Glorying in the Cross of Christ

Joseph Grigg (c. 1720–1768) was an 18th-century English Presbyterian minister and poet whose legacy rests primarily on two hymns that became staples of the evangelical movement. Born into a family of modest means, Grigg was initially trained in mechanical pursuits before forsaking his trade in 1743 to enter the ministry. He served as the assistant to the Rev. Thomas Bures at the Silver Street Presbyterian Church in London. Following the death of Mr. Bures in 1747, Grigg retired from active pastoral duties and moved to St. Albans after marrying a woman of significant property, which allowed him to focus on his literary and theological interests.

Grigg was a precocious writer who reportedly began composing hymns at the age of ten. Throughout his life, he published over forty works, including sermons and "Miscellanies on Moral and Religious Subjects" (1756). His writing often reflected the political and social anxieties of his time; for instance, his sermon "The Voice of Danger, the Voice of God" included a patriotic hymn titled "Shake, Britain, like an aspen shake," written during a period of feared foreign invasion. Despite his broad output, it was his "Hymns on Divine Subjects" that garnered lasting attention, characterized by their direct, emotional appeal and clear theological focus.

The hymn for which Grigg is most famously remembered is "Jesus, and can it ever be?" Originally titled "Shame of Jesus conquered," the text is a bold declaration of faith that challenges the notion of being embarrassed by one’s religious convictions. Another of his major contributions is "Behold a stranger at the door," which utilizes the imagery of Christ knocking at the heart. These hymns were eventually collected and republished in the mid-19th century by Daniel Sedgwick, whose research helped restore Grigg's name to the public consciousness after many of his works had fallen into obscurity.

Grigg’s later years were spent in St. Albans and Walthamstow, where he continued to write occasionally, including a "Harvest Hymn" and reflections on biblical parables. He died in 1768, leaving behind a body of work that bridged the gap between the formal, structured hymnody of the early 18th century and the more fervent, personal expressions of the later evangelical revival. His two signature hymns continue to appear in modern collections, serving as a testament to his ability to articulate the resolve and devotion of the Christian believer.