All hail the power of Jesus’ name

with
MILES LANE
CORONATION
DIADEM

I. Text: Origins

This grand hymn by Edward Perronet (1721–1792) was printed several times in the late eighteenth century, often unattributed. The earliest and most important sources are presented here to show the eventual revealing of authorship and some key alterations. For many years, the hymn was frequently misattributed, especially to Rev. John Duncan, minister of a Scottish church in London. The case for Perronet’s authorship was discussed by George Arthur Crawford in John Julian’s Dictionary of Hymnology (1892), then reviewed and further confirmed by prominent hymnologist Louis Benson in his Studies of Familiar Hymns, Second Series (1923).

The hymn “All hail the power of Jesus’ name” was first printed anonymously in a four-page booklet in Canterbury in 1779 (Fig. 1). The booklet contained only two hymns, without music, the first labeled “On the Crucifixion” and the second labeled “On the Resurrection. The Lord is King!” The crucifixion hymn (“Calm as the midnight is my soul”) spanned thirty-six stanzas of four lines. The resurrection hymn (“All hail the power of Jesu’s name!”) spanned eight stanzas of four lines. Beginning with stanza two, the hymn followed a progression of calling groups of people to worship: seraphs, morning stars, martyrs, the seed of Israel’s chosen race, heirs of David’s line, sinners, and every tribe and tongue.

Fig. 1. “On the Resurrection” (Canterbury, 1779).

The first stanza of the resurrection hymn appeared in The Gospel Magazine in a hymn supplement, November 1779, again unattributed, set to a tune by William Shrubsole (for this, see the discussion of tunes below). The text was printed in full in The Gospel Magazine in April of 1780 (Fig. 2), unattributed, identical to the booklet of Fig. 1.

In 1785, the hymn appeared in an anonymous collection, Occasional Verses Moral and Sacred (London: J. Buckland, 1785 | Fig. 3). As George Crawford observed in 1892 and Louis Benson further explained in 1923, the key to unravelling the authorship of this collection—and thus the hymn—is in a series of tributes and acrostic devices found within the collection. The tributes begin with a memorial to Vincent Perronet, Edward’s father, who died 9 May 1785, followed by an epitaph for “Mrs. C.P.” (his mother Charity), a tribute to “Mr. C.P.” formed as an acrostic on the name Charles Perronet (his brother), a tribute to “Miss D.P.” formed as an acrostic on the name Demaris Perronet (his sister), and a tribute to “Mr. J.P.,” likely a brother. Most notably, the collection contains a poem titled “On sleep,” built as an acrostic on Edward Perronet. The version of “All hail the power of Jesu’s name” in this collection is identical to the two previous versions.

II. Text: Analysis

Perronet’s original version is rich with Scripture. In the first stanza, the author calls on worshipers to recognize power in the name of Jesus rather than in the person himself. The language is reminiscent of the image expressed in Philippians 2:9-11—

Therefore God has highly exalted him and bestowed on him the name that is above every name, so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father (ESV).

The fulfillment of this is described in Revelation 4 and 5, with the angels falling at the feet of Jesus. The second stanza follows the same idea with a description of angels playing the lyre (see Rev. 5:8, 14:2-3, 15:2). This quatrain is less well regarded than the first. Literary scholar Gene Edward Veith saw it as the weakest stanza:

The imagery is unintentionally humorous: highborn seraphs falling down as they try to tune their instruments, with the Lord of all described as a choirmaster trying to get them to play in tune. Later versions of the hymn wisely leave out this stanza.[1]

In the third stanza, “morning stars” is an allusion to Job 38:7, which is usually interpreted to mean angels. Some commentators have pointed to the interesting description of the earth being both “fixed” and “floating,” although in this case “fixed” means “put into place.” The fourth stanza again seems to appeal to Revelation, to the martyrs who are described as calling out for justice (“O Sovereign Lord, holy and true, how long before you will judge and avenge our blood on those who dwell on the earth?” Rev. 6:10, ESV). “Jesse’s rod” is an allusion to Isaiah 11:1, a branch from the stump of Jesse (the father of King David).

