Anthrocide

Here’s an oddity that leaves me puzzled: hymn lyrics–or more specifically the use of King James English therein.

Now, I do realize that from the early 1600’s until the early 1970’s the KJV Bible was used by 99.9% of the English-speaking Protestant world. People somewhat understandably associated the use of King James lingo with all things sacred and often felt compelled to use that same mode of speech in any reference to the Lord, including prayers and hymns. This was especially reasonable where scripture was contained in a hymn since it would necessarily be the KJV that was used. The result is that many hymns are laden with “Thee,” “Thou,” “Thy” and “Thine.” Typically King James verbs were also used surrounding those pronouns–for consistency one would assume–giving us “art” instead of “are,” “loveth” instead of “loves,” “hast” (or “hath”) instead of “has,” etc. So, we end up with song lyrics like: “My Jesus I love Thee I know Thou art mine…”

Okay, whatever. What gets weird is that the use of King James parlance is so often random and inexplicable.

As noted, references to the Lord in KJV make sense for the day in which these songs were composed. What I have a harder time understanding is why references to you and me are done that way. For example, the song “Is Thy Heart Right With God,” as the title suggests, refers not to the Lord with KJV but to the listener: “…Dost thou count all things for Jesus but loss?” Why address ME in King James English? Other songs such as “Take Time to be Holy” do the same thing.

Then there are those hymns that can’t make up their minds. Notice how the hymn “His Way with Thee” switches between modern and King James for no apparent reason as it refers to the listener alternately as “YOU” (modern) and “THEE” (KJV):

“…His love can fill YOUR soul, and YOU will see / ’twas best for Him to have His way with THEE.”

Actually the only explanation is a pathetic one. “Thee” was used purely because it rhymed. Now that’s sad.

Even more random are those songs where only one word is KJV. An example is “All the Way My Savior Leads Me” where it says: “…For I know whate’er befall me Jesus doeth all things well…” Notice that at the beginning of the song it does NOT say “All the way my Savior LEADETH me…” but later He “DOETH” rather than He does. Again the unfortunate evident explanation is that the lyricist resorted to KJV in order to maintain the meter of the song–rather than rewriting the lyric (sorry, Fanny Crosby, but that was the cheap way out).

But it gets even more random that that. In the hymn “Count Your Blessings” there is a line in one verse that goes, “…Think that Christ has promised you His wealth untold…” Notice, “Christ HAS”. But in the chorus the lyric is “…see what God HATH done.” Unlike the others, this helps neither rhyme nor meter. The only possible explanation is that the lyricist developed a lisp between writing the verse and the chorus (maybe he lost a tooth or something).

Some hymn lyrics are pretty odd regardless of King James usage. This one for example from “What a Friend We Have in Jesus”:

“Do thy friends despise, forsake thee? Take it to the Lord in prayer…”

Now, first of all it doesn’t say A friend or SOME friends but strongly implies that it refers to ALL your friends. It is not unheard of for a so-called friend to forsake a person, proving to be no friend at all. But to have ALL your friends forsake you? What situation could cause that? The only thing I can think of is if you did some heinous, repugnant, disgusting thing that sent all your friends scurrying to get away from you–like becoming an Amway representative.

But even that is not the strangest part of the phrase. It asks if all your friends DESPISE you. How on earth could a group of people who despise you be classified as “friends”? Aren’t those who despise you–by definition–your enemies?

Or how about this lyric from “I’ll Fly Away”: “…Like a bird from prison bars has flown, I’ll fly away…” Who keeps birds in prison? Unless they’re referring to the Birdman of Alcatraz or something but in that case HE was the one imprisoned in Alcatraz; the birds could come and go as they liked. Of course, it might be referring to a “JAIL-bird” who has flown from prison–but doesn’t that mean an escapee? Is that what we want to be favorably compared with? In a hymn yet?

Another oddity among hymns is the use of what I call “Yoda-speak.” You may recall that the little green Jedi dude in the “Star Wars” films had a characteristic mode of speech in which he sort of spoke backwards. For example, instead of saying “He is strong with the Force” Yoda phrases it this way: “Strong with the Force is he.” Notice how the following hymns do the same thing.

From “Power in the Blood”: “Would you o’er evil a victory win?” Shouldn’t that be “Would you win a victory over evil?” Unless, of course, you have pointy ears and use a light-saber.

From “You Never Mentioned Him to Me”: “…You helped me not the light to see.” I think us non-Jedi’s would say “…You did not help me see the light” wouldn’t we?

From “Give of Your Best to the Master”: “…You from sin’s ruin to save…” Translation: “…To save you from sin’s ruin…”

Not that contemporary Christian music is immune from odd lyrics. Consider the song “My Glorious”. The chorus of the song has this first line:

“God is bigger than the air I breathe”

That is a truly weird figure of speech. Comparisons of the Lord to “the air I breathe” have been used before but always in reference to absolute necessity, i.e., we need God as desperately as we need air. Referring to air in terms of size is beyond strange. Someone suggested that perhaps the reference was to the whole of earth’s atmosphere–sort of a convoluted way of saying He is “bigger than the sky.” However the addition of the phrase “I breathe” tends to negate that since I don’t inhale the entire atmosphere. I think I read somewhere that a breath is about two quarts of air. Saying that God is bigger than that is faint praise indeed. Truthfully it is either using the wrong attribute of “the air I breathe” or the wrong attribute of God. Whatever, it is pretty much nonsensical. Sort of like saying Superman is “faster than a red, red, rose.” One’s natural reaction is “Eh? How’s that again?”

