibly sanction, in
your Songs of Peace and Joy, is the setting of my Consecration
hymn, “Take my life,” to that wearisomely hackneyed kyrie of
Mozart. It does not suit the words either, and I was much vexed
with Mr. Mountain for printing it with it in his Hymns of Consecration,
and it would just spoil your book to let it pass. I particularly wish that
hymn kept to my dear father’s sweet little tune, “Patmos,” which
suits it perfectly. So please substitute that, and your book will be
At the top of the leaflet hymn given below this, Frances’ sister Maria wrote this:
“Patmos” F.R.H. always sang this tune by her father to these
words. Sankey’s arrangement “a mournful ditty,” grieved her.
1 Frances Ridley Havergal: Worcestershire Hymnwriter by Janet Grierson (Bromsgrove, Worcestershire: The Havergal Society, 1979), original book pages 147-148, page 1200 of Volume IV of the Havergal edition.
2 Memorials of Frances Ridley Havergal by her sister Maria Vernon Graham (London: James Nisbet & Co., 1880), original book pages 132-133, page 37 of Volume IV of the Havergal edition.
3 This is found in the “Memorandum by M.V.G.H.” in Letters by the Late Frances Ridley Havergal edited by her sister Maria Vernon Graham Havergal (London: James Nisbet & Co., 1886), original book pages 326-328, pages 236-237 of Volume IV of the Havergal edition.
4 Letters by the Late Frances Ridley Havergal, original book page 311, page 234 of Volume IV of the Havergal edition.