The nearer we keep to the cross, the nearer, I think, we keep to our true vocation. We are mirrors reflecting the transactions of Calvary, telescopes manifesting the distant glories of an exalted Redeemer.
Our business, my brethren, is the old labor of apostolic tongues, to declare that Jesus, who is the same yesterday to-day and for ever. There may be much of the Athenian spirit among congregations, but that should be no excuse for its being tolerated among ministers we, of all men, should be the last to spend our time in seeking something new. What a rebuke this should be to those in modern times who are ever straining after novelties. If you want to find the apostles, you will surely discover them standing between these two pillars they are either discoursing upon the effect of the passion in our justification, or its equally delightful consequence in our death to the world and our newness of life.
Newton has very properly said that the two pillars of our religion are, the work of Christ for us, and his work in us by the Holy Spirit. These things, of which they were the witnesses, constituted the staple of all their discourses. HE apostles never traveled far from the simple facts of Christ's life, death, resurrection, ascension, exaltation, and second advent. The following excerpt is from "Death and Life in Christ," a sermon on Romans 6:8-11, delivered Sunday morning, 5 April 1863, at the Metropolitan Tabernacle, London. It could also be used as instrumental music preceding Communion, such as in a handbell arrangement like “Near the Cross.The Pyro Maniacs devote some space each weekend to highlights from The Spurgeon Archive. This hymn is perfect for a contemporary or blended worship service, as it fits well with modern songs such as “The Power of the Cross,” as in the choral arrangements “Near the Cross,” or “Keep Me Near the Cross,” both of which can be accompanied by piano alone, or with optional instruments. This hymn is best suited to Lent or Holy Week. If it is too fast, it sounds like a dance, which is not appropriate to the theme of the text, but an excessively slow tempo is depressing, while the text gives hope. This tune should be sung at a moderate tempo. The stanza and the refrain are in two phrases each, clearly marked by the ending long notes. He wrote the tune in 1869 and it was first published with the text in Bright Jewels. Doane, who often collaborated with Crosby, is the composer. The tune for this hymn was actually written before the text, but it was named after the text, NEAR THE CROSS. The third stanza is a prayer that the Christian would always remember God's love as shown on the cross, and the fourth looks forward to heaven. The first stanza describes redemption through Jesus' blood, and the second, the need of humanity for salvation. Each stanza has a slightly different aspect of the main theme. The first line of each stanza contains the phrase “near the cross,” emphasizing the value of Christ's redeeming work there. The fourth stanza (“Near the cross I'll watch and wait”) is occasionally omitted. Crosby wrote four stanzas and a refrain, which most hymnals have kept. The text and tune were published together in Bright Jewels for the Sunday School in 1869.
In 1869, Fanny Crosby was shown a tune by William Doane, for which she wrote this text.