Bible 2004-2005 (Second Semester)

Reggae and the Bible
Rastafarianism is an Afro-centered movement that "recovers" or re-uses the Bible to protest social power and injustice. It is famous because of Jamaican Reggae music, based largely on the Rasta religion.
     In this way, Bible images are made current. "Babylon" is now white or  "Western" power; the Jordan is the Atlantic ocean, which can be crossed into the promised land of Africa.
     Rasta salvation history is traced (through Solomon and Sheba) to the tribe of Judah, in the figure of the lion, as in Jacob's blessing (GENESIS 49:9 ) and  REVELATION (5:5). Psalm 68 promised that, "Ethiopia will surrender to God" (v. 31).
     Rasta sees this as joy, not suffering, as in its version of the famous Psalm 137, "By the rivers of Babylon," one of the most famous Bible texts from the so-called "Babylonian Captivity" (after the fall of Judah in 586 BCE, most Jews were sent to "a strange land," Babylon). In the song, "Rivers of Babylon," by the Melodians, the "strange land" is Jamaica.
     Psalm 137 is used closely. Famous lines from Psalm 19 are also used: "May the words of my mouth and the meditation of my heart be pleasing in your sight" (v. 14).
     "Alpha" refers to Ras Tafari (Prince Tafari, later Emperor of Ethiopia), believed to be Jesus Christ, and from whom Rastafarianism gets its name. (In Revelation, Jesus is the "Alpha and Omega" or "beginning and end" [1:8, 22:13]. "Alpha" and "Omega" are the first and last letters of the Greek alphabet, thus the beginning and the end.)
     The song becomes a song of freedom and joy, not sadness. "Far-I" is word play on Ras Tafari, linking "God" and "I" (Rastas use "I" instead of "me"):
RIVERS OF BABYLON
By the rivers of Babylon, where we sat down, and there we wept, when we remembered Zion. When the wicked carried us away in captivity--required
from us a song. How can we sing King Alpha's song in a strange land?
When the wicked carried us away in captivity--required from us a song.
How can we sing King Alpha's song in a strange land?
    Sing it aloud! Sing the song of freedom, brothers!  Sing the song of freedom, brothers! We gonna talk about it! We gonna jump and shout it! So, let the words of our mouth and the  meditations of our hearts be acceptable in Thy sight. Oh, Far-I.
     So, let the words of our mouth and the meditations of our hearts be acceptable in Thy sight. Oh, Far-I. Sing it aloud! We got to sing it together, Everyone of us!
      By the rivers of Babylon, where we sat down and there we wept, when we
remembered Zion. When the wicked carried us away in captivity--required
from us a song. How can we sing King Alpha's song in a strange land?
When the wicked carried us away in captivity--required from us a song.
How can we sing King Alpha's song in a strange land?
RIVER JORDAN
Here the River Jordan is the Atlantic Ocean on the way to "home" (Africa):

River Jordan gonna roll, roll, roll! Jordan River, roll the River Jordan, calling us all, calling us all. We've got to go back home, back to Africa. It's just calling us all, calling us all. ??? where we want to go! It's just calling us all, calling us all!
     So long we've been down in slavery, anyhow we've just got to be free, yes we want to be free. Well, Jordan River, roll the river Jordan, calling us all, calling us all.
     We've got to go back home, back to Africa. It's just calling us all, calling us all.
     So long we've been bound in shackles and chains, anyhow we just want to go home, we got to go home, we want to go home! Jordan River, gonna roll! Roll! Jordan River, wanna roll.
     So long we've been boud in captivity and now we just got to be free, we want to be free!
     Well, Jordan River. Roll the River Jordan! It's calling us all, calling us all. We've got to go back home, back to Africa. It's just calling us all, calling us all. River Jordan gonna roll, River Jordan gonna roll!
ARMAGIDEON TIME
This song captures the plea for justice that was the basis of Hebrew prophecy, which continues to inspire social movements around the world. "Armagideon" refers to "Armageddon," the place of the final battle between Good and Evil (REVELATION 16:16). The singer combines this word with "Gideon" who fought battles for God (JUDGES 7). "Iration" either refers to "Creation" or is a blend word made up of "oration" ("speech, prayer") and "irate" ("angry").

