Let Party Names No More (B. Beddome, 1769) from Rice Haggard’s Christian Hymns (1815)
This hymn by Benjamin Beddome, “Let Party Names No More…” was written around 1769. Rice Haggard was among the first to include it in his Christian Hymns hymnal of 1815, one of the earliest from the Stone-Campbell-Scott, etc., Restoration Movement.It’s easy to see why it isn’t in hymnals today…don’t you think?
Though the COVID-19 virus and all the surrounding crises seem to have slowed the election year rhetoric, this song speaks of something much deeper than merely the political system. Early leaders in the movement of the Campbells, Stone, Scott, and others longed to be Christians only, not the only Christians. It was Raccoon John Smith who said “Let us, then, my brethren, be no longer Campbellites, or Stonites, New Lights or Old Lights, or any other kind of lights, but let us come to the Bible, and to the Bible alone, as the only book in the world that can give us all the light that we need.” (J. Murch, Christians Only, Cincinnatti: Standard Publishing, 1952).
Church Music in America is seemingly “torn between two lovers, feeling like a fool.” That is to say, we are experiencing a period of transition stylistically, theologically, and musically as well as lyrically. There appears to be a groundswell of desire to return to the time honored-hymn form…a new renaissance, as Robert Webber put it, of the “ancient-future” in which many musicians, composers, and lyricists are returning to texts and tunes that have stood the test of time as the basis for new compositions. We need look no further than Keith and Kristyn Getty, Stuart Townend, Sovereign Grace Music, Indelible Grace, David Crowder, even the popular groups coming out of the Passion movement, Bethel, and yes, even Hillsong has tipped their caps to the sound of songs from years gone by.
Such is the case with the hymn-subject of this entry, “All Creatures of Our God and King,” and its well-known tune, LASST UNS ERFREUEN. As recently as November of 2017, Sovereign Grace Music did a new arrangement of “All Creatures.”CCLI claims no less than 185 different entries in their catalog of songs either quote, mention, borrow from, or add choruses or other pieces to the original hymn. “All Creatures” is found in over 200 hymnals, and the LASST UNS ERFREUEN tune is found in excess of 300 hymnals as well.
ABOUT THE WRITERS
St. Francis of Assisi (ca. 1182–1226) lived during the time of the Crusades, when the upper class and elite ruled the land and when armored knights rode chivalrously on their horses across the European countryside. But not Francis. A monk in search of reform, Francis lived a humble, simple lifestyle in service to God and to his fellow man. He is said to have loved nature, travel, and would preach to anyone who’d listen, even if it was a group of birds in a cave. His love of nature and his love for the Creator of nature is what birthed his “Song of Brother Sun and All Creatures,” or “Cantico del frate sole.” It was one of several popular laude spirituale, or popular spiritual songs in Italian for use outside of the liturgical context.
Francis is believed to have written this poem near the end of his earthly life, during a period of tremendous pain and suffering. And among its more salient details are the tone with which Francis writes, a tone that expresses a desire for man and nature to be one, a love of the earth and all God’s creatures in it, a voice way ahead of its time and well before any hint of a movement toward a cultural and ecological revolution like America saw in the 1960’s.
Dr. J.R. Watson, British hymnologist observes: “In the original the saint gives each element, such as fire and water, a human gender, so that they become ‘brother’ and ‘sister.’ This remains in the appellation of ‘Dear mother earth’ in verse 4, and is suggested by the personification of death as ‘kind and gentle’ in verse 6. These elements in the hymn make it seem tender as well as grand. It is based in part upon Psalm 148.”
In most English Versions, freely translated by William Henry Draper, we find either four or five verses. William Henry Draper (1855–1933) was born at Kenilworth, GB and educated at Oxford for both undergraduate and graduate degrees. He was ordained in 1880 to serve the Anglican church at St. Mary’s in Shrewsbury, as well as in Alfreton, and Leeds.
Draper is credited as the paraphraser or free translator of this text attributed to St. Francis.
He is also given credit for twelve to fifteen other hymns, the most popular being “In our day of Thanksgiving, one psalm let us offer.”Julian offers that Draper had some sixty hymns to his credit in 1907 and gave Draper high praise for his verse. Draper composed his translation/paraphrase for the occasion of a children’s celebration of Whitsuntide at Leeds between 1906 and 1919. It was published in the Public School Hymnbook of 1919, and Draper couldn’t remember the exact date of his composition. It was set to Ralph Vaughan Williams tune, LASST UNS ERFRUEN, a staple tune of British hymnody, in this publication, though it is believed to have been sung and known prior to the 1919 book.
