Sunday, April 01, 2007

Come, faithful people, come away

Many years ago when I was a student and later when I was a research fellow and a young mum in Cambridge, we used to go to LSM when not at King's Chapel or wherever else, and every year on Palm Sunday there was a procession from Laundress Green to LSM. That's still true, but what are no longer there are some hymns of which I have particularly fond memories.

Today's subject is "Come Faithful People Come Away". It's classified as a carol by the English Hymnal, which says (in its Palm Sunday Procession section) "If required, the following carol may also be sung". But the words are by G. Moultrie (1829-85) and the music, a jolly skipping melody written as three crotchets in a bar, is "Come Faithful People" by C. Bicknell, 1842-1918. The hymn recounts the story of Christ's entry into Jerusalem on a donkey and all that palm waving stuff.

It's a good hymn to process to. Now that might seem surprising because of the tune being in three time. For many years after we moved to Oxford we tried to persuade our Oxford Vicar to put "Come, faithful people, come away" into the Cowley St John street procession for Palm Sunday, but he wouldn't have it (there we had "Onward Christian Soldiers" and other traditional marching hymns, nothing seasonal at all, except maybe "Ride On Ride On"). The trouble is, you could never persuade anyone who didn't already know it that it could be a marching hymn.

The reason why it works so well for marching is that it really goes at one in a bar, or, if you like, in 6:8 so it's like two sets of triplets, dum de de, dum de de. So if it's taken quickly it's very easy to march to because you stride out on the first beat of each bar and the skipping triplets give you plenty of time to move at a stately pace without the tune become plodding or boring. Brilliant really.

What's tragic is that it's gone altogether from the NEH.

What a loss. Here (from the Oremus Hymnal, but converted to English spelling) are the words:

Come, faithful people, come away
your homage to your Monarch pay;
it is the feast of palms today:
Hosanna in the highest!

When Christ, the Lord of all, drew nigh
on Sunday morn to Bethany,
he called two loved ones standing by:
Hosanna in the highest!

"To yonder village go," said he,
"An ass and foal tied shall ye see,
loose them and bring them unto me:"
Hosanna in the highest!

"If any man dispute your word,
say, 'They are needed by the Lord,'
and he permission will accord:"
Hosanna in the highest!

The two upon their errand sped,
and found the ass as he had said,
and on the colt their clothes they spread:
Hosanna in the highest!

They set him on his throne so rude;
before him went the multitude,
and in their way their garments strewed:
Hosanna in the highest!

Go, Saviour, thus to triumph borne,
thy crown shall be the wreath of thorn,
thy royal garb the robe of scorn:
Hosanna in the highest!

They thronged before, behind, around,
they cast palm-branches on the ground,
and still rose up the joyful sound:
Hosanna in the highest!

"Blessèd is Israel's King," they cry;
"Blessed is he that cometh nigh
in name of God the Lord most high."
Hosanna in the highest!

Thus, Saviour, to thy passion go,
arrayed in royalty of woe,
assumed for sinners here below:
Hosanna in the highest!


Saturday, March 24, 2007

Vexilla regis prodeunt

When we went to sing evensong at Bury St Edmunds one of the hymns prescribed for the service was "The Royal Banners Forward Go". There was a great to-do among us the visiting choir "because," (said some) "they've added two verses which aren't normally there."

Well I think the truth is this (though I've lost the service sheet so I'm not absolutely sure). It's not that they'd added two verses. It's that the New English Hymnal has left one out, and also that the photocopy of the words and melody that we had in our choir folders was incomplete and had the last verse left off, due presumably to the fact that the last verse was over the page in the hymn books.

The New English Hymnal supplies seven verses of vexilla regis. The old English Hymnal supplied the same seven. They are given in J.M. Neale's translation but the NEH has made one change to the translation ("The universal Lord is he who reigns and triumphs from the tree" has now replaced "Amidst the nations, God, saith he, hath reigned and triumphed from the tree" in verse 3).

But what is the eighth verse that is missing?

Eight verses are given in Frederick Brittain's Penguin Book of Latin Verse attributed to Venantius Fortunatus. You don't have to go far to find one that's missing in our hymnals: here is verse 2 of the original:

Confixa clavis viscera
Tendens manus, vestigia,
Redemptionis gratia
Hic immolata est hostia.


Roughly this means "His innards were pierced through with the nails, stretching out his hands, his feet, for the sake of redemption he here was sacrificed as victim."

However if we thought that was the missing verse we're going too fast, because the last two verses of the Latin text are also not in the translation. In fact what we get in the EH and the NEH is only five of eight verses written by Venantius Fortunatus (530-609), with two extra verses that form the doxology which were apparently added (in Latin) by someone else a bit later. You can find the whole of it (ten verses, including the two that are not by VF) here along with the translation (of selected verses) by Walter Kirkham Blount (d 1717), which Michael Martin there suggests is considered to be the best one ever done. As you'll see, the three unfamiliar verses don't appear in Blount's translation either. So what we got in Bury St Edmunds was a bit more of what Venantius F wrote. However, since I don't have the service sheet with me I can't tell you exactly which other verse we got (but probably one of the last two judging by where it came in the hymn).

Not something to complain about, it seems to me. The more the merrier, I say.

Saturday, February 24, 2007

O lux beata Trinitas

Last Sunday I was a bit surprised to find that the office hymn set for Evensong was O Lux beata Trinitas (O Trinity of Blessed Light). It appears in the New English Hymnal as the office hymn for the period from Epiphany to Lent. This struck me as odd, since I felt sure that we used to sing it in the summer, in Trinity season; but the book said so, so I didn't complain.

I was also troubled to see that four verses were given in The New English Hymnal, not the three that I knew from of old, and that the hymn was said to be "From the Latin, translated by J.M. Neale 1818-66 and EDITORS". It was unclear whether that meant that the Editors had done some more translating from the Latin, or that they had done some more writing.

Well, I'm sure you've guessed. They'd done some more writing...

And they say "From the Latin" perhaps because they hadn't the heart to say that the original, from which they had borrowed some words and ideas, had once been by St Ambrose, that it was originally written in the fourth century A.D. and that it had been loved and preserved, and sung by generations of devout believers, for sixteen pious centuries before they saw fit to mess it up.

But wait. First, before we take a look at that, we need to do some detective work to settle the question what season this hymn should be proper to. Is it really the office hymn for Sunday evenings from Epiphany to Lent as the NEH suggests? Is it really the office hymn for Saturdays from Trinity Sunday to Advent, as the English Hymnal suggests? Or is it neither?

This is what we learn from the website Thesaurus Precum Latinarum
"This hymn is ascribed to St. Ambrose (340-397) and is used for Sunday Vespers for the second and fourth weeks of the Psalter in the Liturgy of the Hours. The hymn appears in the Roman Breviary under the title of Iam sol recedit igneus, where it is the Vespers hymn for the ferial office on Saturdays and Trinity Sunday."

Now I'm not entirely sure I understand that. It seems to me that the ferial office on Saturdays means Saturdays that are not a feast day and not in any special season of the year. This could explain the English Hymnal which says Saturday evensong from Trinity to Advent: that is the green season, so to speak. But does it also apply to the green season from Epiphany to Lent? Not according to the English Hymnal which provides Deus Creator Omnium for the Saturday evenings from the Octave of Epiphany to Lent. Even if it does apply to the Epiphany to Lent period, it seems it would not, pace the NEH, be for Sunday evening (other than the evening of Trinity Sunday), but for Saturday.

I also don't understand the bit that says it is used for the second and fourth weeks of the psalter in the Liturgy of the Hours. Perhaps someone can explain that claim to me.

Now for the text. Here (sourced from Michael Martin's Thesaurus Precum Latinarum) is what St Ambrose wrote (if, as we understand, it was indeed he).

O LUX beata Trinitas,
et principalis Unitas,
iam sol recedit igneus,
infunde lumen cordibus.
Te mane laudum carmine,
te deprecemur vespere:
te nostra supplex gloria
per cuncta laudet saecula.
Deo Patri sit gloria,
eiusque soli Filio,
cum Spiritu Paraclito,
et nunc, et in perpetuum.

Here, about as precise as they come, is what J.M. Neale produced as a translation:

O Trinity of blessed light,
O Unity of princely might,
The fiery sun now goes his way;
Shed thou within our hearts thy ray.

To thee our morning song of praise,
To thee our evening prayer we raise;
Thy glory suppliant we adore
For ever and for evermore.

All laud to God the Father be;
All praise, eternal Son to thee;
All glory as is ever meet,
To God the holy Paraclete.

It is not only a verbatim translation, but of course it also fits the original metre so you can sing it to the correct plainsong tune. Hooray for JMN.