A lot of people won't get no supper tonight. A lot of people going to suffer tonight. 'Cause the battle is getting hotter and this iration is Armagideon.
A lot of people won't get no justice tonight. So a lot of people going to have to stand up and fight! But remember to praise Jehovah and he will guide you in this iration. It's Armagideon. Yeah!
     A lot of people will be running and hiding tonight. I say a lot of people going to be running and hiding tonight!  Cause it's your action, you must get your fraction in this iration, it's Armagideon. A lot of people won't get no supper tonight! I said a lot of them won't get no justice tonight. I say but remember to praise Jehovah and he will guide you in Armagideon.
     A lot of people won't get no supper tonight. A lot of people going to suffer tonight. So a lot of people going to have to stand up and fight! A lot of people will be runing and hiding tonight. I said a lot of them will run and hide tonight! A lot of people won't get no supper tonight.
IGZIABEHER (LET JAH BE PRAISED)
This is typical of Reggae lyrics, mixing texts from 3 different Psalms, replacing Lord with "Jah" (a form of Jehovah). "Igziabeher" means "King of Kings" and "Negusa Neghast" means "Lord of Lords":

Igziabeher! Let Jah be praised! Negusa Neghast! Let Jah be praised. Medanialam! Let Jah be praised! Let Him be praised! Let Him be praised! You'd better let Him be praised!
     He watereth the hills from his chambers and the earth is satisfied, so satisfied. He maketh the grass to grow for man. Jah made the herb for man, He made the herb for man, Jah made the herb for man. (Psalm 104:12-14)
     Fret not thyself because of evildoers, neither be thou envious against of the workers of iniquity. For they shall soon be cut down, cut down like grass, and they shall wither like corn. (Psalm 37:1-2)
     Let Jah arise and let all his enemeis be scattered! Let them that hate Jah now scatter, shatter, batter, and flatter. (Psalm 68:1)
     As the smoke is driven away, Jah, drive them away! As the wax melteth, let them be melted, Jah, Jah! (Psalm 68:2) 
     Igziabether! Let Jah be praised! Negusa Neghast! Let Jah be praised. Medanialam! Let Jah be praised! Let Him be praised! Let Him be praised! You'd better let Him be praised!
     Oh, lightning, earthquake, brimstone, for the fire, lightning, brimstone and fire! Weak heart scatter, shatter, batter, and flatter. I can feel it! Weak heart feel it! Kill them dead before they spread.
EQUAL RIGHTS
The United Kingdom of Israel (c. 1000-922 BCE) was never an absolute kingdom. Because kings had to answer to God and to their spokesmen, the prophets, who (protected by God) were fearless before kings, setting the model for modern democracies. The prophets formed the first protest movement and are models down to our own day. Their voices are heard wherever there is protest against injustice, including many modern liberation movements, beginning with the 18th century revolutions to last century's folk songs and today's Reggae and hip hop lyrics. Their voices could wound in strength but comfort in weakness, as during the Babylonian Captivity (after 586 BCE). But Justice came first; peace could only follow justice. The fall of Israel (Northern Israel first in 722, Judah in 586 BCE) made the Israelites ask how they had failed God; but soon (as in the Book of Job) the question asked was if God had failed them. The Bible is a timeless book because both sides of the debate are given while there is no question that it is the only debate worth having. "Equal Rights," another Reggae song, echoes many of these ideas. For the Bible is as alive today in Jamaica (and elsewhere) as it was in Israel thousands of years ago:

     "'How can there be peace,' Jehu replied, 'as long as all the idolatry and witchcraft of your mother Jezebel abound?'" 2 KINGS 9:22
     "From the least to the greatest, all are greedy for gain; prophets and priest alike, all practice deceit. They dress the wound of my people as though it were not serious. 'Peace, peace,' they say, when there is no peace." JEREMIAH 8:10-11 (Also, 6:13ff.)
     "Because they lead my people astray, saying, 'Peace," when there is no peace, and because, when a weak wall is built, they cover it with whitewash, so tell them that it is going to fall. Rain will pour down and strong winds will come." EZEKIEL 13:10-11. (Compare Bob Dylan's "Blowing in the Wind" and "A Hard Rain's Gonna Fall.")