The fifth stanza appeals to the descendants of Israel, God’s chosen race, who have been ransomed by grace (Rev. 5:9). Similarly, the sixth stanza also appeals to the line of David. The second line is an allusion to Psalm 110:1, which is quoted in Matthew 22:44, Mark 12:36, Luke 20:42, and Acts 2:34. In the seventh stanza, “The wormwood and the gall” is a biblical phrase depicting bitter affliction, as in Lamentations 3:19. The final stanza once more points to the picture of heavenly worship in Revelation 5:9, every tribe, tongue, people, and nation.

In addition to the pervasive throne room imagery from Revelation, literary scholar Leland Ryken saw parallels to the Psalms, including the way “numerous psalms (not only the praise psalms) portray God as being king not only of the Israelites but also of the universe—a motif that this poem captures in its repeated phrase ‘Lord of all.’”[2]

One of the most distinctive features of the hymn is the persistent rhyme with “all” across all eight stanzas, using single-syllable words. Hymn scholar Albert Edward Bailey called the result “monotonous,” saying “Ingenuity has exhausted itself to find a rhyme-word for ‘all.’” Nonetheless, he regarded the imagery of the hymn (especially the revision by Rippon, Fig. 4 below) as “vivid and splendid.”[3] J.R. Watson was more favorable toward the device, “which allows the variations on a sound … to have a chiming effect while expressing different aspects of the Evangelical experience.”[4]

Overall, Gene Edward Veith saw parallels between this text and the historic Te Deum Laudamus, a hymn calling upon various groups to praise their Lord. In spite of Perronet’s heading of Resurrection, many have viewed it more properly as a hymn for Ascension, including Frank Colquhoun:

The essential meaning of the Church’s feast of the Ascension is the Kingship of Christ. His exaltation to the right hand of God can be described as his coronation in the courts of heaven. Hence among the hymns we sing at Ascensiontide are those which recognize and proclaim what the old divines called “the crown rights of the Redeemer,” his royalty and his reign.[5]

III. Adaptation

The most significant revision of the hymn was made only a few years after it was first written, by John Rippon (1751–1836) in A Selection of Hymns from the Best Authors (London: Thomas Wilkins, 1787 | Fig. 4), given in seven stanzas of four lines, without music. Rippon omitted Perronet’s original second, third, and sixth stanzas, he altered most of what remained, and he composed two of his own stanzas (his fifth and seventh).

This version was headed “The spiritual coronation. Cant. iii. 11,” referring to Song of Solomon 3:11 (“Go out, O daughters of Zion, and look upon King Solomon, with the crown with which his mother crowned him on the day of his wedding, on the day of the gladness of his heart,” ESV). Rippon evidently meant this as an Old Testament foreshadowing of the wedding feast of Matthew 22, Luke 14, and/or Revelation 19, with Christ representing the kingly bridegroom. Each stanza was labeled with the target audience (Angels, martyrs, etc.).

Rippon’s editorial approach to the first stanza was light, only replacing “To” with “And” in the fourth line. His second stanza is identical to Perronet’s fourth. The third is revised from Perronet’s fifth. Here, Rippon has changed “seed of Israel’s chosen race” to read “chosen seed of Israel’s race,” the implied difference being descendants of Jews in a broad sense versus converted Jews in a narrower sense, as in Romans 11:5, “a remnant, chosen by grace”). In spite of the biblical allusion in the second line, “A remnant weak and small,” hymnal editors generally prefer Perronet’s line, “Ye ransom’d of the fall.”

Rippon’s fourth stanza, aimed at Gentiles in contrast to the Jews in stanza 3, is a mild reworking of Perronet’s seventh, replacing only the first four words. Rippon’s fifth is new. In the first line, the distinction between men and sires seems to be one of age, as the word sire can refer to either high social rank or an elder male patriarch. The intended meaning is a multi-generational call to rejoice in the conquering of sin; nonetheless, the language here has been a barrier to widespread adoption, and this stanza is the least frequently reprinted.

Rippon’s sixth stanza is a successful adaptation of Perronet’s last. Rippon chose to maintain the consistency of the last line as opposed to Perronet’s departure (“The crownèd Lord of all”). He has also borrowed the “ball” from Perronet’s original “floating ball” in stanza 3, but has given it a more sensible context as the “terrestrial ball.” Rippon’s final stanza, labelled “ourselves,” brings the praise full circle back to a congregational call to worship and adoration. Historian Mark Noll described the affect by saying, “Rippon’s triumphant concluding stanza, with its double evocation of the singing saints as “we,” personalized the hymn in a way that Perronet’s concluding general exhortation did not.”[6]

IV. Tunes

1. MILES LANE

This hymn’s first appearance with music has endured as one of its most successful settings. Perronet’s first stanza was printed with an unnamed tune by an uncredited writer in the November 1779 hymn supplement to The Gospel Magazine (Fig. 5). The tune was later determined to be by William Shrubsole (1760–1806), who at the time was a nineteen-year-old chorister at the Canterbury Cathedral. This tune is better known in England than in the United States.