The EDITORS evidently thought some improvement was needed. "Princely" in line 2 has become "primal". I guess that this is supposed to render "principalis" (principal) in the sense of 'original' instead of Neale's 'princely' which tries to render the regal sense of 'principal'. Which is more appropriate? The idea is that as the sun goes down we need another light to shine in our hearts instead, namely the light of the Trinity that is also a unity. Is the thought that the light of the trinity is older than the light of the sun? That is presumably what the NEH Editors have taken to be the thought expressed by 'principalis'. Or is the thought that the light of God is superior, a more powerful guide? That is presumably what Neale thought. And it was for that reason that he used the word "might" which is not in the Latin but comes from the "princely" sense of principalis. The NEH Editors have kept the "might" but linked it with "primal" instead of "princely". I suppose that is intended to capture the ambiguity of "principalis", by retaining something of each sense. I'm not entirely convinced that the end result is comprehensible, however.

The second verse is unchanged.

The last verse has been rewritten to get rid of the 'Paraclete' word. Sad.

And between the second and the last verse, the EDITORS have added this piece of new doggerel:

O Trinity, O Unity,
Thou help of man's infirmity,
Protect us through the hours of night,
Who art our everlasting light.

I've been trying to discover whether the editors found this verse in some other latin hymn and decided to nick it. But I'm pretty sure it's entirely of their own making. For one thing it just says the same again as was said more neatly above, that the Trinity is our light, only that it then adds some waffle about protection which does not belong to the theme of the hymn (which is the thought that we want enlightenment). The EDITORS have gone off point, as though what we wanted was light to protect us from nasty things that creep up on us in the dark.

One thing that extra verse does add is a completely pointless bit of man speak ("man's infirmity"). Not clear what that is, but if you are going to compose new words in the twentieth century, you might at least try to make clear whether the word is translating homo or vir. In this case, of course, neither. So why "man"?

Sunday, February 11, 2007

Praise to the Lord the Almighty

I thought it worth observing, briefly, that the hymn "Praise to the Lord the Almighty" has seven verses in the English Hymnal (three of them starred) and only six verses in the New English Hymnal (two of them starred) and that the origin of the starred verses is something of a mystery.

The hymn is (purports to be) a translation of Lobe den Herren, a German hymn published in 1680 in A und Ω Glaub- und Lieb­es­ü­bung by Joachim Neander (1650-80). The English version that we know is said to be translated by "Catherine Winkworth and others". The minimal bit of research I've done on the matter so far suggests that four verses were translated by Winkworth, that is the four that are unstarred in the hymn books. However, the Cyberhymnal gives seven verses and implies that all of them are by Winkworth. Still it seems that the EH and NEH concur in believing that some of their verses at least are not by Winkworth (and since those in the NEH are all, without exception, in the Cyberhymnal's version, it seems that it cannot be true both that everything in the Cyberhymnal entry is by Winkworth and that some of what is in the NEH entry is by "others".)

However, the plot thickens, for I have so far been unable to find more than five verses in the German. Indeed, Frank Colquhoun affirms that the original was of five stanzas (A Hymn Companion, page 22). This seems to be confirmed by the fact that the Cyberhymnal and several other sites provide five verses of the German text, the same five in all cases. This is what they have:

Lobe den Herren, den mächtigen König der Ehren!
Meine geliebte Seele, das ist mein Begehren.
Kommet zu Hauf! Psalter und Harfe, wacht auf!
Lasset den Lobgesang hören!

Lobe den Herren, der alles so herrlich regieret,
Der dich auf Flügeln des Adelers sicher geführet,
Der dich erhält, wie es dir selber gefällt.
Hast du nicht dieses verspüret?

Lobe den Herren, der künstlich und fein dich bereitet,
Der dir Gesundheit verliehen, dich freundlich geleitet.
In wieviel Not hat dich der gnädige Gott
Über dir Flügel gebreitet.

Lobe den Herren, der deinen Stand sichtbar gesegnet,
Der aus dem Himmel mit Strömen der Liebe geregnet.
Denke daran, was der Allmächtige kann,
Der dir mit Liebe begegnet.

Lobe den Herren; was in mir ist, lobe den Namen.
Alles was Odem hat, lobe mit Abrahams Samen.
Er ist dein Licht; Seele, vergiß es ja nicht;
Lob ihn und schließe mit Amen!


The five verses in the German appear to be verses 1 to 4 and verse 7 of the seven provided in the Cyberhymnal, that is these ones:

Praise to the Lord, the Almighty, the King of creation!
O my soul, praise Him, for He is thy health and salvation!
All ye who hear, now to His temple draw near;
Praise Him in glad adoration.

Praise to the Lord, Who over all things so wondrously reigneth,
Shelters thee under His wings, yea, so gently sustaineth!
Hast thou not seen how thy desires ever have been
Granted in what He ordaineth?

Praise to the Lord, Who hath fearfully, wondrously, made thee;
Health hath vouchsafed and, when heedlessly falling, hath stayed thee.
What need or grief ever hath failed of relief?
Wings of His mercy did shade thee.

Praise to the Lord, Who doth prosper thy work and defend thee;
Surely His goodness and mercy here daily attend thee.
Ponder anew what the Almighty can do,
If with His love He befriend thee.

Praise to the Lord, O let all that is in me adore Him!
All that hath life and breath, come now with praises before Him.
Let the Amen sound from His people again,
Gladly for aye we adore Him.

Of these you will notice, perhaps, that verse 3 is unfamiliar. It doesn't appear in any of the hymn books that I own. So four of the verses we normally sing are from Neander's original, and there is a fifth that we do not normally sing (and which, perhaps, Winkworth did not translate?).

So where do the rest come from? There seem to be a total of eight verses in circulation, those five and three more. The English Hymnal had all three of the additional ones which it marked as "Part 2", all of which were starred. They went like this:

Praise to the Lord, Who, when tempests their warfare are waging,
Who, when the elements madly around thee are raging,
Biddeth them cease, turneth their fury to peace,
Whirlwinds and waters assuaging.

Praise to the Lord, who when sickness with terror uniting,
Deaf to entreaties of mortals, its victims is smiting,
Pestilence quells, Sickness and fever dispels,
Grateful thanksgiving inviting.

Praise to the Lord, Who, when darkness of sin is abounding,
Who, when the godless do triumph, all virtue confounding,
Sheddeth His light, chaseth the horrors of night,
Saints with His mercy surrounding.


Of these the first and third survive into the NEH but the second has been cut. None of them seems to be based on anything written by Neander.

Now it seems to me that the correct description of this hymn as it currently appears in the NEH is that it is part of a hymn by Neander, that part being translated by Winkworth, with some additional interpolated verses, perhaps composed in English not German, by someone else we know not whom. In this, the EH was if anything slightly less close to authenticity than the NEH because it had added three of those interpolated verses, not just two. Why they made it look as though they were translations of Neander's original we shall perhaps never know. But one wonders whether the NEH editors just copied the EH in pretending that it was all a translation from Neander.

Saturday, January 27, 2007

Disposer Supreme

A hymn by Jean Baptiste de Santeuil (1630-97):

Supreme quales arbiter
Tibi ministros eligis,
Tuas opes qui vilibus
Vasis amas committere.

Haec nempe plena lumine
Tu vasa frangi praecipis;
Lux inde magna rumpitur,
Ceu nube scissa fulgura.

Totum per orbem nuntii
Nubes velut citi volant:
Verbo graves, Verbo Deo
Tonant, soruscant, perpluunt.

Christum sonant: versae ruunt
Arces superbae daemonum;
Circum tubis clangentibus
Sic versa quondam moenia.

Fac, Christe, coelestes tubae
Somno graves nos excitent:
Accensa de te lumina
Pellant tenebras mentium.

Uni sit et trino Deo
Supremam laus, summum decus,
De nocte qui nos ad suae,
Lumen vocavit gloriae.

I've copied out the whole of the Latin here, partly because it doesn't seem to be included anywhere on existing web sites that I can discover. And also because the point I want to make about this hymn is that there is a sequence of thought to it.

The first verse, "Disposer supreme and judge of the earth" remarks on the fact that God chooses "frail earthen vessels" as his ministers. "Frail earthen vessels" (vilibus vasis) means unprepossessing pots. That is a reference to us (or rather, to the saints).

The second verse remarks on the fact that these pots soon break. In fact God breaks them, even the ones that are full of light. Tu vasa frangi praecipis: at thy decree they are broken. But out of them bursts a great light, a kind of lightning bolt. That is, on the death of the saints the light that was concealed in the unprepossessing pots bursts forth and fills our world with a new blast of light, like lightning breaking out of a cloud.

The third and fourth verses pick up on this idea and suggest that once it's been released from the unprepossessing pots, the light of the saints becomes God's messengers. These fly round the world thundering the sound of God's word. Christum sonant: they trumpet out Christ, and immediately the devil's citadels fall like the walls of Jericho which fell at the sound of the trumpet.

Verse five asks that Christ should ensure that these heavenly trumpets should wake us from our sleep. And verse six concludes with a doxology, which praises God for calling us out of night to his glory.

