Lyrics
Shall we meet beyond the river,
Where the surges cease to roll,
Where in all the bright forever,
Sorrow ne'er shall press the soul?
Shall we meet, shall we meet,
Shall we meet beyond the river?
Shall we meet, shall we meet,
Shall we meet beyond the river?
Shall we meet in that blest harbor,
When our stormy voyage is o'er?
Shall we meet and cast the anchor,
By our Savior's chosen shore?
Shall we meet in yonder city,
Where the towers of crystal shine,
Where the walls are all of jasper,
Built by workmanship divine?
Shall we meet with Christ our Savior,
When He comes to claim His own?
Shall we know His blessed favor,
And sit down upon His throne?
Public domain hymn text (1858). Words by Horace L. Hastings.
The Story Behind the Hymn
Horace L. Hastings was a nineteenth-century American Congregationalist minister and publisher who wrote 'Shall We Meet Beyond the River' in 1858, over three years before the outbreak of the Civil War would give the hymn's questions about separation and reunion a far more immediate, widespread relevance.
Hastings later became especially known as a publisher of religious periodicals and hymn collections, and this hymn, one of his most enduring compositions, first appeared in his own hymnal publications before spreading into wider denominational use.
The hymn's unusual structure, built almost entirely around a repeated question rather than a settled declaration, sets it apart from many hymns of assurance. Rather than stating that believers will meet again, it asks, verse after verse, whether they shall, holding the uncertainty open rather than resolving it immediately.
That questioning structure gave the hymn particular power during the Civil War years that followed its writing, when families across the country faced genuinely uncertain separations, and the song's refusal to simply assert reunion may have felt more honest than a flat promise would have.
Its imagery, a river to be crossed and a 'blest harbor' reached after a 'stormy voyage,' draws on the same broad tradition of nautical and river crossing metaphors common to many nineteenth-century hymns, picturing death as a difficult but navigable passage rather than a final wall.
The hymn's closing verses move from general hope to specific pictures of reunion, first imagining a heavenly city with walls of jasper and towers of crystal, then asking directly whether the singer will one day meet Christ the Savior Himself and share in His blessed favor.
That willingness to sit with the question rather than rush to answer it is likely part of what has kept the hymn in use at funerals and memorial services for over a century and a half, offering mourners a way to voice hope without requiring them to feel it as settled fact.