Shrubsole’s tune has been widely regarded as a fine hymn tune. It was so enormously popular, it was printed in 204 collections in the 41-year span between 1779 and 1820, usually with “All hail the power,” but also sometimes with “Give thanks to God, the sov’reign Lord,” a paraphrase of Psalm 136 by Isaac Watts, and a variety of other texts.

Hymn tune scholar Nicholas Temperley offered this assessment of the tune:

For many decades, this tune was the exclusive preserve of dissenters and Methodists. The striking refrain, with threefold repetition of words, is characteristic of the fervent singing then practiced by those sects. The spectacular contrast between the prostration of the angels and the crowning of Jesus results in a range of a twelfth, and the climactic high note with fermata is apt to put a strain on most congregations.[7]

Temperley also noted how a revised version of the melody by Ralph Harrison in his Sacred Harmony (London: T. Williams, 1784)—there called SCARBOROUGH—was popular in Scotland. For additional analysis of this tune’s descendants, see Hatchett & Temperley (1994).

In John Julian’s Dictionary of Hymnology (1892), where texts were the focus and tunes were rarely mentioned, both Julian and George Arthur Crawford mentioned the historic connection between these two items. Crawford offered this explanation of how the tune came to be named:

Shrubsole’s tune appears to have become popular, especially among dissenters, soon after its publication, and the name MILES LANE was in all probability given to it from its use by a congregation of Independents who met at a chapel in Miles Lane, London, till 1795, when they were succeeded by a body of Scotch Seceders.[8]

The history of the tune name is usually attached to the old Miles’ Lane in London, near the London Bridge. The street was originally named after St. Michael’s Church, with Miles’ Lane “being merely a shortened and corrupted form of its original name, St. Michael’s Lane.”[9] The church was demolished in 1831 to make way for a new London Bridge. The credit of naming Shrubsole’s tune after Miles’ Lane is usually given to the Rev. Stephen Addington (1729–1796), who had moved to London from Market Harborough (Leicester) in 1781 to become minister to an independent congregation at Miles’ Lane, Cannon Street, and in 1783 also a tutor at an academy in Mile End, east London.[10] Addington produced a series of tune books, A Collection of Psalm Tunes for Publick Worship, as early as 1777, the twelfth edition being released the year after his death. Addington added Shrubsole’s tune at some point between the third edition (1780) and the sixth (1786).

In the United States and England, this tune was often printed under the name HARBOROUGH, especially in the late eighteenth and into the nineteenth century, which also seems to be an homage to Addington.

Some sources indicate Edward Perronet and William Shrubsole were good friends, to the extent that Perronet made Shrubsole executor of his will and left property to him. Methodist scholar Guy McCutchan reprinted an excerpt of the will, in which Perronet said he left the property to Shrubsole because of “that fine, disinterested affection he has ever shown me from our first acquaintance, even when a proverb of reproach, cast off by all my relatives, disinherited unjustly, and left to sink or swim as afflictions and God’s providence should appoint.”[11]

Shrubsole’s tombstone at Bunhill Fields, London, includes an engraved portion of MILES LANE.

2. CORONATION

As in Britain, the first appearance of “All hail the power of Jesus’ name” with music in the United States has proven to be one of the most fruitful pairings. Oliver Holden (1765–1844) published Rippon’s version of the first stanza with a tune of his own composition, CORONATION, in Union Harmony, vol. 1 (Boston: Thomas & Andrews, 1793 | Fig. 6). He misattributed the text to Samuel Medley (1739–1799), who was known to have contributed hymns to The Gospel Magazine. The melody starts in the tenor voice, moves to the soprano for the second phrase, then returns to the tenor.

Holden published a corrected version of his harmonization in the sixth edition of The Worcester Collection of Sacred Harmony (Boston: Isaiah Thomas & Ebenezer T. Andrews, 1797 | Fig. 7), fixing errors in the alto part. For a detailed analysis of subsequent harmonizations and arrangements in American hymnals, see Marion Hatchett & Nicholas Temperley (1994).