Now apart from the fact that the New English Hymnal has (for reasons that are not apparent) re-written the perfectly good translation by Isaac Williams to which we were accustomed, what you might not have noticed is that they have cut out verse 2. You might not have noticed because the sequence of thought has become so disjoined that you'd be forgiven for thinking that there was none, and that trying to work out how verse 3 followed from verse 1 was a wasted effort. Well indeed it would be a wasted effort, because alas without verse 2 it would be impossible to see the connection.

The point is this: verse 1 sees the saints from the outside, their vile pots. Verse 2 explains why God breaks the pots, to let the light out. Verse 3, with its image of lightning blasts and the thundering sound that they make, only makes sense if you know where the lightning blasts have come from and how they connect with the vile pots mentioned in verse 1. And then, once you know why the lightning is sounding like a trumpet, you can understand what the imagery of the fall of Jericho has got to do with it, and also why we ask to be wakened from our sleep by those trumpets.

But without verse 2? Bad case of lost coherence.

Monday, January 01, 2007

O happy day!

Some hymns just get left out of the new hymn books, not always with justice.

There's a hymn set in the English Hymnal for the feast of the Circumcision, which I don't think I've ever sung in Church. Its first line is "O happy day when first was poured..."

The fact that I've never sung it in Church might have something to do with the fact that no one used to go to Church on New Year's Day until the Church got all confused by the so-called Millennium in 2000 (and 2001), at which time the C of E tried to invent some connection between Christianity and the practice of counting of years starting afresh from January. Now I was always brought up as a child strictly to understand that the Church had no interest in secular years, because the new year for the Church was Advent Sunday. And even if we count years of Our Lord, we should surely think that they begin on the day we mark his birthday, no? So I'm not sure why the feast of the circumcision should be the first day of anyone's year. But anyway, that's by the by.

In any case, for whatever reason, at LSM we do make an attempt at a Sung Mass for the feast which they now prefer to call the Naming of Jesus on the 1st of January. Not that the New English Hymnal provides any useful hymns for such a festival. There's a fairly tedious New Year hymn, number 258, written by Timothy Dudley Smith (born 1926, now retired ex Bishop of Thetford) which is set to the Londonderry Air—it goes "O Christ the same through all our story's pages"—a nice idea until you realise that the Londonderry Air has a range of a twelfth, which means that even if it is set in the key of D flat major, your congregation has to negotiate a top F and a bottom B flat. Now when did you last have a large enough congregation on the feast of the circumcision to make that sound really strong and lusty? Fortunately we don't attempt that one, though I remember a previous vicar at another church trying to implement it on the 1st of January in the year 2000.

Besides that hymn, the NEH provides an office hymn for the 1st January, number 153, "O let the heart beat high with praise". I've never sung that either. It has a plainsong tune and an alternative tune, both unknown.

The English Hymnal provided two little known but perfectly nice hymns for New Year, numbers 285 and 286. "Another year is dawning" went to the tune of the Cherry Tree carol and was probably quite fun, and "For thy mercy and thy grace faithful through another year" went to a simple 1657 chorale called Culbach. Both eminently suitable, though I'm quite certain I've never sung either of them in any Church.

But for the feast of the circumcision two wonderful hymns were provided in the English Hymnal. One is a perfectly lovely hymn, originally in Latin (victis sibi cognomina) but translated as "Conquering Kings their titles take" which goes to a merry little tune called Innocents which is also know to our family as the tune for the birthday song "Comes a birthday once a year, happy day, O happy day!" which was sung at the SS Mary and John First School (to which our children went in the 1990s). I could write a Blog entry about Conquering Kings, which, as I say, is an extremely fine hymn. But it's the other one I wanted to mention now.

The other one is "O happy day, when first was poured..." Also originally in Latin (Felix dies quem proprio) this was written by Abbé Sebastian Besnault (the source named by Cyberhymnal, Revised Paris Breviary 1736, can't be the original since Besnault died in 1724). It too, like the other, is translated by J. Chandler. This is how it goes:

O happy day, when first was poured
The blood of our redeeming Lord!
O happy day, when first began
His sufferings for sinful man!

Just entered on this world of woe,
His blood already learned to flow;
His future death was thus expressed,
And thus His early love confessed.

From heaven descending to fulfill
The mandates of His Father’s will,
E’en now behold the victim lie,
The Lamb of God, prepared to die!

Lord, circumcise our hearts, we pray,
Our fleshly natures purge away;
Thy Name, Thy likeness may they bear:
Yea, stamp Thy holy image there!

O Lord, the virgin born, to Thee
Eternal praise and glory be,
Whom with the Father we adore,
And Holy Ghost for evermore.

Well it is a little gruesome perhaps. I suppose it wouldn't seem so bad in Latin, so the mistake was to translate it into the vernacular. But the imagery—the idea that the circumcision is a foretaste of the future suffering, and that the child undergoing circumcision is like the sacrifical lamb on the altar—all that is quite evocative, as is the idea that we might "circumcise" our hearts to purge away fleshly preoccupations.

But the interesting thing to ask is this: why don't we say very much about how gruesome circumcision must have been? Why don't we make much of the fact that Jesus went through it? Why do we talk more about the naming of Jesus than about his circumcision? And why have they eliminated that hymn from the Hymn Books? Are we too squeamish? Or are we too embarrassed? Or what exactly? I sometimes wonder.

Sunday, December 31, 2006

For he is our childhood's pattern

In the English Hymnal, in the children's section called At catechism, there is a hymn that begins "Once in Royal David's City...". It's become rather well known as a result of the fact that it's sung at the beginning of the Nine Lessons and Carols from King's on Christmas Eve every year [prompt for another rant, about the fraudulent service put out on TV on Christmas Eve under the description "Carols from King's", but I'll save that for another day, or perhaps another venue].

My rant here is about the hymn in the New English Hymnal, number 34, which pretends to be Mrs C.F. Alexander's hymn "Once in Royal David's City". It only has one dagger, which implies that very little damage has been done to it. But I suggest we take a look at it and you can see what you think. Is it minor damage? Or is it interference of a political nature? My view is that it is politically and theologically motivated bowdlerisation of a rather severe sort.

We should start by noticing that the hymn is no longer prescribed for children. This might be because the NEH doesn't have a section for children. Or it might be because the Editors have got something against recommending hymns as suitable for children, especially when they describe the childhood of Christ in terms that might suggest he was a role model for Christians to aspire to in their youth.

Certainly, Mrs Alexander had chosen that motif as the key theme for her hymn. The point of the central verses of the hymn is that Jesus came to earth in a very lowly and unpretentious form, and that though he came to "Royal David's City" it was not as a royal child that he grew up, but rather as one just like us. And, furthermore, he did not issue the commands but obeyed them: he was mild, loving and obedient. It was, on the one hand a "wondrous childhood" and on the other hand it was one just like ours. Indeed it was wondrous perhaps only in how extremely ordinary it was; how Jesus too grew up loving and watching his mother and doing what she told him to do, even though he was in fact something much greater than that behaviour would suggest. This theme picks up on the idea of kenosis: Christ emptied himself of all that power and superiority, and became as if he were subservient first to his parents and ultimately to those who put him to death. The theme is especially appropriate to the reading of the passage about Jesus staying behind in Jerusalem at the temple (the Gospel reading we had today), which finishes with that oh-so-resonant sentence "And he went down with them and came to Nazareth, and was subject unto them." (Luke 2:51).

Mrs Alexander combines that motif of kenosis with the idea that the childhood of Christ is also a pattern for us to follow. It is at the same time startling that one who is God and Lord of all should be obedient to his human parents, and also inspiring. For because he was a child like us, we can see how it is possible for us to follow in his footsteps, accepting our limitations and being as sanguine about it as he was. For he is our childhood's pattern. Day by day like us he grew. It is that fact, the fact that he was genuinely human and had to grow up as human children do, that makes him not just a Deus ex machina saviour, but one who shows us the way to become like God ourselves. We do this by learning to model our lives on his from our earliest days.

Those were the themes of Mrs Alexander's excellent and theologically sophisticated hymn.

Unfortunately most of that has been removed or lost in the current version in the New English Hymnal.

Here's what we used to get (two verses following on from "with the poor and mean and lowly, lived on earth our saviour holy"):

And, through all His wondrous childhood,
He would honour and obey,
Love and watch the lowly maiden,
In whose gentle arms He lay:
Christian children all must be
Mild, obedient, good as He.

For He is our childhood’s pattern;
Day by day, like us He grew;
He was little, weak and helpless,
Tears and smiles like us He knew;
And He feeleth for our sadness,
And He shareth in our gladness.

And here instead is what we get in the NEH:

And, through all His wondrous childhood,
Day by day, like us He grew;
He was little, weak and helpless,
Tears and smiles like us He knew;
And He feeleth for our sadness,
And He shareth in our gladness.