The tune, LASST UNS ERFREUEN, is most often set by Ralph Vaughan Williams, who originally included it when he compiled and edited The English Hymnal in 1906. The title is derived from the Eastertide text, Lasst uns erfreuen herzlich sehr, from the 1623 Jesuit hymnal collection titled Ausserlesene Catlwlische Geistliche Kirchengesänge. Other texts often associated with this tune include “Praise God From Whom All Blessings Flow,” “From All That Dwell Below The Skies,” “Ye Watchers And Ye Holy Ones,” “Now All The Vault Of Heaven Resounds,” and “Give To Our God Immortal Praise.” There are numerous arrangements and opportunities for variation in texture, voicing, call and response, or many other creative options. Erik Routley once suggested this hymn to be a part of a broader family of tunes based on the major triad, including MIT FREUDEN ZART.
All creatures of our God and King,
lift up your voice and with us sing:
Thou burning sun with golden beam,
thou silver moon with softer gleam,
O praise him, O praise him,
Alleluia, Alleluia, Alleluia!
Thou rushing wind that art so strong,
ye clouds that sail in heaven along,
O praise him, Alleluia!
Thou rising morn in praise rejoice,
ye lights of evening, find a voice:
Thou flowing water, pure and clear,
make music for thy Lord to hear,
Thou fire so masterful and bright
that givest us both warmth and light,
All ye who are of tender heart,
forgiving others, take your part,
sing his praises, Alleluia!
Ye who long pain and sorrow bear,
praise God and on him cast your care,
Let all things their Creator bless,
and worship him in humbleness,
O praise him, Alleluia!
Praise, praise the Father, praise the Son
and praise the Spirit, Three in One,
In each stanza, the author personifies an aspect of nature as brother and sister humankind. In the opening stanza, he calls all creatures in praise to God . . . echoes of Psalm 8, Psalm 19 reminiscent in the back of our minds. Each stanza ends with a Trinitarian “alleluia,” beginning with a two-part opening chorus motif calling us to “praise him,” and concluding with the tripartite “alleluia.” Some translations have translated the refrain as “Praise God” in an effort to make the language more gender-neutral. Others have removed the language considered to be archaic, “thees” and “thous” with we, you, and other modern pronouns.
Stanza two speaks of the winds, clouds, moon, evening lights, and skies, all in praise of the Creator.
Stanza three speaks of the flowing water, which brings cleansing and healing, that clear water . . . double-entendre perhaps, speaking of Christ as living water and the water that flows from the throne as referenced in the Old Testament narrative. It also speaks of fire in contrast to water.
Stanza four breaks from this pattern of Creator-Creation praise to focus on the act of forgiveness on the part of humans, created in the image of the Creator and created to offer forgiveness to one another. God as forgiver, Christ as sacrifice and bearer of our sin, shame, and care. Echoes of Christ bearing our burden as he shares in Matthew 11 immediately come to mind. Once again, the stanza ends in a closing Trinitarian refrain.
Stanza five could be considered a corollary to stanza one, once again calling all of creation to bless their creator-God. This time, the Creator is praised as the holy Three-in-One, Father, Spirit, and Son. The author calls all creation to praise the Creator, to praise the Father, the Son, and Spirit, Three-in-one. And as each stanza that preceded it, stanza five concludes with the Trinitarian refrain.
I am still amazed at little, seemingly hidden verses that strike me from time to time. In recent years, it seems to always happen at Christmas. Last night was no different.
Our congregation travels to a local rehabilitation and nursing facility every other Wednesday night to sing and fellowship with a special group of residents. Last night was our final visit for 2017. So, we sang through the entire Christmas, er, I mean, “Special Themes” section of our hymnal. True, there are several important Christmas hymns and carols noticeably absent from this particular compilation (O Come, O Come Emmanuel, God Rest Ye, Merry Gentlemen, Sing We Now of Christmas, I Heard the Bells on Christmas Day,Infant holy, Infant Lowly, just to name a few).
We came to It Came Upon the Midnight Clear. And we started in, just like we’d sung it time and time again. But we came to the third verse, and there it was, and it hit me right between the eyes.
I must make a note here before going into that lyric: We in Churches of Christ have missed the boat on a LOT of the rich, broader Christian hymnody of Advent and Christmas. Not only that, but we’ve bred a culture of singing that skips stanzas. So many of our hymns and songs were constructed to tell a story…especially, this is the case in so many of these Christmas carols and songs…they tell of the full narrative, of the prophets foretelling the coming of Messiah, of Mary’s encounter with the angels, of the manger, and of the upside-down-ness of Jesus’ coming and our waiting for his second advent, his return…living in that in-between. We’d do well to sing all of these stanzas, and to broaden our choices to include hymns and carols with a rich heritage, while also looking to include new hymns such as Matt Boswell’s Come Behold the Wondrous Mystery which tell the Christ story in with a wonderful new tune and rich text. Listen to the original here, then you can buy the a cappella version here. One of my professors and friends, Dr. Scott Aniol of Southwestern Seminary in Fort Worth offered good perspective on this in an interesting Baptist Press article as well.