Everyone is crying out for peace, yes, none is crying out for justice. (2) I don't want no peace. I need equal rights and justice. (3) Got to get it!  Equal rights and justice.
     Everybody wants to go to Heaven, but nobody wants to die. Father of Jesus! Everybody wants to go to up to heaven but none of them, none of them wants to die. [JOHN 12:24]
     I don't want no peace. I need equal rights and justice. (3) I got to get it!  Equal rights and justice. I really need it! Equal rights and justice! Just give me my share: Equal rights and justice!
     What is due to Caesar, you better give it on to Caesar and what belong to I and I. You better, you better give it up to I. [MATTHEW 22:17]
     'Cause I don't want no peace. I need equal rights and justice. (2) I got to get it!  Equal rights and justice. I'm fighting for it! Equal rights and justice!
    Everyone heading for the top, but tell me how far is it from the bottom? Nobody knows it, but everybody fighting to reach the top, how far is it from the bottom?
    I don't want no peace. I need equal rights and justice. (3) I got to get it!  Equal rights and justice. I really need it! Equal rights and justice!
    Everyone is talking about crime. Tell me who are the criminals. I said everybody's talking about crime, crime. Tell me who, who are the criminals I really don't see them!
     I don't want no peace. I need equal rights and justice! We got to get equal rights and justice! There be no crime equal rights and justice. There be no criminals! Everyone is fighting for equal rights! Palestine is fighting for Down in Angola Down in Botswana Down in Zimbabwe. Down in Rhodesia Right here in Jamaica.                                                                                      

READING ASSIGNMENT SUMMARY
1 March 2005
1 KINGS 2:1-9
This is a wonderful scene where the old King David advises his son, Solomon, to take care of old quarrels and friendships. This scene inspired a similar scene between father and son in The Godfather.

1 KINGS 3
Solomon asks God for wisdom instead of power. The main idea here is that Solomon is suitably humble and compares himself to a child who has to rule many people: "But I am only a little child and do not know how to carry out my duties. Your servant is here among the people you have howen, a great people, too numerous to count or number. So give our servant a knowing heart to govern your people and to choose between right and wrong" (3:7-9).

3:16ff. The story of the two prostitutes asking Solomon's judgment in a quarrel over a baby is well known and fits in with the portrait of Solomon as a wise man.

1 KINGS 5
Although we will not be reading this chapter, the building of the temple is one of the key moments in Israelite history.  It became the focal (main) point of worship and all local forms of worship were disallowed (not allowed). This is called "centralization," where the main power or focus is in the center of a nation ("centralized government" compared to local government). We assume many parts of the Torah were written after the time of Solomon's temple because there are warnings about "centralized worship" that would not have had meaning before that time (Noah, for example, made his own local sacrifices, without the aid of priests).
     Dates to remember: Solomon's Temple (tenth century, which means the 900's BCE); the temple was destroyed by the Babylonians in 587 BCE (a key date marking the end of the Israelite kingdom). It was rebuilt by ZERUBBABEL in 515, with permission from the Persian authorities. It was finally destroyed in 70 CE by the Romans under Titus. (It had been remodeled by Herod before then.)
     Other key dates to remember:  David's Kingdom is dated about 1000BCE; Solomon's kingdom ends 922 BCE. Israel (Northern Israel) falls in 722 BCE; Josiah of Judah discovers the Book of the Law (probably Deuteronomy or the whole Pentateuch in 622 BCE, reviving the ancient Hebrew religion); and 587/6 BCE is the fall of Judah and the beginning of the Babylonian Captivity, whose most famous Psalm is 137. About 50 years later Jews are allowed to return to Jerusalem. Keep a "cheat sheet" (or crib sheet) of important dates around you so you can remember them.
      Solomon's prayer of dedication repeats the main themes of justice and universalism (one God for all), as in the following:
"When a man wrongs his neighbour and is required to take an oath and he comes and swears the oath before your altar in this temple, the hear from heaven and act. Judge between your servants, condemning the guilty and bringing down on his own head what he has done. Declare the innocent not guilty, and so establish his innocence"(8:31); and "do whatever the foreigner asks of you, so that all the peoples of the earth may know your name and fear you" (8:43).
 
1 KINGS 10
The section telling of the Queen of Sheba is especially important to the Rasta religion, because 10:13 suggest a sexual relationship between Sheba and Solomon. Since Sheba would be dark-skinned, Rastas trace their ancestry through David's line, thus sharing in David's Covenant.

1 KINGS 11
This section tells of the problems with having so many wives; for these wives turned Solomon away from the one God of the Covenant (the Davidic Convenant). God says he will tear the kingdom from his son, which happens.