But that’s not the only issue with the song’s lyrics. Here is a verse:

The world’s shaking with the love of God
Great and glorious, let the whole earth sing
And all you ever do is change the old for new
People we believe that

(Then back to the Chorus: God is bigger than the air I breathe…) The first line of the verse–as does the chorus–refers to God in the third person, that is, talking ABOUT God to the audience. But the third line apparently has abruptly switched to speaking directly to Him (“…all YOU ever do…”). But then the next line is back to addressing the audience, this time in plural (“WE believe”) then immediately back to the singular in the Chorus (“I breathe”). I think the lyricist should have gone to bed earlier and taken a fresh look at this in the morning.

Perhaps more sleep would also have helped in the writing of the David Crowder Band’s “How He Loves.” The opening line or so about how God “loves like a hurricane” makes me scratch my head a bit, but then it gets really weird: “…all of a sudden, I am unaware…” I’m sorry but, by definition, it is impossible to SUDDENLY be UNaware of something. You could suddenly become AWARE of something, but how can one suddenly be unaware—unless one passes out or has a stroke or something. In another verse there is a reference to how “…heaven meets earth like an unforeseen kiss…” Eh? I’m not sure how, even poetically, heaven can meet earth like a kiss, but an unforeseen kiss? Does that mean it forgets to pucker or close its eyes? I don’t get it but it could be that I’m biased against the song because Crowder’s rendition of it makes my skin crawl.

Christmas songs are certainly not immune from lyrical oddities. Among the more bizarre is “The First Noel.” The tune is tolerable but the lyrics are, well, the only word to use for them is: lame. What earns a set of lyrics the designation of “lame”? For one thing, lyrics are lame when what they say is nonsensical or just plain wrong. For another, they are lame when there are superfluous words thrown in just to rescue the tune or poetic rhythm. And, as previously mentioned, “Yoda-isms” in lyrics (used primarily to force the rhyme scheme to work) make me crazy. An example of a Christmas song that uses one is: “God rest ye merry, gentlemen, / Let nothing you dismay.” Non-Yoda-speak would be, “…Let nothing dismay you” but that wouldn’t rhyme with “…born on Christmas Day” so, again, the songwriter took the cheap way out.

All that said, “The First Noel” is so bad it almost boggles the mind. To set the stage for the discussion, here is the first stanza along with the refrain:

The first Noel the angel did say
Was to certain poor shepherds in fields as they lay;
In fields where they lay tending their sheep,
On a cold winter’s night that was so deep.

Noel, Noel, Noel, Noel,
Born is the King of Israel.

Now, granted, poems and songs frequently butcher or completely omit relevant punctuation, but this one defies knowing what punctuation is appropriate. In the first line the phrase, “…the angel did say…” just dangles there out in space. The angel did say… what, exactly? One could presume that the next word or phrase would represent what the angel said, but that would be the word “Was” (ostensibly spoken “to certain poor shepherds”). As far as I know nothing in the Christmas story has an angel just saying, “Was.” This is fortunate, because if it did that would be mind-numbingly inane. As if that isn’t bad enough, even the phrasing of it is dorky. Using “the angel did say…” instead of “the angel said” is a case of a superfluous word thrown-in to try to stay on beat. Unfortunately the lyrics and “beat” really never do mesh in this song. What I think the lyric is trying to communicate is just that the angel spoke to some shepherds.

This, then, brings us to the next example of dippy-ness: “On a cold winter’s night….” Now, the evidence is marginal at best that Jesus was born in the winter but there is no hint in scripture that it was cold. Israel is a mild climate but admittedly it could have been cold—the odds are about as good that it wasn’t as that it was. Maybe slightly more toward the “wasn’t” side since had the birth taken place in the cold there’s a strong chance that Luke would have mentioned it—but he didn’t. The crowning touch is the final phrase: “…that was so deep.” Okay, what does that mean? It could be that I’m just not poetically-astute enough, but I have no idea what distinguishes a deep night from a shallow one. As near as I can tell, that phrase is there purely because the lyricist needed something that rhymed with sheep. How dumb.

But as bad as it is, the first, and most commonly known, verse is pure genius compared to some of the other verses. Get a load of this one:

Between an ox stall and an ass,
This Child truly there He was;
For want of clothing they did Him lay
All in a manger, among the hay.

There is so much wrong with this verse I won’t even attempt to critique it. I used to think that “The First Noel” was a French song that simply lost a lot in the translation. Turns out it is not French but Olde English—most think from the 16th century—making it contemporary with Shakespeare. Believe me, brother, this is about as far from Shakespeare as one can get!