Obedience has gone (so it's not at all clear why we continue to sing this hymn on the Sunday when we get that wonderful reading from Luke about the boy Jesus). So has all the imagery of him loving and admiring his virgin mother: this is a sad loss not only in terms of Christology but also in terms of the theology of our devotion to the Mother of God (for which this idea that we are modelling ourselves on Christ's own childhood devotion to his mother is aetiologically helpful). And we have also lost the motif of Christ's childhood as an archetype of what a Christian childhood might be like.

Instead we get a focus only on the fact that Christ grew up like us and experienced tears and smiles as we do too. These observations were useful in the original context, when what was important was that in emptying himself of his godhead Christ had become weak like us and submitted to human authority.

In the absence of verse 3, however, these thoughts become simply sentimental. The kenotic theology has all but gone. We tend not to see anything here in the bowdlerised version except a soft-centred attempt to domesticate the wonder of the Incarnation. All the tough thoughts have gone (both the tough thoughts about how far the God of heaven had to submit to weaknesses and obligations quite alien to his powerful nature, and the tough thoughts about the necessity of obedience in our own lives, which can sometimes be required even when in theory we might be in a position to know better than those whose authority we are asked to accept, as Christ's example tellingly shows).

Why did they commit this iconoclasm on a hymn that is a classic part of the nation's residual Christian heritage, and which many of us know by heart? Could it be that the editors were afflicted with some kind of ideological anxt? My suspicion is this: that they are very much against the idea that christian children should be told to be mild, obedient or meek. This is not politically correct is it? There are two things that make them afraid to say that. One is that meekness and mildness has a bad press (at least as a message to give to children). We are not allowed to say that because it is supposed to be a Victorian ideal that has been grafted onto a Christian theology that didn't extol the virtues of meekness and mildness. So all whiffs of Victorian values must be cut mustn't they?

Must they? Funnily enough, of course, we are still allowed to see that Jesus told his disciples to put up their swords when he was taken in the Garden, and gave his back to the smiters. As Mrs Alexander shows so deftly, that is all part and parcel of the same obedience with which he returned to Nazareth, and with which he accepted the bitter cup in the Garden of Gethsemane. It is not an easy obedience, nor a comfortable mildness. It is done in the hardest of places and in the hardest of ways. I do not see why our children should not be brought up to respect, to admire, and to try to imitate that open-eyed and sacrificial obedience.

There's another fear as well I think: the second thing that drives the political correction of this hymn. This is the assumption that children will grow up into nice human beings if they are left to be themselves, and should not be told by adults how to behave or what it is to be a Christian. In fact, even adult theology should not be delivered to them, because their innate spirituality will lead them to become more authentic believers if we don't tell them what to think or how to lead their lives.

So (according to that kind of political correctness) we mustn't say that the ideal childhood is one in which children listen to adults and respect their authority. No: children must be left to wander and experiment in the darkness, until by some chance they stumble across the things that make sense of Christianity (the things that it has taken educated Christians twenty centuries of philosophical theology to work out).

Well, we'll see if that's a sound way to build up intelligent believers who can maintain the great traditions of the Church and teach their flocks in the next generation.

Personally, I'd prefer to give the children the resources to engage in intelligent critique from a position of understanding.

And I also think that a degree of obedience and discipline is an enormous advantage (not just in the imitation of Christ, but also for achieving one's potential as a thinker and as a devout believer).

So we shouldn't be so coy about obedience. A child who has no one to respect and obey is a deprived child. Surely Mrs Alexander is right that part of what Jesus did in taking our manhood was to become like a child, and part of being like a child is needing someone to tell you what to do, and then finding sometimes that it is a struggle to obey. Was Gethsemane the first and only time that Jesus found he was obliged to do something that was uncomfortable, and even perhaps not obviously helpful? I think not. In fact, one could start by investigating the story of the wedding at Cana.

Wednesday, December 27, 2006

Hills of the North Rejoice

The English Hymnal didn't have Charles Edward Oakley's hymn "Hills of the North Rejoice" in it.

Nor does the New English Hymnal have it.

But the New English Hymnal has a kind of fraudulent version that is apt to catch you unawares. There's a hymn in that book that begins "Hills of the North Rejoice" and if you're not on your guard, you'll think you're going to be lucky, when hymn 7 is announced, and that you're going to be treated to those lovely bits about "river and mountain spring", "deep in your coral caves", "lulled be your restless waves", "soon shall your sons be free", and "Shout while ye journey home!".

But look out! Don't let them sell you a counterfeit. The version you'll get if you're in a NEH church won't give you any of that. All those lines have been torn out (and not just those). In fact what you'll get from the NEH is not Oakley's hymn at all, but a kind of low grade pastiche, written by the EDITORS. (According to the book it's based on something by Oakley, and indeed the first line of every verse is plagiarised from Oakley's "Hills of the North", but nothing else remains of that hymn, apart from a very badly distorted version of the last verse).

Let's do a few comparisons:
Verse 1. Here's what we should get:
Hills of the North, rejoice;
River and mountain spring,
Hark to the advent voice;
Valley and lowland, sing;
Though absent long, your Lord is nigh;
He judgment brings and victory.

Here's what we get instead from the EDITORS:
Hills of the North Rejoice
Echoing songs arise,
Hail with united voice
Him who made earth and skies:
He comes in righteousness and love,
He brings salvation from above.

Now why do that? The point of "river and mountain spring" was that it was supposed to be something typical of the northern lands (as the rest of the verses had something typical of the other corners of the compass). Cut that out and the whole point of the hymn is lost. Well, guess what? The editors have cut all those out. So why, I ask you, are we singing about hills of the north and so on? Why?

And here's another puzzle. Why have they cut out the reference to the advent voice? And why have they cut out the reference to the "absent long" and to the judgement? Don't they understand that advent is about the Lord coming in judgement? Why do we substitute righteousness, love and salvation for judgement and victory? Is it that the editors, doubtless themselves inhabitants of these northern hills, don't much fancy having the Lord come in judgement? No, I should think they don't...

Now take a look at verse 2. Here's what it should say:

Isles of the southern seas,
Deep in your coral caves
Pent be each warring breeze,
Lulled be your restless waves:
He comes to reign with boundless sway,
And makes your wastes His great highway.
Here's the Editors' rather sad pastiche in place of verse 2:

Isles of the Southern seas,
Sing to the listening earth,
Carry on every breeze
Hope of a world's new birth:
In Christ shall all be made anew,
His word is sure, his promise true.
Gone are the coral caves. But what does it mean "sing to the listening earth"? What? And what has happened to the idea that Christ at his coming in judgement will still the waves and stop the winds? Wasn't that rather a picturesque and imaginative motif? And notice the loss of that biblical image of making the waste places plain and the highway for the coming of the Lord.

Well, I could go through verse by verse. Let's just observe that Oakley's authentic verses about the East ("on your dark hills, long cold and grey...") and the West ("ye that have waited long, unvisited unblest") get their delicate beauty partly from the neat way in which they sum up something of the history of Christianity and its transmission to lands that had a prior history before the arrival of Christianity. They get their beauty from the combination of that senstivity to the history of these lands, combined with a sense that the Second Coming will be to all, and that all will be gathered into the City of God without prejudice concerning their origin or how late they came to Christianity. All of that is, of course lost, in the new version, and no doubt those features have been deliberately lost, probably because the editors couldn't understand the meaning and thought it expressed a kind of racism.

Yet it wasn't Oakley who was racist. It's the NEH editors. Just take a look at the last verse.

Here's verse 5 in the NEH version:

Shout, as you journey on,
Songs be in every mouth,
Lo, from the North they come,
From East and West and South.
In Jesus all shall find their rest,
In him the sons of earth be blest.


Aside from the sexist language "sons of earth" which was not there in Oakley's original, and the fact that they can't do punctuation, you'll see that in this verse the words are spoken by a third party observer. As we sing this hymn we do not identify with the people coming from the four corners of the earth: rather we stand apart and comment that "they" are coming from funny far away places. And we order them to shout. But we, we are somehow out of it. Superior? People from the ancient lands that got there first? Or what?

Not so in Oakley's. No, for Oakley we belong to a great fellowship of members from all corners of the globe and we are all summoned together into God's kingdom, despite the fact that we were (all of us) so late receiving the gospel. In Oakley's version it is "we" who journey home, not "they", and the you in "shout while ye journey home" is us addressing each other; it is thus "we" who have songs in our mouth, not "you" or "they". We are all arriving together; we are drawn from all corners into Christ's undivided kingdom. "Lo from the North we come, from East and West and South". This is precisely not racist: we are all in it together and we all become free from having been bondsman:

Shout, while ye journey home;
Songs be in every mouth;
Lo, from the North we come,
From East, and West, and South.
City of God, the bond are free,
We come to live and reign in thee!