1 KINGS 1-24
Two important kings. Solomon's son, Rehoboam uses forced labor, like his father. The ten northern tribes separate ("secede") with the famous lines, "What share do we have in David, what part in Jesse's son?"

1 KINGS 12:26-30
After separating from the south, the northern king, Jeroboam naturally worries about centralized worship in Jerusalem. So he has two golden calves made as replacements, saying "Here are your gods, O Israel, who brought you up out of Egypt" (v. 28). This text clearly echoes the text in Exodus 32:4: "These are your gods, O Israel, who brought you up out of Egypt." This is the trace of the "Deuteronomist" who wrote KINGS as well as that text in EXODUS and is trying to show a relationship between the idolatry of the Jeroboam and the idolatry of the golden calf in Exodus. The relationship is more apparent when one considers that only one calf was made, not two, yet the text uses the plural "gods"! In other words, the writer of EXODUS (or at least that part of EXODUS) was clearly thinking ahead to the two calves made by Jeroboam. So it is reasonable to suppose that the EXODUS text was written after Jeroboam had his two calves ("gods") made as a way of attacking those figures. See Psalm106: "At Horeb [Zion] they made a calf and worshipped an idol cast from metal. They exchanged their glory for an image of a bull, which eats grass" (vv.19-20). Making fun of statues of gods is a main subject in the Book prophets (those who have books named after them).

1 KINGS 16:29ff.
The story of Ahab, one of the most despised kings, and his wife, Jezebel. (The ending of Jezebel's name is related to the local god, Baal.)

1 KINGS 17
Elijah is fed by ravens. Scholars believe that the Elijah and Elisha stories are from another source later made part of this history. Both Elijah and Elisha concern miracle stories.

1 KINGS 17: 19-24
Tells the story of the widow of Zarephath and her dead son brought to life by Elijah. Lying on top of the boy was probably a way to give the boy warmth, which may suggest a "natural" explanation for the boy's revival.

1 KINGS 18
A typical story of how prophets defied kings. Here Ahab calls Elijah "trouble." This chapter includes the famous contest of the gods. Elijah makes fun of the foreign gods when they don't respond to the rites of their worshippers: "Shout louder! Surely he is a god! Perhaps he is deep in thought, or busy, or traveling" ("Traveling," like "feet" in earlier texts, is a euphemism ["nice word"] for having a bowel movement: going to the toilet.)

1 KINGS 19
A picture of the lonely prophet, Elijah, after he is hunted down by Jezebel: "I have had enough, LORD! Take my life." The location (Mount Horeb/Zion) and his 40 days of wandering compares him to Moses, and links him, later, to Jesus.  This connection is clearer in MATTHEW 17, when both Moses and Elijah appear with Jesus: "Just then there appeared before them Moses and Elijah, talking with Jesus" (v. 3). Since Elijah never dies, but is taken straight up into Heaven, he is expected to return, a main theme in the Gospels, when people mistake both John the Baptist and Jesus for Elijah. It is because the prophet Malachi predicts the return of Elijah that MALACHI is the last book of the Christian version of the Old Testament, coming right before the Gospels and John the Baptist. The last 2 verses of MALACHI read: "See, I will send you the prophet Elijah before that great and dreadful day of the Lord comes. He will turn the hearts of the fathers to their children and the hearts of the children to their fathers; or else I will come and strike the land with a curse" (4:5-6). Then follows the New Testament, as to fulfill this prophecy. (The Jewish Bible ends with 2 Chronicles, with the last verse (36:23) promising the restored temple under God's power.
     So you can see where Hebrew and Christian Bibles differ on the fulfillment of the promise, the "old covenant" Jews placing it in the Temple and the "new covenant" Jews (later "Christians") placing their hope in a new Messiah, promised by the prophet Malachi.
     (The number "40" is sometimes used as a round number, like saying, "I'll call you back in ten minutes," where "ten minutes" means as soon as possible.)
     The "still small voice" through which God speaks (instead of an earthquake or wind) may have several meanings. The most obvious is that one cannot expect God to show himself today as in the past (the time of Moses, with loud thunder and fire). Instead, one must listen to God in stillness or quiet.
     Observe that, despite God's prediction, it is Elisha, not Elijah, who anoints Jehu king (compare 1 KINGS 19:16 and 2 KINGS 9:3, showing that even the Bible writers were confused between the names ELIJAH and ELISHA). Elijah places his mantle (cloak) around Elisha (1 KINGS 19:19) to choose his successor. Even today we use that idiom, as in, "The mantle fell to Mr. Smith."
     Note that 19:14 is a repeat of 19:10 and is obviously an uncorrected copy error.