So often, these Christmas hymns include a story of how our world is doing anything but living in the reality of God’s world-changing love, as shown through Jesus. I’ve written before about hymns likeO Come, O Come Emmanueland O Holy Nightand how they sing into just how we are to live out that love in the here and now. So often, these ignored stanzas speak of the sadness of war and the lack of love for brother and sister humankind…
3 Yet with the woes of sin and strife the world has suffered long; beneath the angel strain have rolled two thousand years of wrong; and warring humankind hears not (Some hymnals use the original, “and man, at war with man hears not”) the love song which they bring. O hush the noise and cease your strife, and hear the angels sing.
Considering this hymn was written over 140 years ago, the commentary on the warring between humankind and the plea with us to cease our strife is all the more powerful, and all the more relevant for us today.
And it sets up the closing stanza, now more important than ever to sing in light of stanza 3.
4 For lo, the days are hastening on, By prophets seen of old, When with the ever-circling years, Shall come the time foretold. When the new heaven and earth shall own The Prince of Peace their King, And the whole world send back the song Which now the angels sing.
In our living and loving, may we send back heavenward, and to our brothers and sisters, the “song the angels sang.”
And may we sing these hymns and the rich stories they offer in their entirety…and may we be changed because of it.
Last Christmas, I wrote this post amidst a sea of unrest, politically and otherwise. In light of recent tragic events, especially in Orlando, I’m reposting it here today.
There has been a lot of swirling conversation going on around me, both physically and virtually, about what has gone on in the world around us these last few weeks…Syria, San Bernardino, Jerry Falwell…and on and on. It was so much that today, I’d had enough and I needed a moment to just sit, be, listen and be quiet…in the quiet, I was overcome by the lyrics of one of the world’s most beloved Christmas Carols…and I had to write a bit about it. I’ll come back to the other verses and the backstory of this wonderful Adolphe Adam carol, Cantique de Noel, on another day.
[And I will return to my series of posts on “O Come, O Come, Emmanuel,” later this week. But for a moment today, amidst the hatred, vitriolic speech, harsh judgment and language found in my Facebook feed and in other social and news media, I paused today just to breathe in and claim the lyrics of a Christmas Carol that so many love…but I’m afraid have sung too glibly over the years.]
The third verse of “Oh Holy Night” speaks of a world in which those who claim to follow Jesus are living out he calls all of his followers to in his subversive Gospel.
That Gospel is deeply rooted in Love of God and Love of Others…and so many claim the first part of that Call…the part about loving God. But the back half…well, I’m afraid some have given Christ a bad name in how we’ve lived that out in recent days, weeks and months…that love of “others” is not one we can or should place provisions or privileges on…it’s an unconditional love for all of our brothers and sisters…
“Truly He taught us
to love one another;
His law is Love
and His gospel is Peace;
Chains shall he break,
for the slave is our brother,
And in his name
all oppression shall cease,
Sweet hymns of joy
in grateful Chorus raise we;
Let all within us praise
his Holy name!”
Christmas has turned into one of the busiest, most frantic times of year, hasn’t it? How far this holiday has come from the most humble of origins.
Amidst concerts, travel, all of our planning, Christmas service preparations, parties Christmas shopping, two broken cars, the last 2 weeks, at least for us have been filled with “strife!” I know, that may be a stretch for such a definition…but it sure seems as if we’ve been immersed in anything but peace on earth…because we’re so consumed with ourselves, after all, we’re the consumer!
This November-December, I participated in several performances of Handel’s messiah…and each time, we sang those storied words that echo the voices of the prophets, anticipating the coming Messiah.
“And his name shall be called: Wonderful…Counselor…Mighty God…Everlasting Father…the Prince of Peace.” Our world…We…I desperately need the Prince of Peace. Because only that can bring us back to the true meaning of a baby, humbly born into a broken world that can change everything and spread the blessing of Emmanuel, God with us now, “Far as the curse is found.”
I want to close 2015 with these closing words of “O Come, O Come Emmanuel.” These are a portion of my prayer as this year melds into a new one filled with new expectations and endless hope.
Oh come, desire of nations,
Bind all peoples in one heart and mind
Bid envy, strife, and quarrels cease…
Fill the whole world with heavens peace
May God richly bless you in 2016! Keep Reading…keep commenting…