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1 Corinthians 3:11 vs. “The Solid Rock (My Hope Is Built)”

Edward Mote (recorded by Reawaken Hymns) · checked 2026-08-22

What we checked

Passage1 Corinthians 3:11 chapter ↗
Translation shownBSB (Berean Standard Bible)
Presents itself asinspired-by
Categorynot a quote
AlbumHymns of the Son · 2022
Words addressed tonot addressed to God (sung about Him)
Teaching or experiencemixed

Graded against the standard

Quotation criteria not graded: this song never presents its words as scripture

Applies to every song the Name held holy · God shown holy · true of God · the standard

✓Reverent treatment

✓ What's good

  • Never says it is quoting: no reference, no verse framing, nothing presented as scripture
  • Both halves of the refrain are genuinely in the Bible. Paul supplies the exclusivity in 1 Corinthians 3:11 and Matthew 7 supplies the rock and the sand
  • Keeps the ground of hope outside the singer for all four stanzas, in Christ's blood, righteousness, oath and covenant, with the singer as the one leaning
  • The arranger's own page credits Edward Mote and keeps four stanzas and the refrain with no new sections added, so what is sung is the historic text

⚠ Cautions

  • The refrain reads as one verse and is two. Matthew 7 never says there is only one possible foundation; Paul does, and the seam is invisible when sung
  • 1 Corinthians 3:11 sits inside a warning to people building on the foundation, addressed to a divided church whose work will be tested. The hymn uses the verse as personal assurance, which is fair but narrower than Paul's occasion
  • Matthew 7's rock is acting on Jesus' words. A refrain about standing firm can be sung many times without the parable's question about doing ever surfacing
  • The listings do not agree on what this text is about. Hymnary's index lists more than fifty passages, and Worship Together's page for a different arrangement of the same hymn names Revelation 11:15 as its scripture reference

Verse Proof

1 Corinthians 3:11

The text in BSB (Berean Standard Bible)

“For no one can lay a foundation other than the one already laid, which is Jesus Christ.”

Paul is writing to a congregation at Corinth that has split into parties over its teachers, some claiming Paul and some claiming Apollos. In chapter 3 he answers with a building. He calls himself a skilled master builder who laid a foundation, says Apollos built on it, and then warns every builder who follows to be careful what he builds with, because the work will be tested by fire. Verse 11 is the fixed point that makes the warning work: the foundation is not up for choosing, so the only open question is the quality of what goes on top. Five verses later Paul names the building. It is the congregation itself, God's temple, and the "you" there is plural.

What the song says, described not quoted

Four stanzas with a refrain between them, in the arrangement recorded here. The first stanza names Christ's blood and righteousness as the only basis of the singer's hope and refuses to rest on anything else, including the singer's own better moments. The second turns to the times when God's face seems hidden and settles on His unchanging grace, borrowing the anchor image from Hebrews 6. The third stacks God's oath, covenant and blood as what holds a person up when everything around gives way. The fourth looks ahead to Christ's return with the singer clothed in Christ's righteousness and standing without fault. The refrain sets rock underfoot against sand and calls every other footing unstable. Nothing is quoted, no reference is given, and the whole hymn speaks about Christ in the third person rather than addressing Him.

The refrain is two passages joined at the seam. The rock and the sand are Matthew 7, the closing image of the Sermon on the Mount. The idea that no other footing exists is not in Matthew 7 at all. That parable contrasts two builders and makes the difference between them acting on what they heard; it never says there is only one possible foundation. Paul says that, in the sentence above. So the couplet everyone sings puts Matthew's picture and Paul's absolute into one line, and the line as sung appears in neither passage even though both halves are scriptural. The stanzas are not foundation language at all. They run through Hebrews 6, Isaiah 61 and the return of Christ, and Hymnary's index for the text lists more than fifty passages standing behind it. This hymn is an anthology of allusions rather than a setting of one chapter.

· Not a quote: No verse is cited and nothing is presented as quotation. The refrain joins Matthew 7's rock and sand to Paul's claim in 1 Corinthians 3:11 that no other foundation can be laid, and both halves are scriptural even though the joined sentence stands in neither passage.

▸ Official upload. Now listen with the proof in mind.

The picture comes from Matthew. The exclusivity comes from Paul. The refrain sings them as one line.

Most people file this hymn under Matthew 7, because the refrain sounds like the parable and the parable is the famous one. The picture is Matthew's. The load-bearing word is Paul's.

That matters for what a singer expects to find when they go looking. Matthew 7 will not tell you there is only one foundation, and 1 Corinthians 3 will not give you the sand. It will give you something else instead: an argument aimed at people who build churches, in a congregation that had started sorting itself by which teacher it preferred, with a warning that the work laid on top gets tested. Using the verse for personal assurance is fair, and the hymn does it well. It is still a narrower use than the occasion Paul wrote into.

Sung on repeat, this song fixes your attention on God.

What repetition plants here is a location. The refrain is the repeated part, and every time it comes round it puts the singer's footing outside the singer. The stanzas keep it there: the things named as support are Christ's blood, His oath, His covenant, His righteousness, and the singer's own contribution to the list is nothing. That is why the dwelling tag is God even though the grammar is first person throughout. Sung on a loop this rehearses dependence rather than achievement, which is a steady thing to have in you on a week that goes badly. The one thing worth adding by hand is the rest of Paul's paragraph. He moves straight from the foundation to the materials, and says the work built on top gets tested by fire. Sing where the footing is. Then read to the end of 1 Corinthians 3:15 and let it ask what you have been building with.

Two matters of record, since a proof that prints a date should say where the date came from.

The first is the date itself. Hymnary and most modern hymnals give 1834, and the arranger's own chord page credits Edward Mote, 1834. Hymnology Archive dates the first printing earlier, to The Spiritual Magazine, vol. 1, no. 8, around December 1824, printed unattributed under the title "The Immutable Basis of a Sinner's Hope," and notes that Mote's own account gives no year at all. Nothing in the hymn turns on this. It is simply not as settled as a hymnal page makes it look.

The second is the origin story, which is retold constantly and is better documented than most such stories. Mote wrote the account himself in a letter printed in The Gospel Herald in 1852: the refrain arrived while he walked up Holborn on his way to work, four stanzas were finished that day, and the last two were written by his fireside that evening after he met a deacon named King whose wife was gravely ill. He visited her daily for the five or six days she lived. That is Mote's own testimony rather than later legend. The cabinetmaker detail is documented too; he worked the trade for years before taking a Baptist pastorate at Horsham late in life. What is retold beyond the record is mostly the tidying: six original stanzas were cut to four in modern hymnals, and Bradbury's 1864 tune setting printed only three.

Corrections

  1. This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

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