I have to say that I can't really imagine why this bizarre surgery has been carried out on an innocent hymn, which was very much a favourite with many ordinary sound and upright Christians. But this much is clear: the finished product is not only entirely lacking in the poetic imagery of its superior model, and in any theological significance or content, but has also introduced a quite offensive selection of racist and sexist thinking, that was entirely lacking from its predecessor's rather elegant egalitarianism.

And I should say that although Little St Mary's is a church that generally uses the NEH, we have now resorted to supplying a printed sheet with the real words for "Hills of the North Rejoice", on the relevant Sunday in Advent. There are limits to the rubbish we are prepared to sing. Some day we'll get rid of it all, but this one is so bad we've scrapped it already.

For the real thing, you need only go here: http://www.cyberhymnal.org/htm/h/i/hillsnor.htm








Sunday, December 10, 2006

Ye servants of the Lord, each in his office wait

Last week we sang "Ye servants of the Lord". It's number 18, in the advent section of the NEH.

Double dagger, however.

That's because the words which were written by Philip Doddridge in the eighteenth century are no longer presented in their original form.

"Each in his office wait" has been changed to "Each for your master wait". I guess there are two reasons. One is that it sounds as if we all work in an office block and we have to wait in our offices for the Lord to come round and see if we're hard at work at the computer. The other is that "his" changes from meaning "the servant's" (the servant waits in his office) to meaning "the Lord's" (Observant of his heavenly word and watchful at his gate). That's a trifle confusing.

OED definitions of "office": 1 something done toward anyone: a service, kindness, attention (first occurrence 1382); 2 that which one ought or has to do in the way of service; that which is required or expected: (a) duty towards others, moral obligation; (b) duty attaching ot one's position or station (first occurrence 1300); 3 that which is done or is intended to be done by a particular thing; that which anything is fitted to perform or performs customarily (first occurrence 1340); 4 a position or place to which certain duties are attached; a position of trust, authority or service under constituted authority (first occurrence 1250); 5 Ceremonial duty or service (first occurrence 1387); 6 an authorised form of divine worship (first occurrence 1387); 7 an official inquest (first occurrence 1430); 8 a place for the transaction of or public private business, often including the staff (first occurrence 1386, in Chaucer); 9 the kitchen and other domestic parts of the house (first occurrence 1386 in Chaucer), plus three further meanings I won't bore you with.

So it's an old word and the ambiguity goes right back to Chaucer. I take it the supposed problem that leads the editors to interfere is the perceived risk of confusing meaning 4 with meaning 8. But clearly these meanings have always been around, and it's not quite clear why people have become so incapable of reading English and understanding the ambiguity of office just now.

Perhaps because they don't get to sing hymns with real words often enough to ensure that the words stay in comon usage and remain understanded of the people.

Sunday, November 05, 2006

Mocked, imprisoned, stoned, tormented, sawn asunder, slain with sword

Ah lovely words, how they capture the true agony and all the gory details of the lives and deaths of the saints we celebrate around this time!

How could anyone think that the hymn "Hark the sound of holy voices" is better without these graphic images? It beats me.

But these are, I am afraid, among the many wonderful things that we have lost in the so-called "progess" of changing to the New English Hymnal.

Here's what we used to sing:

They have come from tribulation and have washed their robes in blood,
Washed them in the blood of Jesus; tried they were, and firm they stood;
Mocked, imprisoned, stoned, tormented, sawn asunder, slain with sword,
They have conquered death and Satan by the might of Christ the Lord.

Marching with thy Cross their banner, they have triumphed following
Thee, the captain of salvation, thee, their Saviour and their King;
Gladly, Lord, with thee they suffered; gladly, Lord, with thee they died,
And by death to life immortal they were born and glorified.
Fine words, written by Bishop Christopher Wordsworth (1807-85), author of Songs of Thankfulness and praise, and Gracious Spirit Holy Ghost among others. They're important words too. Partly they are important because they remind us that being a saint is not all fun, and that it requires a certain degree of courage and, indeed, determination. But also important poetically and for the sense because, look, "Gladly Lord with thee they suffered, gladly, Lord, with thee they died" is meant to alert us to the fact that despite the terrible sufferings and terrifying kinds of death they endured (about which we have just sung in the previous verse) nevertheless they were, in a curious way, doing so gladly, and that was because they did it "with thee", following the banner of Christ who had suffered just such a gruesome and terrifying death and thus provided the leadership. But really, we lose the sense of how miraculous this is, how it constitutes a triumph, if we don't actually mention the terrible things they were afflicted with.

For we don't really mention them—not so as to conjure up what they were really like—in the New English Hymnal. That's because we sing this (with four lines missing, two from verse 3 and two from verse 4):

They have come from tribulation and have washed their robes in blood,
Washed them in the blood of Jesus; tried they were, and firm they stood;

Gladly, Lord, with thee they suffered; gladly, Lord, with thee they died,
And by death to life immortal they were born and glorified.


We don't mention the details because they are too gruesome? We want our saints cleaned up? We'd rather not remember how the Church was built upon the blood of the martyrs? And, presumably, we don't like the military imagery of "marching with thy cross their banner". (Let's throw out all the traditional imagery shall we? rid Christianity of all its fervour and imagination....? and then wonder why the pews are empty and everyone is going to the evangelical churches where fervour and commitment is allowed?)

And anyway, even if those lines were not vital to the sense, what is this Hymnal doing eliminating all the most entertaining bits of poetry, that bring a smile of wonder to the face as one sings? I mean could anyone in the world beat that magnificent line "Mocked, imprisoned, stoned, tormented, sawn asunder, slain with sword"? If we never get to sing that any more, won't we have lost one of the greatest bits of tragi-comedy in the hymn book?

Sunday, October 01, 2006

The hornèd moon to shine by night

Today was what passes for Harvest Thanksgiving at Little St Mary's. Thankfully not too much of it.

We did sing some of those jolly hymns about how we plough the fields and scatter the seed (singing this hymn is the nearest I've ever got to actually ploughing any fields, and I don't suppose many of the rest of the congregation do these things very often either, but I'm sure the 'we' there is collective for the human race in general and how we as a race gather our food by toiling on the land).

One of those hymns that belongs to this season of praise and thanksgiving is "Let us with a gladsome mind, praise the Lord for he is kind".

There's a verse in that hymn (which is by John Milton, yes I mean the real one) which goes

"The hornèd moon to shine by night, Mid her spangled sisters bright."

The expression "to shine" follows on from the previous verse where we were told "He the golden-tressed sun caused all day his course to run." So we understand that (He caused) the horned moon to shine by night, as he caused the sun to run his course by day.

Unfortunately the editors of the NEH didn't like Milton's poetry. They have tried to improve it.
Here is what they have decided to offer for verse 5:

And the hornèd moon by night
Mid her spangled sisters bright.
Well, you know why they did that... because they thought they needed to "make a minor adjustment to secure a better musical accentuation." In other words we used to have to squeeze in an extra quaver before the first beat of the first bar for the word "the" on that verse, so as to sing 'horn' on the first crotchet. A feat we all learned quite early in life, as I recall. No great effort.

Well, you might say. Perhaps there is a virtue in a line that fits the rhythm of the music? Well no. Not if it is gibberish and ungrammatical. Just take a look at that verse they've constructed. It has no verb. Not only does it have no subject, but it has no verb either. Now the subject can be supplied from the verse before; it is "He", namely God. And we also supply a verb, namely "caused" from the previous verse. But now what did he cause the moon to do? That is no longer specified (according to Milton she was to shine, but according to these editors, what is she to do?). Well, what is she to do? I ask you.

Perhaps we are to supply yet another verb from the previous verse? If so, then what she is to do is to run her course (by night, as the sun ran his by day). But now we have lost the essence of this beautiful motif of the horned moon shining amidst her spangled sisters the stars. For the motif is not supposed to be of running a course, but of giving out light. And even if it did mean run her course, it's ungrammatical without supplying "her course", because you can't supply "his course" and not change the gender for the female moon.

Bad grammar and an acute loss of pictorial imagery. No no no.... Just don't do it, see?

Milton, he wrote poetry. Editors, you write rubbish. Got it?

Thus conspire we to adore him

Friday was Michaelmas day. At the sung mass we had a number of wonderful angelic hymns, lots of my favourites.

Among them was NEH 343, Bright the Vision that Delighted.

This hymn is by Richard Mant (or at least it once was). The NEH hasn't put a dagger on it, but it's not as it should be.

The problem is in verse 5. Here's what it should say:

With his seraph train before him,
With his holy Church below,
Thus conspire we to adore him,
Bid we thus our anthem flow:
It is interesting that the vicar preached that evening about 'conspiracy' and the meaning of the word 'conspire' (along with some other words about doing things together). He pointed out that to conspire is to breathe together and to be inspired together, and that we can be in a holy conspiracy in this sense.

It's almost as if he was preaching about the words we'd just sung in this hymn. Only, funnily enough we hadn't just sung them (except those of us who insist on singing the right words regardless of what's written in the hymn book).

