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348. I've Got Peace Like a River

Hymn 348Traditional African American Spiritual

Lyrics

Verse 1

I've got peace like a river,
I've got peace like a river,
I've got peace like a river in my soul.
I've got peace like a river,
I've got peace like a river,
I've got peace like a river in my soul.

Verse 2

I've got love like an ocean,
I've got love like an ocean,
I've got love like an ocean in my soul.
I've got love like an ocean,
I've got love like an ocean,
I've got love like an ocean in my soul.

Verse 3

I've got joy like a fountain,
I've got joy like a fountain,
I've got joy like a fountain in my soul.
I've got joy like a fountain,
I've got joy like a fountain,
I've got joy like a fountain in my soul.

Public domain traditional spiritual, based on Isaiah 66:12 and Galatians 5:22.

The Story Behind the Hymn

"I've Got Peace Like a River" is an African American spiritual whose precise time and place of origin are unknown, having emerged, like most spirituals, from an oral tradition among enslaved people that circulated for generations before being written down. It only began appearing in printed hymnals in the late nineteenth and early twentieth centuries, with its earliest known hymnal appearance credited to a 1975 Baptist Hymnal arrangement by William Jensen Reynolds — a reminder that many spirituals of far older vintage entered the printed hymnal tradition only very late.

The song's image of peace as a river likely draws on Isaiah 66:12, where God promises to "extend peace to her like a river" — a comparison the spiritual takes and multiplies, pairing peace-like-a-river with love-like-an-ocean and joy-like-a-fountain across its three verses. Taken together, the three images correspond closely to the first three items Paul lists among the "fruit of the Spirit" in Galatians 5:22: love, joy, and peace.

The song's structure is almost entirely repetition — each line stated twice before its variation, each verse identical in form to the one before it, differing only in which single word changes. That repetition is not incidental to the song but essential to it, a form built for communal, unaccompanied singing where a single declaration is turned over and affirmed again and again rather than argued or explained.

Its simplicity has made it one of the more widely adapted spirituals in congregational use, sung in settings from quiet Sunday worship to camp meetings, its short declarative lines requiring no instruction to join in.

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