The Singing Church: The Hymns It Wrote and Sang — John Shaqi
The Singing Church: The Hymns It Wrote and SangLorenz, Edmund S. (Edmund Simon)
Religion
The Singing Church: The Hymns It Wrote and Sang
Lorenz, Edmund S. (Edmund Simon)
Hymns -- History and criticism
2. As a spontaneous expression of personal experience, the hymn had to
be individualistic. Not often, if ever, are particular religious
experiences common to a body of believers at a given moment.
3. The high peaks of religious experience which are most valuable as
furnishing ideals and stimulus to the members of a singing
congregation can be reached only by individuals, not by a mass of
people. To restrict the expression of religious experience to that
common to all Christians, would be to omit the most inspiring and
helpful hymns, and keep our song service at a dead level of inferior
value.
4. It must not be forgotten that it is not the congregation that
sings; it is its individual units! The congregation is an abstraction,
a merely mental conception. The singing of each member is
fundamentally as purely individual as if he were absolutely alone!
Hence the “I and My” hymn is entirely fitting. Each sings what is, or
ought to be, his own individual experience. Indeed, he makes his best
contribution to the collective effect if he is intensely
individualistic in his singing.
5. In all ages this individualistic participation in mass singing has
been natural and spontaneous. The children of Israel sang an
individualistic “I and My” hymn in rejoicing over the army of Pharaoh.
The psalms are largely “I and My” hymns of praise, of prayer, and of
confession. David sings, “The Lord is my Shepherd; I shall not want.”
It is too much to expect that every singer shall apprehend the full
import of the words he sings; to accuse him of insincerity and
hypocrisy if he fails to rise to their level, or if he takes them on
his lips thoughtlessly, is uncharitable. In most cases the fault lies
with the leader of the service who does not bring out the meaning and
does not prepare the minds and hearts of the singers for the hymn
about to be sung.
It is, therefore, not a question of the first person singular, but of
the kind of personal experience that finds a voice. Is it artificial
or genuine? Is it morbid or wholesome? Is it depressing or stimulating
to the spiritual life? Is it an experience to which all have attained
or may attain, in terms all can accept, or is it morbid, fanatical,
extravagant?
No congregation should be expected to sing offhand with Faber,
“I love Thee so, I know not how
My transports to control,”
or
“Oh, dearest Jesus, I have grown
Childish with love of thee.”
Public-domain text, read in full here on John Shaqi.
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