No, funnily enough we'd sung this trite and awkward drivel:

With his seraph train before him,
With his holy Church below,
Thus unite we to adore him,
Bid we thus our anthem flow:
Too bad. Don't you think?

Sunday, September 03, 2006

My God accept my heart this day

I wasn't in Church at the Gradual Hymn today, because I was out in the parish room catechising the children. But if I had been in Church I would have had to sing hymn 318 in the New English Hymnal.

Hymn 318 begins "My God accept my heart this day and make it always thine..."

According to the New English Hymnal it is by "Matthew Bridges and EDITORS."

Matthew Bridges lived in the 19th Century (1800-94). He started out as an Anglican but converted to Roman Catholicism in 1848, the same year as he published the first edition of Hymns of the Heart.

It seems that Matthew Bridges's hymn had five verses. However, only four of his verses appear in any of the Anglican hymn books so far consulted. The English Hymnal and some others print four verses and then add a doxology as a fifth verse, one of the standard doxologies that fit all common metre tunes:
All glory to the Father be,
All glory to the Son,
All glory, Holy Ghost, to thee,
While endless ages run.
Bridges didn't write that. Rather the hymn book editors tacked it on to make four verses into five.

The editors of the New English Hymnal had another idea about how to make the hymn up to five verses. How about writing a new verse to put on the end instead of the doxology? Writing new verses seems to be what they like best.

This is what they made up:

The vision of thy glory there
Shall be my hope and song,
That where thou dost a place prepare,
I may at length belong.
As a piece of doggerel, this looks fair enough until you think about it. "There" refers to heaven which was mentioned at the end of the previous verse.

But isn't there something odd about the tense? Because it is my hope now, isn't it, that I may at length belong in heaven? So it's not that it shall be my hope, but that it is now my hope, and it is now my song. So I suppose we want to say "The vision of thy glory there, let it now be my hope and song" (though that's a rather odd way to put it). The mood of "shall" in the third person is presumably imperative, but, I think, also future tense.

I suppose the best bet for making this make theological sense would be to suppose that we mean "it shall be my hope and song for the rest of my life, until I get to death". Indeed perhaps the phrase is supposed to be dependent upon the phrase "Let every thought and work and deed" at the start of verse 4. Perhaps we are supposed to be saying (verse 4) "Then life shall be thy service Lord...", and (verse 5) "the vision of thy glory shall be my hope and song". But more on this anon.

One might think that the new verse 5 was oddly constructed grammatically, because in the first two lines the content of the hope and song seem to be "the vision of thy glory there"
The vision of thy glory there
Shall be my hope and song.
Full stop, as it were.
and then we get another expression, "that where thou dost..." which also seems to be grammatically dependent on "hope and song".

...my hope and song,
that where thou dost a place prepare,
I may at length belong.
But presumably, the "that..." clause is meant to unpack what it means to say that the vision of thy glory is to be my hope and my song, namely it means that I shall hope and sing that where thou dost a place prepare I may at length belong.

Well, sort of all right, if a bit prosaic and pedantic. But now here's another question: do I hope that I may belong there? Probably I hope that I do belong there, no?

In fact what I hope for at length is not so much that I shall belong there, but that I shall be there. Belonging there is not something that needs to be delayed until later, though being there probably does.

Does one get the sense that "belong" is there just to rhyme with "song"?

And actually, come to think of it, don't you think that "song" is there just to rhyme with "belong"? Because really this is all about hope and nothing at all about song.

But anyway, why why why did we want to say any of this at all?

Because isn't it obvious that the end of verse 4 has to be the end of the hymn?

I mean, the end of verse 4 is just fantastic and neat, and sums up everything we needed to say with perfect closure:
Then life shall be thy service, Lord,
And death the gate of heaven.
We've already got it all there. Death as the gate of heaven neatly says everything that the editors are trying to achieve in their clumsy verse 5. But by adding verse 5 they have not only given us an otiose repeat of what verse 4 was saying, but actually undermined the effect of that closure. I have no doubt that Bridges knew what he was doing when he made "And death the gate of heaven" the closing line of his hymn. Let's just leave it that way, shall we?

But it seems that the hymn book editors think we need five verses not four.

Well, so be it. But, as I said, it seems that there were five verses in the original as Bridges wrote it, so we don't actually need the editors' help in turning it into a five verse hymn.

What is now verse 4 for us was, I think, verse 5 in Bridges's poem. It was indeed the last verse. But it was preceded by this verse:
May the dear blood once shed for me
My blest atonement prove
That I from first to last may be
The purchase of Thy love!
I don't quite know what's wrong with this verse. I think I would favour restoring that, in preference to the pseudo- composition of the NEH editors.

Oh, and actually I see that they've done more of their dastardly work earlier in the hymn. Compare this (probably what Bridges wrote, if Cyberhymnal is a reliable source):

Anoint me with Thy heavenly grace,
Adopt me for Thine own,
That I may see Thy glorious face,
And worship at Thy throne.
with this (what the NEH has):

Anoint me with Thy heavenly grace,
And seal me for thine own,
That I may run this earthly race,
In thy strong might alone.
The "seal me" bit was already in the English Hymnal, and before that in Hymns A and M but the rest is new work by the NEH.

Comments please...

Sunday, August 20, 2006

From glory to glory advancing

The hymn From glory to glory advancing we praise thee, O Lord is a translation into English (or perhaps rather a paraphrase) from the Greek, of a prayer from the Liturgy of St James. The Liturgy of St James is an ancient liturgy of the Orthodox Churches, relatively rare (in most places it is celebrated only on St James's day). Unfortunately I don't have a copy of the Greek text to hand (I'd need to go to a library to find one) so I'm not going to comment on the quality of the translation in detail (though I will append for interest the relevant words from one of the current English translations of the liturgy). I just thought I'd remark on one fact about the English translation or paraphrase which is what we know as "From Glory to Glory".

The translation is by Charles Humphreys 1840-1921 (noted as "tr. C.W.H." in the English Hymnal). There's no dagger to indicate that the text has been changed in the New English Hymnal, but then they don't seem very concerned to note changes to the words of translated hymns. Apart from the fact that they've written the four two line stanzas as two four line stanzas, they've made one other significant change, and that is to change the order of the words in line 7.

Humphreys wrote (I suppose)
Evermore, O Lord, to thy servants thy presence be nigh...


The editors now insist that we must sing
O Lord, evermore to thy servants thy presence be nigh...


Now you might think that these two versions say the same thing. Presumably the editors thought that they said roughly the same thing. And you might think that the second version fits the music better (in the English Hymnal we used to have to subdivide the minim at the start of that line and then slur the next two minims, because the rhythm of "evermore O" doesn't match that of "From strength unto" at the equivalent place in the first verse.

I expect that this is one of the cases which the editors have in mind when they say in their introduction "Occasionally minor adjustments have been made to secure a better musical accentuation". (For another example, compare their work on "Forth in thy name, O Lord, I go").

But is it a minor adjustment?

It seems to me that "O Lord, evermore to thy servants thy presence be nigh" says something rather different from "Evermore, O Lord, to thy servants thy presence be nigh".

Putting "Evermore" up front indicates that it is the evermore that one is asking the Lord for.

Putting "O Lord" up front removes that, so we don't know what the important part of the request is.

In fact it makes the appeal "O Lord" the most important part. It reads a bit like an exclamation, the sort of thought ("O Lord!") one might have when one realises, in the middle of the sermon, that one has forgotten to turn on the oven to cook the dinner. It certainly seems to me to undermine the poetry of the line

—just as it would if you did the same to "Forth in thy name, O Lord, I go."

Try making that "O Lord, I go forth in thy name".

Why is "forth" up front there when it wouldn't be in ordinary prose? Precisely because in poetry you do that sort of thing to achieve a certain kind of effect. And that is what Charles Humphrey kindly did for us by writing a poetic line beginning "evermore" in his translation of the Liturgy of St James, until the NEH editors saw fit to eliminate his poetry so that we wouldn't have to sing two crotchets instead of a minim.

Ah well. There we are. Another sad case.

Here's the English version of the relevant prayers in the Liturgy of St James:

Dismission prayer, spoken by the Deacon: Going on from glory to glory, we praise Thee, the Saviour of our souls. Glory to Father, and Son, and Holy Spirit now and ever, and to all eternity. We praise Thee, the Saviour of our souls.

XLIX. The Priest says a prayer from the altar to the sacristy: Going on from strength to strength, and having fulfilled all the divine service in Thy temple, even now we beseech Thee, O Lord our God, make us worthy of perfect loving-kindness; make straight our path: root us in Thy fear, and make us worthy of the heavenly kingdom, in Christ Jesus our Lord, with whom Thou art blessed, together with Thy all-holy, and good, and quickening Spirit, now and always, and for ever.

(Translation taken from The Ante Nicene Fathers vol 7)

Sunday, July 30, 2006

Jerusalem, my happy home

On Tuesday, which was St James's day, we sang a hymn (number 228 in the New English Hymnal) which begins "Jerusalem thou city blest".