Oliver Holden was a multi-faceted individual, known for being a carpenter, real estate tycoon, musician and music store owner, tune book compiler, and preacher. Holden’s tune has been nearly inseparable from Perronet’s hymn. From 1793 to 1820, it was printed in 81 collections, always with “All hail the power of Jesus’ name.” Holden’s tombstone at the Phipps Street Burying Ground, Charlestown, Massachusetts, includes the description “Composer of the tune Coronation” and the first stanza of the hymn text.

The harmonization most often found in hymnals is the work of Lowell Mason, from The Choir, or Union Collection of Church Music (1832 | Fig. 8).

3. DIADEM

One other notable tune in common use was born of humble origins. Like MILES LANE, DIADEM was composed by a man of nineteen years, James Ellor (1819–1899). Ellor, born 26 November 1819, started his young career as a hat maker, but he belonged to a family of skilled musicians, and he himself was regarded as a prodigy at a young age. According to Nicholas Markwell, his hymn tune came about in the following fashion:

At some point between the autumn of 1835 and the spring of 1837, Ellor was trained in harmony by Charles Rider (or Ryder), a local musician and philanthropist who had taken an interest in the welfare of the group of young men in the Wesleyan chapel. It seems most likely that Ellor had been appointed choirmaster during 1837, and he wrote a number of hymn tunes for the choir, including DIADEM, which was composed for the Anniversary of the Droylsden Wesleyan Chapel in 1838 and printed on a leaflet specially composed for the occasion.[13]

Ellor’s nephew, Arthur Andrew Ellor, described the musical culture of the Droylsden church at the time:

There was no organ in the church and few hymn books containing tunes. Violins, a double bass, and whatever other instruments they could get, together with the voices, made up the choir. They had very little printed music, and each choirmaster tried his hand at composing. To save time and labor, each singer received his part only. No value seems to have been placed upon these compositions, and the most popular of them spread from church to church. The Methodist itinerant [preacher] also would take the best of these tunes with him on his travels. And so DIADEM spread, sometimes copied from the part-books, and sometimes by ear.[14]

Ellor’s time as choirmaster was brief, said to have ended in a quarrel over a fiddle, and his career as a hatmaker gave way to the burgeoning business of railway construction. Methodist scholar James Lightwood claimed Ellor’s last church anniversary service was in 1843.[15] Markwell wrote, “In February 1842 he married Sarah Harrison, and by the mid 1840s had moved to Glossop, Derbyshire, where the census of 1851 records his occupation as a porter on the railway.”[16] After the death of his wife in 1861, Ellor and his children emigrated to the United States with his parents and his five siblings. After living for a short time in Yonkers, New York, the family settled permanently in Watsessing, Bloomfield, New Jersey. Ellor does not appear to have been active in church music after his stint in Droylsden. A friend of the family, Alfred H. Edgerley, once remembered of him, “He very rarely appeared in public as a musician, but instead of the pursuit of music gave his time to reading.”[17] He died in Newburgh, New York, on 27 September 1899 and was buried in Bloomfield, New Jersey. If the tune had spread in the States by the hands of the Ellors, it would have been through his son Charles (1853–1913), who was organist for forty years at Watsessing Methodist Episcopal Church.

In 1916, Arthur Ellor was in possession of his uncle’s manuscript tune book, and he published an edition of tunes from it. He wrote:

All that he left is contained in a small hand-made, hand-ruled book, 3-1/2 x 7-1/2 inches, or a little larger than a dollar bill. Besides DIADEM, this little book contains twenty-two hymn tunes and an unfinished response. They were written in four lines, top line tenor, second line alto, third line soprano, fourth line bass. . . . [DIADEM] was written in the key of C and in 6-8 time; but since the tuning fork used by James Ellor, and now in my possession, is almost a tone lower than international pitch, the key of B-flat would be the pitch intended. For the same reason the other hymns are a tone lower than originally written. I have also used 3-4 time as a more convenient form, and which in no way changes the effect desired by the composer.[18]

Arthur’s transcription is presented here as Figure 9. Notice the date of 1841, which could be the date of copying, as all of the dates in the booklet are either 1840 or 1841. The current location of Ellor’s MS is unknown.