1 KINGS 21
The famous story of Naboth's vineyard. The land was sacred and belonged only to God; nobody had the right to buy the family land.

1 KINGS 22
The prophet Micaiah never gives pleasant advice to King Ahab. There's humor in Ahab's disappointment ("He never prophesies anything good about me"). There's also humor when Micaiah pretends to say something good, but the king knows he's lying and saying only what the king wants to hear. The other prophets are not Hebrew (Israelite) prophets, so are not trustworthy.

2 KINGS 1
The northern king of Israel, Ahaziah trusts in the Philistine God, Baal-Zebub, rather than the Lord and is punished for this.

2 KINGS 2
Elijah is taken up into Heaven, either by a whirlwind or by a chariot of fire and the mantle falls to Elisha. Once again the Jordan is used as a site of a miracle and links Elijah (as did Mount Horeb/Zion and the 40 days in the wilderness) to Moses. The Afro-American spiritual, Swing Low, Sweet Chariot is based on this text.

2 KINGS 3:26ff.
This is a curious passage; the only passage in the Bible that suggests a foreign god has power. Moab sacrifices his son and the battle turns against Israel. This suggests that "henotheism" (the worship of many gods, with one main god) was still current.

2 KINGS 4
More miracle stories, this time linked to Elisha. Both this story of the widow's oil and the poisoned pot are linked to similar miracles in the Gospels (see MARK 6:35ff.).

2 KINGS 5
The story of the Aram (Syrian) commander Naaman is important because, like other such stories, it shows that the Hebrew God is a universal God. Jesus refers to this story for that reason. (LUKE 4:27) For the same reason, Jesus refers to the widow of Zarephath (1 KINGS 17) (LUKE 4:26).

2 KINGS 6:1-7
The iron axe-head floats. Another miracle story for Elisha.

2 KINGS 9:1-10
God predicted that Elijah would anoint Jehu king but it is really Elisha. Jehu asks King Joram of Israel, "How can there be pace as long as all the idolatry and witchcraft of your mother Jezebel abound?" (v. 22).

2 KINGS 9:30ff,
In a great scene, Jezebel paints her eyes (giving her name to all painted women), waiting for her killers. She asks Jehu with sarcasm, "Have you come in peace, Zimri?" (The reference is to Zimri, who assassinated (killed) King Elah of Israel to become king himself [1 KINGS 16:10].) The death of Jezebel (as before her, King Ahab) fulfills past prophecies.

1 KINGS 17:1-15
This shows the fall of the northern kingdom called Israel (under King Hoshea) to the Assyrians.

1 KINGS 24:8-25:12
Shows the fall of the southern kingdom, called Judah. This begins the Babylonian Captivity, in 587/6 BCE.



Job's Songs
The art based on the Book of Job has been immense. William Blake made a series of engravings on the subject (see below for one example), and Vaughan-Williams wrote a ballet, to name just two. Pop culture has also used the subject. Following are 3 Job songs from 3 different styles of pop music. Joni Mitchell's song (from Turbulent Indigo) is in the city (urban) folk tradition. It's an interesting musical version of the Job story:
Sire of Sorrow (Job's Sad Song)
Let me speak, let me spit out my bitterness--
Born of grief and nights without sleep and festering flesh
Do you have eyes?
Can you see like mankind sees?
Why have you soured and curdled me?
Oh you tireless watcher! What have I done to you?
That you make everything I dread and everything I fear come true?

Once I was blessed; I was awaited like the rain
Like eyes for the blind, like feet for the lame
Kings heard my words, and they sought out my company
But now the janitors of Shadowland flick their brooms at me
Oh you tireless watcher! What have I done to you?
that you make everything I dread and everything I fear come true?

(Antagonists: Man is the sire of sorrow)
I've lost all taste for life
I'm all complaints
Tell me why do you starve the faithful?
Why do you crucify the saints?
And you let the wicked prosper
You let their children frisk like deer
And my loves are dead or dying, or they don't come near
(Antagonists: We don't despise your chastening
God is correcting you)

Oh and look who comes to counsel my deep distress
Oh, these pompous physicians
What carelessness!
(Antagonists: Oh all this ranting all this wind
Filling our ears with trash)
Breathtaking ignorance adding insult to injury!
They come blaming and shaming
(Antagonists: Evil doer)
And shattering me
(Antagonists: This vain man wishes to seem wise
A man born of asses)
Oh you tireless watcher! What have I done to you?
That you make everything I dread and everything I fear come true?