The words, according to the foot of the page, are by the EDITORS.

In the English Hymnal there was a hymn in three parts with 26 verses, for a saint's day procession, which began "Jerusalem my happy home." It seems clear that the NEH editors were trying to model their work on that, since they have retained one verse intact:

In thee no sickness may be seen,
no hurt, no ache, no sore;
In thee there is no dread of death,
But life for evermore.


... write the editors of the New English Hymnal, echoing the editors of the English Hymnal.

That verse, however, had already been revised before it made into the EH. This is what F.B.P. wrote:

In thee no sickness may be seen,
no hurt, no ache, no sore;
there is no death nor ugly devil,
there is life for evermore.

F.B.P is the otherwise unknown author of the 16th century manuscript from which the words were taken. They are said to be based on stuff in St Augustine. But the NEH has not much left of F.B.P. Among the gems that have gone missing are the following:

Thy walls are made of precious stones,
thy bulwarks diamonds square;
thy gates are of right orient pearl;
exceeding rich and rare;

thy turrets and thy pinnacles
with carbuncles do shine;
thy very streets are paved with gold,
surpassing clear and fine;

thy houses are of ivory,
thy windows crystal clear;
thy tiles are made of beaten gold--
O God that I were there!

Within thy gates nothing doth come
that is not passing clean,
no spider's web, no dirt, no dust,
no filth may there be seen.


and a bit further on, these:

We that are here in banishment
continually do mourn:
we sigh and sob, we weep and wail,
perpetually we groan.



and these:

There's nectar and ambrosia made,
there's musk and civet sweet;
there many a fair and dainty drug
is trodden under feet.

There cinnamon, there sugar grows,
there nard and balm abound.
What tongue can tell or heart conceive
the joys that there are found?



And some mention of the saints one might encounter there:


There David stands with harp in hand
as master of the choir:
ten thousand times that man were blessed
that might this music hear.

Our Lady sings Magnificat
with tune surpassing sweet,
and all the virgins bear their parts,
sitting about her feet.

Te deum doth Saint Ambrose sing,
Saint Austin doth the like;
Old Simeon and Zachary
Have not their songs to seek.

There Magdalen hath left her moan,
and cheerfully doth sing
with blessèd saints, whose harmony
in every street doth ring.


So what do we have in the NEH to displace all those vivid individuals and their peculiar joys in heaven? Well we have this:

And praise and honour be to him
Whom earth and heaven obey
For that blest saint whose festival
Doth glorify this day.


Enough said.

Sunday, June 18, 2006

The son of consolation

St Barnabas's day was June 11th. I'm sorry it's taken me so long to get round to finishing this post, but I started it some time after the day in question (because I'd forgotten about it, and then I had to put it aside due to other things, and since then I've been away).

The New English Hymnal provides a hymn for St Barnabas, which begins "The 'Son of Consolation', St Barnabas the good". We sang it on June 11th. The words are said to be by "Maud Coote 1852-1935 and EDITORS".

At the foot of the hymn there is a piece of advice to the reader as follows:
See Acts 11.24 'he was a good man, full of the Holy Spirit and of faith.'


Presumably that's to help us to understand why the hymn goes (in lines 2-4) "St Barnabas the good,/ filled with the Holy Spirit/ And faith in Christ the Lord." Those lines do indeed seem to be a slightly prosaic paraphrase of Acts 11.24.

What the hymn book fails to explain for its readers is the first line of each of the three verses of the hymn as presented in the NEH. These lines go "The 'Son of Consolation'" in verse 1; "The Son of Consolation" in verse 2; "All sons of consolation" in verse 3). What is all this about the "Son of Consolation"? Well the answer is that the reference we really needed, in order to understand the hymn, was Acts 4.36:

Joses, who by the apostles was surnamed Barnabas (which is, being interpreted, The son of consolation), a Levite.


That is, the name "Barnabas" was the nickname that the Apostles gave to Joses, and it meant Son of Consolation ("son" is the "Bar" bit, as in Barabbas, Bartimaeus and so on, all of which are patronymics).

It would have been helpful (it seems to me) if the hymn book had supplied that reference. After all, it seems to be the most crucial key to understanding this hymn.

Why did they give the other text, not this one?

Was it merely an oversight?

No, I think not.

It was, I rather think, because they have a guilty conscience...


They're ashamed of what they've done to this hymn and they're trying to justify it, by showing that their new text is a paraphrase—pedantic and prosaic, but paraphrase all the same— of a biblical text... As though any bad poetry is okay if it can be shown to be an allusion to the bible.

The good old English Hymnal had the whole of this hymn (five verses), all of them in Mrs Coote's own words. Verse 1 of the original begins thus:

The Son of Consolation!
Of Levi’s priestly line,
Filled with the Holy Spirit,
And fervent faith divine,
With lowly self-oblation,
For Christ an offering meet,
He laid his earthly riches
At the apostles’ feet.


The second line here, "Of Levi's priestly line", is also (like "Son of Consolation") alluding to the bit from Acts 4.36 that we quoted above:
Joses, who by the apostles was surnamed Barnabas (which is, being interpreted, The son of consolation), a Levite.

That is, Barnabas was a Levite, one of Levi's priestly line.

For some reason, best known to themselves, the Editors of the NEH have replaced that with
St Barnabas the good

and then justified that revision by supplying the reference to Acts 11.24 where Barnabas is said to be "a good man". I suppose that they thought that we needed to be told in the hymn itself that we were singing about St Barnabas. But that's surely not necessary, since the page is headed "St Barnabas". It seems to me that if you've taken the trouble to go to church on St Barnabas's day, and you find yourself singing a hymn headed "St Barnabas, June 11th", you'd have to be very stupid not to realise that the person the hymn was talking about was St Barnabas. On the other hand, it's quite useful to be reminded that he was a Levite (in case you don't know the Book of Acts off by heart).

This is the most significant change in verse 1. The rest of that verse has been subjected to a variety of small alterations of an apparently pointless sort. Verse 2 has gone completely. Mrs Coote wrote as follows about the comforting significance of Barnabas's nick name, and about his ministry to the gentiles:

The Son of Consolation!
O name of soothing balm!
It fell on sick and weary
Like breath of Heaven’s own calm!
And the blest Son of Comfort
With fearless loving hand
The Gentiles’ great apostle
Led to the faithful band.


It seems to me that the omission of that verse is a great mistake, since it is that verse that meditates on the name "Son of Consolation" and asks why it is appropriate. Without that verse, the repetition of that name at the start of each verse is kind of vacuous.

Verse 3 in Maud Coote's original was about Barnabas's martyrdom:

The Son of Consolation!
Drawn near unto his Lord,
He won the martyr’s glory,
And passed to his reward;
With him is faith now ended,
For ever lost in sight,
But love, made perfect, fills him
With praise, and joy, and light.


It survives in the NEH, with trivial alterations, as verse 2.

Maud Coote's fourth verse has, however, been cut out. This verse reflected on the significance of the "Son of Consolation" title, this time as something for us to aspire to. Once again, we might observe that without it, the whole conceit on which the original poem was grounded has been cut away and become empty. It went as follows:

The Son of Consolation!
Lord, hear our humble prayer,
That each of us Thy children
This blessèd name may bear;
That we, sweet comfort shedding
O’er homes of pain and woe,
’Midst sickness and in prisons,
May seek Thee here below.


Finally, the last verse (following on from that idea that we might aspire to the title "son of consolation") thinks about how we too (if we do take on that role) can look forward to eternal life, receiving the same reward as the martyr Barnabas. A version of this last verse survives, badly mutilated in the NEH. But unfortunately its point is completely lost, because the preceding verse that explained how there could be many "Sons of Consolation", and that they would be us, once we'd taken on Barnabas as our role model, has been omitted.

Here's what Coote wrote:

The Sons of Consolation!
O what their bliss shall be
When Christ the King shall tell them,
“Ye did it unto Me!”
The merciful and loving
The Lord of life shall own,
And as His priceless jewels,
Shall set them round His throne.


Here's what the NEH EDITORS have substituted:

All sons of consolation,
How great their joys will be
When Christ the King shall tell them
'You did it unto me':
The merciful and loving
The loving Lord shall own,
And set them as his jewels
Around the Father's throne.


Well, it means much the same (so much so that you can't really see what's the point of interfering), but the real tragedy is that we've lost the point of the hymn altogether. If you think about it, the hymn was designed to reflect on Barnabas, under the description "Son of Consolation", as a role model for us. But without the verses the engineer that set of thoughts, it no longer does that for us.

In the NEH the last verse appears to be about some other people, sons of consolation. These will be Barnabas, we suppose, and anyone else, presumably male, who goes by that name. It doesn't seem to be about us.

In Coote's original by contrast, even though that too was in the third person plural, we already knew that it might and should include us, because we'd already reflected on how one could acquire the name "son of consolation" in virtue of the deeds of love that one might do.

