O Love, How Deep

O love, how deep, how broad, how high

This hymn expresses the paradox of divine condescension—God's infinite love demonstrated through finite human form and sacrificial death—central to Lutheran Christology. It embodies the Reformation principle that God's love reaches humanity not through human achievement but through Christ's humiliation and redemptive work.

History & Background

Originally composed in Latin by Thomas à Kempis, a 15th-century Augustinian canon and author of The Imitation of Christ. Benjamin Webb's 1854 English translation became standard in Lutheran hymnals beginning with 19th-century collections.

The original anonymous text in Latin (“O amor quam ecstaticus”) comes from a fifteenth-century manuscript from Karlsruhe. The twenty-three-stanza text has been attributed to Thomas a Kempis because of its similarities to writings of the Modema 520 EPIPHANY Devotio Movement associated with a Kempis (that movement Scripture References was an important precursor of the Reformation in the st. l = Eph. 3:18-19 Netherlands). However, there is insufficient proof that he Phil. 2:7 actually wrote this text. st. 2 = Matt. 3:13 Benjamin Webb (b. London, England, 1819; d. Marylebone, Matt. 4:1-11 London, 1885) translated the text in eight stanzas. It was st. 3-John 17:9 published in The Hymnal Noted (1852), produced by his friend st. 4 - Rom. 4:25 John Mason Neale . Webb received his education at 1 Pet. 2:24 Trinity College, Cambridge, England, and became a priest in the st. 5 - Rom. 8:34 Church of England in 1843. Among the parishes he served was John 16:7,13 St. Andrews, Wells Street, London, where he worked from 1862 to 1881. Webb’s years there coincided with the service of the talented choir director and organist Joseph Barnby , and the church became known for its excellent music program. Webb edited TheEcclesiologist, a periodi cal of the Cambridge Ecclesiological Society (1842-1868). A composer of anthems, Webb also wrote hymns and hymn translations and served as one of the editors of The Hymnary (1872). The text has a wide scope, taking in all ofJesus’s incarnate life: his birth (st. 1); identification with human affairs (st. 2); daily ministry (st. 3); crucifixion (st. 4); resurrection, ascension, and gift of the Spirit (st. 5); the final stanza is a doxology (st. 6). Thus the text summarizes Christ’s life in the same manner as the Apostles’ Creed. A striking feature is the text’s emphasis on the fact thatJesus accomplished all of this “for us”; “for us” occurs at least a dozen times! The redemptive work of Christ is very personally, very corporately applied.

Hymnal Appearances

Chalice Hymnal — 209
Evangelical Lutheran Worship — 322
Glory to God — 618
The Hymnal 1982 — 448
Lutheran Book of Worship — 88
Lutheran Service Book — 544
Lift Up Your Hearts — 167
Lutheran Worship — 275
New Century Hymnal — 209
Psalter Hymnal — 364
Trinity Hymnal — 168
United Methodist Hymnal — 448
Voices Together — 253

Translation

Benjamin Webb

Liturgical Use

Epiphany, especially later in the season; Lent, Holy Week, Easter, Ascension, and at many other times; the final stanza makes a good doxology for Epiphany, Lent, or the Easter season.

Bulletin Note

Composed by Thomas à Kempis (1380–1471), whose *Imitation of Christ* shaped spiritual life for centuries. This hymn distills his vision of Christ's self-emptying love as the model for all Christian devotion.

Preaching Connection

This hymn embodies the heart of Lutheran theology—that Christ's descent into our human condition and death exposes the Law's accusation while proclaiming the Gospel's unconditional grace.

Stanza Arc

The narrative or theological arc traced by this tune's stanzas: Christ's forty-day fast as pattern for believer's Lenten struggle against sin, culminating in Easter resurrection hope

Themes

Christ's incarnation and sacrifice Divine love Redemption Humility of God Christian devotion