(Antagonists: We don't despise your chastening)
Already on a bed of sighs and screams,
And still you torture me with visions
You give me terrifying dreams!
Better I was carried from the womb straight to the grave.
I see the diggers waiting, they're leaning on their spades.

(Antagonists: Man is the sire of sorrow
Sure as the sparks ascend)
Where is hope while you're wondering what went wrong?
Why give me light and then this dark without a dawn?
(Antagonists: Evil is sweet in your mouth
Hiding under your tongue)
Show your face!
(Antagonists: What a long fall from grace)
Help me understand!
What is the reason for your heavy hand?
(Antagonists: You're stumbling in shadows
You have no name now)
Was it the sins of my youth?
What have I done to you?
That you make everything I dread and everything I fear come true?
(Antagonists: Oh your guilt must weigh so greatly)
Everything I dread and everything I fear come true
(Antagonists: Man is the sire of sorrow)
Oh you make everything I dread and everything I fear come true .
JOB AND SATAN
This song is in the Gospel style.
"Well I'm on my way to Canaan Land! Well I'm on my way to Canaan Land. If you don't go, my journey' o'er. I'm on my way, I'm on my way Good Lord.
     Well, Job was the richest man, my brothr, that lived in the land of Nod. He was the only man in the mile around that kept the Comamndments of God. Well the Devil he got jealous of Job. So he came to my God one day, said, "Move your hand from around the man and I'll make him curse you to your face!"
     He said there's nothing you can to turn me around. There's nothing you can do to turn me around. Because I'm done signed up, made up my mind. I'm on my way, Great God Almighty I'm on my way to Good Lord!
     Then Devil laid his fingers on Job. Brother Job fell down and right weak. So he got in bed, afflicted, children. So above his head to his feet, poor Job's afraid, began to leaving Him. The number went one to five, Job is sick and won't get well. We believe that he's gonna die.
     He said, "Well I'm on my way to Canaan Land! Well I'm on my way to Canaan Land. If you don't go, my journey' o'er. I'm on my way, I'm on my way to Good Lord."
     Well, Job's wife, she came running to him. Devil was right in her eyes. She said, "Oh, you're sick and you won't get well. Why don't you curse your God and die? Oh, Job looked straight at the woman and looked up in the sky. He said, "Woman, you sound like a foolish one, but you sure don't sound like wise!"
     He said, "Well I'm on my way to Canaan Land! Well I'm on my way to Canaan Land. If you don't go, my journey' o'er. I'm on my way, I'm on my way to Good Lord."

Terrible Lie
This song is from Nine Inch Nails, one of the more famous bands in the style of Industrial music. The subject of Job is clear, but in a modern idiom. I have kept the typography of the original.
hey god, why are you doing this to me? am i not living up to what i'm supposed to be? why am i seething with this animosity? i think you owe me a great big apology terrible lie...terrible lie...terrible lie...terrible lie i really don't know what you mean seems like salvation comes only in my dreams i feel my hatred grow all the more extreme. can this world really be as sad as it seems? terrible lie...terrible lie...terrible lie...terrible lie don't take it away from me; i need you to hold on to don't take it away from me; i need you to hold on to don't take it away from me; i need you to hold on to don't take it away from me; i need someone to hold on to don't tear it away from me; i need you to hold on to don't tear it away from me; i need someone to hold on to don't tear it away from me; i need you to hold on to don't tear it...don't tear it...don't take it, don't take it, don't... there's nothing left for me to hide i lost my ignorance, security, and pride i'm all alone in a world you must despise i believed your promises, your promises and lies terrible lie...terrible lie...terrible lie...terrible lie terrible lie you make me throw it all away my morals left to decay (terrible lie) how many you betray you've taken everything (terrible lie) my head is filled with disease my skin is begging you, please (terrible lie) i'm on my hands and knees i want so much to believe i need someone to hold on to.