As for the fate of Ellor’s tune DIADEM between the intervening years of 1838 and 1916, James T. Lightwood had claimed in 1906, “DIADEM was not printed until nearly half a century after it was composed.”[19] Its survival in Britain seems to have been via informal printings in church anniversary programs and other leaflets, but these are not well documented. Its earliest known printing in the British Isles was in the Methodist Centenary Tune Book (1892 | Fig. 10), where it was presented in notes and Tonic Sol-Fa notation, credited to James Ellor.

In the U.S., the oldest known printing of Ellor’s tune is in Happy Greetings: A Collection of Choice Original Hymns and Tunes Suitable for Sunday-Schools (NY: Asa Hull, 1888 | Fig. 11), edited by Asa Hull, who claimed the copyright. Regarding Hull’s edition of the tune, Arthur Ellor remarked, “as he saw fit to make some important changes, it is fair to say that that edition was not authoritative.”[20]

When Perronet’s hymn “All hail the power of Jesus’ name” is paired with DIADEM, the second line of each stanza is repeated, and each stanza includes eight declarations of “crown him.” J.R. Watson felt Ellor’s tune was “even more extraordinary” than MILES LANE.[21] Methodist scholar Carlton Young noted how the tune is sometimes described as a choral anthem. In response, he wrote:

Whether it is a hymn tune or anthem, the robust and enthusiastic singing of this typical early nineteenth-century evangelical tune, very similar in style to SAGINA, has transformed many congregations into instant choirs.[22]

by CHRIS FENNER
for Hymnology Archive
17 February 2020
rev. 14 March 2023

Footnotes:

1. Gene Edward Veith, “All hail the power of Jesus’ name,” Lutheran Service Book Companion, vol. 1 (2019), p. 564.

2. Leland Ryken, “All hail the power of Jesus’ name,” 40 Favorite Hymns on the Christian Life (2019), p. 53.

3. Albert Edward Bailey, “All hail the power of Jesus’ name,” The Gospel in Hymns (1950), p. 122.

4. J.R. Watson, “All hail the power of Jesu’s name,” An Annotated Anthology of Hymns (2002), p. 211.

5. Frank Colquhoun, “All hail the power of Jesus’ name,” Hymns that Live (1980), p. 124.

6. Mark A. Noll, “All hail the power of Jesus’ name,” Sing Them Over Again to Me: Hymns and Hymnbooks in America (2006), p. 49.

7. Nicholas Temperley, “All hail the power of Jesus’ name,” The Hymnal 1982 Companion, vol. 3B (1994), p. 854.

8. George Arthur Crawford, “All hail the power of Jesus’ name,” A Dictionary of Hymnology, ed. John Julian (1892), p. 42.

9. “Miles’s Lane,” A Dictionary of London, ed. Henry A. Harbin (London: Herbert Jenkins, 1918): Online; see also McCutchan (1957), pp. 102–103.

10. Alexander Gordon & M.J. Mercer, “Stephen Addington,” Oxford Dictionary of National Biography (23 Sept. 2004): https://doi.org/10.1093/ref:odnb/152

11. Robert Guy McCutchan, “All hail the power of Jesus’ name,” Our Hymnody, 2nd ed. (1942), p. 207.

12. James T. Lightwood, “DIADEM,” The Music of the Methodist Hymn Book, 3rd ed. (1950), pp. 511–512.

13. Nicholas Markwell, correspondence with Chris Fenner, 25 January 2021 to 1 February 2021, based on his presentation to the Hymn Society of Great Britain and Ireland on 23 July 2019, and on an unpublished paper on Charles Rider by Sheila Macadam. Regarding Rider, “Sheila Macadam has found that ‘in September 1835 he was sworn in as a juryman at Salford Intermediate Session, New Bailey Court House, being listed as Mr Charles Rider, gentleman of Droylsden.’ By April 1837 he had moved to Leamington Spa, where he is listed as ‘taking the Chair at a meeting of the recently formed Leamington branch of the Wesleyan Foreign Mission.’”

