Here is how author Frances Havergal describes the events that inspired the writing of this hymn: John Julian, Dictionary of Hymnology (1907) The music to which Miss Havergal invariably sang this hymn, and with which it was always associated in the publications over which she had any influence, was her father's tune Patmos, and the family's desire is that this course may be followed by others. I was too happy to sleep, and passed most of the night in praise and renewal of my own consecration and these little couplets formed themselves, and chimed in my heart one after another till they finished with 'Ever, Only, ALL for Thee!'' then and there both of them trusted and rejoiced it was nearly midnight. The last night of my visit after I had retired, the governess asked me to go to the two daughters. He gave me the prayer 'Lord, give me all in this house!' And He just did! Before I left the house every one had got a blessing. There were ten persons in the house, some unconverted and long prayed for, some converted, but not rejoicing Christians. Perhaps you will be interested to know the origin of the consecration hymn 'Take my life.' I went for a little visit of five days. The history of its origin is thus given in the HAV. It has been translated into French, German, Swedish, Russian, and other European languages, and into several of those of Africa and Asia. It has also been printed as a leaflet, in various forms for Confirmation, Self-Consecration, and for enclosing in letters, some being accompanied by her father's tune Patmos. 4, 1874, in 11 stanzas of 2 lines, and published in her Loyal Responses, 1878 the musical edition of the same, 1881 and in Life Chords, 1880.

This hymn was written at Areley House, Feb. Her more than one hundred hymns were originally published in leaflets and later gathered into seven collections: Ministry of Song (1869), Twelve Sacred Songs for Little Singers (1870), Under the Surface (1874), Loyal Responses (1878), Life Mosaic (1879), Life Chords (1880), and Life Echoes (1883), as well as in one large volume, Poetical Works (1884).Д¬hristian worship that emphasizes dedication, offering, or commitment-for example, after the sermon, as an offertory hymn, for ordination or commissioning, for profession of faith, for the dedication or anniversary of a church or congregation fits well with many stewardship themes. She also supported other charitable organizations. Taking seriously her own words 'take my silver and my gold,' she sent all her jewelry to the Church Mission Society to be sold. The daughter of a clergyman, she had a conversion experience at the age of fourteen and was confirmed in the Church of England in 1853. She began writing poetry at an early age and was also an accomplished singer and pianist.

A twelfth couplet was added at some later point, producing the six stanzas published in the Psalter Hymnal.ДЄlthough her formal education was sporadic because of poor health, Havergal learned six foreign languages, including Greek and Hebrew, and was well read in many subjects. 'Take My Life and Let It Be' was first published in the 1874 appendix to Charles B. The text is a 'catalog' hymn that lists aspects of our lives and offers them in Christ's service. I was too happy to sleep and passed most of the night in praise and renewal of my own consecration, and these little couplets formed themselves and chimed in my heart, one after another, till they finished with 'Ever, only, all, for Thee.' gave me the prayer, 'Lord, give me all this house.' And He just did! Before I left the house, everyone had got a blessing. There were ten persons in the house, some unconverted and long prayed for, some converted but not rejoicing Christians. She told the following story about writing this hymn: Oystermouth, Glamorganshire, Wales, 1879) originally composed her text in eleven couplets as a hymn of 'self-consecration to Christ' on February 4, 1874.

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