But we've lost all that in the omission of the two crucial verses.

So it doesn't say what it needs to say any more.

Oh dear. How sad.

There, dear Lord, we shall receive thee in the solemn sacrament

On Thursday, which was Corpus Christi, we sang All for Jesus, All for Jesus.

It's a splendid catholic hymn (or was), which comes from Stainer's Crucifixion. The words are (or were) by W.J. Sparrow-Simpson. It wasn't in the English Hymnal, but a version of it is in the New English Hymnal.

Here's how it should go:

All for Jesus—all for Jesus,
this our song shall ever be;
for we have no hope, nor Saviour,
if we have not hope in thee.

All for Jesus—thou wilt give us
strength to serve thee, hour by hour,
none can move us from thy presence,
while we trust thy love and power.

All for Jesus—at thine altar
thou wilt give us sweet content;
there, dear Lord, we shall receive thee
in the solemn sacrament.

All for Jesus—thou hast loved us;
all for Jesus—thou hast died;
all for Jesus—thou art with us;
all for Jesus crucified.

All for Jesus—all for Jesus--
this the Church's song must be;
till, at last, her sons are gathered
one in love and one in thee.

It's a pity that the editors of the NEH can't leave a good piece of sentimental slush alone. It's fine as it stands. But they've been unable to resist two or three destructive interventions.

First, in verse three they've rewritten the verse in the present tense instead of the future. So instead of "thou wilt give us sweet content" we have "thou dost give us sweet content", and in order to change "we shall receive thee" to "we receive thee" they've had to change "Lord" to "Saviour" to fill out the metre. So we have "There, dear Saviour, we receive thee" instead of "There dear Lord we shall receive thee."

I presume the idea is to adjust the tenses so that the hymn can be used in the communion slot at a Eucharistic service. It would, doubtless, be a little odd to sing "There dear Lord we shall receive thee" on one's way back from the altar. But does that make it okay just to muck it all up? Why not just put a note on it to say that it's a hymn for earlier in the service or for benediction?

But what is perhaps even worse is the last line of that verse, where, for no apparent reason "In the solemn sacrament" (nice) has become "In thy holy sacrament" (boring!).

Finally, there is the last verse. Here, alas, the editors have made one of their rare forays into political correctness (at least I suppose it's that). "Till at last her sons are gathered" has become "Till at last the flock is gathered". "Her sons" was "the Church's sons" (that is all of us). I rather like it when we remember to think of the church as our mother, and to refer to her in the feminine, so I must say I deeply lament the passing of that nice thought, that the Church is a she and we are her sons. I can't say I've ever had any difficulty identifying myself as one of those sons. It has, in fact, a rather nice inclusive feel, because it is clear that one's gender is quite irrelevant to one's status as a "son" in this context. So I think it would be more inclusive to keep that than to eliminate it.

Sunday, June 04, 2006

The lack of Greek headings

I noticed this morning again, looking at hymn 421 "O King Enthroned on High", that the NEH doesn't give the Greek for the first line of hymns translated from the Greek, as the EH used to do.

It does for Latin, but not for Greek. Not for Syriac either, nor Slavonic, nor Irish, nor Welsh. Since the Welsh wouldn't involve a funny script, it's presumably not for reasons of typesetting. So why?

Dumbing down? They don't see why we want to know? Well I can tell you there are lots of reasons why one might need to know, and the lack of an index of the original first lines of translated hymns is a real indication of the failure on the part of the NEH editors to understand what things might matter in searching for a particular hymn in a hymn book. Since the EH had one, presumably they consciously chose not to have one, just to make things less helpful?

What is rigid gently bend

Yet another preacher after my own heart!

Today we had a sermon from the Revd Canon Donald Gray (Canon Emeritus of Westminster and former Speaker's Chaplain).

It being Whitsun we'd been singing the Whitsun hymns, including Veni Sancte Spiritus, aka the Golden Sequence, which appears in the New English Hymnal at 139 and also at 520 where it has its proper plainsong tune (pity we didn't sing that if you ask me).

But to get to the point.

Canon Gray observed that the New English Hymnal has (alas) substituted for J.M. Neale's much loved translation (familiarly known by its first line "Come thou Holy Paraclete"), a translation said to be by J.M. Neale and EDITORS. Bad news, that "and EDITORS" you might say, and indeed Canon Gray was lamenting parts of J.M. Neale's translation that have gone missing, lost in a quagmire of editorial "improvements" in verse 4. Since I'd just been contemplating (during the first hymn) writing on the loss of J.M. Neale's verse 4 in this blog this afternoon (as indeed, here I am doing so), my heart warmed to Canon Gray at once.

Here's what he was lamenting. The first three lines of verse 4 used to go like this in the English Hymnal:

What is soilèd, make thou pure;
What is wounded, work its cure;
What is parchèd fructify.

It was the word 'fructify' in particular that seemed to Canon Gray so rich, and so evocative, and not adequately captured in the new version ("bring to life the arid soul") that has been substituted in the NEH. The sermon was, effectively, on how important it is that we be fructified by the Holy Spirit when parched.

But let's look a little more closely at what's happened here.

Here's what the Latin says:

Lava quod est sordidum,
riga quod est aridum,
sana quod est saucium

Literally: "wash what is dirty, irrigate what is dry, heal what is wounded" The rhythm of the short lines with "quod est" in each of them is captured by Neale in the repeated structure "what is ... " which is an exact translation of the phrases. The original Latin leaves open what these items that are dirty, dry or wounded might be. Our imagination can, of course, easily supply possible examples, but I assume that the Holy Spirit is free to apply this treatment to anything and everything that fits the description "what is dirty, what is dry, what is wounded."

Getting rid of the heavy handed repetition of "what is ..." at the beginning of Neale's lines may seem initially attractive. But it does not make for an accurate nor a memorable series of thoughts. For one thing, the NEH editors have seen fit to specify what items the Spirit is to apply his attentions to:

Sinful hearts (not what is dirty) do thou make whole (not clean)
Bring to life (not water) the arid soul (not what is dry)

And (later, postponed to the end of the verse)

Wounded souls (not what is wounded) their hurt allay (not heal).

So instead of a general prayer to the Holy Spirit to treat whatever can respond to these treatments, we now identify that the items are sinful hearts, arid souls, wounded souls. Does this matter? Well, yes, first because it's prosaic, pedantic, boring and dull. And also because it prescribes thoughts, rather than inviting them. The original left us to think theologically and to see applications in all aspects of our lives.

The Golden Sequence comes in sets of three lines. There are three more lines that have gone into verse 4 in the English version. Here they are in Latin:

Flecte quod est rigidum,
fove quod est frigidum,
rege quod est devium.

Literally, "Bend what is rigid, warm what is cold, correct what is wayward."

J.M. Neale continued his rather heavyhanded lines that begin with the "what is..." phrase as follows for these lines:

What is rigid gently bend;
what is frozen warmly tend;
Straighten what goes erringly.

Now it has to be said that these lines have been a source of much mirth in their day. Many a Pentecost have I seen the King's Choral Scholars crippled with the giggles, even though Neale did not, as he might have done, choose to write "what is frigid warmly tend". But still, I do feel that the substitute in the NEH is not really fit for the job. Here it is:

Make the stubborn heart unbend,
To the faint, new hope extend,

And (going back to the middle line of the verse, because they've done them out of order)

Guide the feet that go astray.

Once again, the editors have seen fit to specify what the object to be treated by the Spirit is: the stubborn heart (for "what is rigid"), the faint, presumably faint people (for what is cold, but why and how is faint a good translation for cold?), and the feet that go astray (for what is wayward).

But "feet"?

Why "feet"?

It's not literally feet that the Spirit is interested in, surely? I mean we're not talking about redirecting us when we've taken a wrong turning on the roads. We're talking about redirecting us when we've taken a wrong turning in life. But it's not our feet that do that, is it? What is it? Wouldn't it be better not to try to cash out the metaphor? Wouldn't it be better to leave the work to the imaginiation?

I presume we couldn't have hearts or souls again because we'd already had those twice each in the wretched new translation, so for the sake of variatio they chose "feet" as the kind of thing that could go astray?

And now again,

Why did they transpose the third and sixth lines of the verse?

I'm mystified.

Since the two lines rhyme with each other and make perfectly good sense in their proper position, this seem a completely random and unmotivated decision. Why? I don't know why.

This week's competition:

Rewrite J.M. Neale's lines for verse 4 in such a way as to avoid using "what is..." as the first words of each line, avoiding the awkward invertion of object and verb, and avoiding the artificial articulation of -éd on past tenses that are normally pronounced as one syllable.
Do that without stipulating what the items that are to be treated are.

The prize: glory everlasting.

Sunday, May 28, 2006

New thread on the BBC message board

Please join in the discussion of the English Hymnal on the Radio Three message board by clicking the link on the title of this post.