Hymns Based on Matthew 11:28

An Invitation to Christ is a brief translated prayer attributed to Dimitri of Rostov, not a metrical hymn with a documented tune.

Approach, My Soul, the Mercy Seat is John Newton's hymn for a believer who knows both the need to pray and the difficulty of approaching God with a burdened conscience.

Art Thou Weary, Heavy Laden is a later form of John Mason Neale's 1862 Art Thou Weary, Art Thou Languid, an English hymn based on a Greek text traditionally associated with Saint Stephen the Sabaite.

Come Sunday is a sacred song by Duke Ellington whose history spans jazz concert music, African American religious expression, recording, and later hymnal use.

Come, All of You is a short Laotian Christian hymn of invitation known in English through Cher Lue Vang’s 1987 translation for The United Methodist Hymnal.

Charles Wesley's 1747 banquet hymn is an expansive song of invitation built on Jesus' parable of the great supper in Luke 14.

“Come, Ye Disconsolate” is a hymn for people who do not need their suffering minimized.

Come, Ye Sinners, Poor and Needy is an invitation hymn for people who know that they cannot heal or qualify themselves.

Dear Lord and Father of Mankind is a prayer for forgiveness, inward renewal, discipleship, rest, and freedom from religious or emotional agitation.

Does Jesus Care? is an early twentieth-century gospel hymn built around one of pastoral ministry's most persistent questions: whether Christ's care remains personal and dependable when suffering becomes difficult to explain.

“Hark! Hark, My Soul” is a Victorian hymn of Christian pilgrimage that sets present weariness against the promised life of the world to come.

How Beauteous Were the Marks Divine is a hymn of contemplation and discipleship drawn from Arthur Cleveland Coxe's longer poem “Hymn to the Redeemer.

I Heard the Voice of Jesus Say is a hymn of invitation and response built from several of Christ’s most recognizable Gospel promises.

I Must Tell Jesus is a gospel hymn of prayerful dependence on Christ in the ordinary pressures of Christian life.

I Need Thee Every Hour is a gospel hymn of continual dependence on Christ.

I Remember When My Burdens Rolled Away is a testimony song built around remembered deliverance.

Jesus Calls Me, I Must Follow is a compact gospel song about Christian discipleship: Christ calls, and the believer answers with obedience, trust, and perseverance.

Jesus Is Tenderly Calling Thee Home is a late nineteenth-century gospel invitation hymn that presents the call of Christ as both gracious and urgent.

Jesus the Very Thought of Thee is Edward Caswall's nineteenth-century English rendering of verses from the medieval Latin devotional poem commonly known as Jesu dulcis memoria.

Jesus, Lover of My Soul is a prayer for people who have run out of spiritual self-confidence.

Leave It There is a gospel hymn of trust written and composed by Charles Albert Tindley.

“Living for Jesus” is a hymn of consecration in which Christian dedication is presented as a response to Christ's prior saving work.

Lord God of Hosts, Whose Purpose, Never Swerving is a corporate prayer for a church that wants its service to be governed by God's purpose rather than by its own ambition.

Near to the Heart of God is a 1903 gospel hymn in which Cleland Boyd McAfee joined his own words to his own tune.

Now the Day Is Over is an English evening hymn by Sabine Baring-Gould that turns the fading of daylight into an act of Christian trust.

Now, on Land and Sea Descending is an evening hymn that turns the fading of daylight into an act of trust.

Only Trust Him is an invitation hymn built around a direct appeal: the burdened sinner is called to come to Christ, receive mercy, and place personal confidence in him.

Out of My Bondage, Sorrow and Night, also widely indexed under the title “Jesus, I Come,” is a gospel hymn about responding personally to Christ’s saving invitation.

Safe in the Arms of Jesus is a nineteenth-century gospel hymn centered on refuge, assurance, rest, and Christian hope in the presence of suffering and death.

Safely Through Another Week is John Newton’s Saturday-evening hymn of gratitude, confession, preparation, and Christian hope.

Serenity is a short devotional text assembled from two stanzas of John Greenleaf Whittier's 1872 poem The Brewing of Soma and later set by Charles Ives.

“Softly and Tenderly Jesus Is Calling” is an invitation hymn built around a striking combination of gentleness and urgency.

Tell It to Jesus is a late-nineteenth-century gospel hymn built around a direct pastoral counsel: bring sorrow, guilt, anxiety, mortality, and hope to Christ in prayer.

This early twentieth-century gospel hymn portrays prayer as hospitable communion with Jesus Christ.

“The Haven of Rest” is a late-nineteenth-century gospel hymn that presents conversion and Christian assurance through an extended maritime image.

The Shadows of the Evening Hours is Adelaide Anne Procter’s Victorian evening prayer in verse.

Thou Hidden Love of God is an English translation by John Wesley of Gerhard Tersteegen’s German hymn “Verborgne Gottesliebe, du.

Thou Hidden Source of Calm Repose is one of Charles Wesley’s concentrated hymns of praise to the all-sufficiency of Christ.

Try Jesus is a mid-twentieth-century Southern gospel invitation song that directs disappointed and burdened hearers toward Christ.

We Bear the Strain of Earthly Care is a compact hymn about Christian discipleship in the middle of ordinary work.