14. DIADEM and Other Hymns by James Ellor (1916), p. 6.

15. James T. Lightwood, Hymn Tunes and Their Story (London: C.H. Kelly, 1906), p. 252: Archive.org

16. Nicholas Markwell, correspondence with Chris Fenner, 25 January 2021.

17. DIADEM and Other Hymns by James Ellor (1916), p. 4.

18. DIADEM and Other Hymns by James Ellor (1916), pp. 5–6.

19. James T. Lightwood, Hymn Tunes and Their Story (London: C.H. Kelly, 1906), p. 219: Archive.org

20. DIADEM and Other Hymns by James Ellor (1916), p. 6.

21. J.R. Watson, “All hail the power of Jesu’s name,” An Annotated Anthology of Hymns (2002), p. 211.

22. Carlton R. Young, “All hail the power of Jesus’ name,” Companion to the United Methodist Hymnal (1993), p. 194.

Related Resources:

George Arthur Crawford, “All hail the power of Jesus’ name,” A Dictionary of Hymnology, ed. John Julian (London: J. Murray, 1892), pp. 41–42: Google Books

James T. Lightwood, Hymn Tunes and Their Story (London: C.H. Kelly, 1906), pp. 219, 251–253: Archive.org

Alfred H. Edgerley & Arthur Andrew Ellor, DIADEM and Other Hymns by James Ellor (1916): PDF

Louis Benson, “All hail the power of Jesus’ name,” Studies of Familiar Hymns, Second Series (Philadelphia: Westminster, 1923), pp. 154–166: Archive.org

Robert Guy McCutchan, “All hail the power of Jesus’ name,” Our Hymnody, 2nd ed. (Nashville: Abingdon-Cokesbury, 1942), pp. 204–209.

James T. Lightwood, “DIADEM,” The Music of the Methodist Hymn Book, 3rd ed. (London: Epworth Press, 1950), pp. 511–512.

Albert Edward Bailey, “All hail the power of Jesus’ name,” The Gospel in Hymns (NY: Charles Scribner’s Sons, 1950), pp. 122–123.

Robert Guy McCutchan, “Miles Lane,” Hymn Tune Names: Their Sources and Significance (Nashville: Abingdon, 1957), pp. 102–103.

Frank Colquhoun, “All hail the power of Jesus’ name,” Hymns that Live (London: Hodder & Stoughton, 1980), pp. 124–131.

Paul G. Hammond, “All hail the power of Jesus’ name,” Handbook to the Baptist Hymnal (Nashville: Convention Press, 1992), pp. 86–87.

Carlton R. Young, “All hail the power of Jesus’ name,” Companion to the United Methodist Hymnal (Nashville: Abingdon, 1993), p. 194.

Marion Hatchett & Nicholas Temperley, “All hail the power of Jesus’ name,” The Hymnal 1982 Companion, vol. 3B (NY: Church Hymnal Corp., 1994), pp. 846–858.

J.R. Watson, “All hail the power of Jesu’s name,” An Annotated Anthology of Hymns (Oxford: University Press, 2002), pp. 210–211.

Paul Westermeyer, Let the People Sing: Hymn Tunes in Perspective (Chicago: GIA, 2005), pp. 197–198, 296–297.

Mark A. Noll, “All hail the power of Jesus’ name: Significant variations on a significant theme,” Sing Them Over Again to Me: Hymns and Hymnbooks in America (Tuscaloosa: University of Alabama, 2006), pp. 43–73.

C. Michael Hawn, “All hail the power of Jesus’ name,” History of Hymns, Discipleship Ministries, United Methodist Church (21 June 2013): https://www.umcdiscipleship.org/resources/history-of-hymns-all-hail-the-power-of-jesus-name

Carl P. Daw Jr. “All hail the power of Jesus’ name,” Glory to God: A Companion (Louisville: Westminster John Knox, 2016), pp. 264–265.

Robert Cottrill, “All hail the power of Jesus’ name,” Wordwise Hymns (16 July 2018):
https://wordwisehymns.com/2018/07/16/all-hail-the-power-of-jesus-name-2/

Leland Ryken, “All hail the power of Jesus’ name,” 40 Favorite Hymns on the Christian Life (Phillipsburg, NJ: P&R, 2019), pp. 51–54.

Joseph Herl & Gene Edward Veith, “All hail the power of Jesus’ name,” Lutheran Service Book Companion, vol. 1 (St. Louis: Concordia, 2019), pp. 563–566.

“All hail the power of Jesus’ name,” Hymnary.org:
https://hymnary.org/text/all_hail_the_power_of_jesus_name_let

J.R. Watson, “All hail the power of Jesu’s name,” Canterbury Dictionary of Hymnology:
https://hymnology.hymnsam.co.uk/a/all-hail-the-power-of-jesu's-name