ALL FOR THE BEST
The Book of Job on Broadway
This song is from the Broadway musical and film Godspell, based on the Gospel of St Matthew, composed by Stephen Schwarz, who later won an Oscar for Prince of Egypt ("When You Believe"). "Day by Day" was the musical's biggest hit; but "All for the Best" fits in with the JOB theme. The song begins with a man feeling sad as if under a "curse."
It's sung in a comic "soft-shoe" dance style. As in JOB, the man's wife is affected by his misery ("sighing, crying").  He suffers more than Job ("Job had nothing on you").  The next section of the song is a patter song (a fast string of words set to a tune).  This makes fun of Job's "comforters" who "explain" the reason for suffering. "When you get to Heaven you'll be blessed," and "it's all for the best." Then we hear "Job" complaining how evil people live good lives: "born to live at ease, doing what they please," etc. (see JOB, Chapter 21). He refers to God's Creation: "But who is the land for, the sun and the sand for?" concluding (like Job's "comforters") "it's all for the best." Then the two melodies are sung together (as "counter-melodies"), making the song sound like babble!
First Melody (in soft-shoe style)
When you feel sad, or under a curse
Your life is bad, your prospects are worse
Your wife is sighing, crying,
And your olive tree is dying,
Temples are graying, and teeth are decaying
And creditors weighing your purse.
Your mood and your robe
Are both a deep blue
You'd bet that Job
Had nothing on you.
Don't forget that when you get to
Heaven you'll be blessed..
Yes, it's all for the best!
Second Melody (in patter style)
Some men are born to live at ease, doing what they please,
Richer than the bees are in honey
Never growing old, never feeling cold
Pulling pots of gold from thin air
The best in every town, best at shaking down
Best at making mountains of money
They can't take it with them, but what do they care?
They get the center of the meat, cushions on the seat
Houses on the street where it's sunny.
Summers at the sea, winters warm and free
All of this and we get the rest.
But who is the land for? the sun and the sand for?
You guessed! It's all for the best!
Some men are born to live at ease, doing what they please,
Richer than the bees are in honey
Never growing old, never feeling cold
Pulling pots of gold from thin air
The best in every town, best at shaking down
Best at making mountains of money
They can't take it with them, but what do they care?
They get the center of the meat, cushions on the seat
Houses on the street where it's sunny..
Summers at the sea, winters warm and free
All of this and we get the rest.
But who is the land for? the sun and the sand for?
You guessed! It's all for the best!     When you feel sad, or under a curse
Your life is bad, your prospects are worse
Your wife is sighing, crying,
And your olive tree is dying,
Temples are graying, and teeth are decaying
And creditors weighing your purse.
Your mood and your robe
Are both a deep blue
You'd bet that Job
Had nothing on you.
Don't forget that when you get to
Heaven you'll be blessed!
Yes, it's all for the best!
Psalms
The Book of Psalms (also called the Psalter) has always been the most popular book in the Bible. Reformer Martin Luther called it the Bible in miniature. Jesus, as a good Rabbi (Jewish teacher) knew the Hebrew Scriptures by heart and quoted the first words of Psalm 22 as his last words on the cross ("My God, my God, why have you forsaken me?"). We hear these words in an Anglican (English Church) chant:
"My God, my God, look upon me; why hast thou forsaken me; and art so far from my health, and from the words of my complaint?"
Hear My Prayer
This setting of Psalm 55 (vv. 1-8) is one of the most famous of concert hymns.  The music is by Felix Mendelssohn (whose "Wedding March" from A Midsummer's Night's Dream is heard all over the world).
Hear my prayer, O God, incline Thine ear! Thyself from my petition do not hide. Hear my prayer, O God, incline Thine ear! Thyself from my petition do not hide, Thyself from my petition do not hide!
     Take heed to me! Hear how in prayer I mourn to Thee, hear how in prayer I mourn to Thee, hear how in prayer I mourn to Thee! Take heed to me, take heed to me!
     Without Thee all is dark, I have no guide, I have no guide, no guide. Without Thee all is dark, I have no guide, I have no guide.
     Hear my prayer, O God, incline Thine ear! Thyself from my petition do not hide, Thyself from my petition do not hide! Hear my prayer, O God, incline Thine ear!
    The enemy shouteth (the enemy shouteth), the godless come fast (the godless come fast)! Iniquity, hatred, upon me they cast (iniquity, hatred, upon me they cast)!  The wicked oppress me (the wicked oppress me) Ah where shall I fly?  Perplexed and bewildered, O God, hear my cry (O God hear my cry)! O God hear my cry (perplexed and bewildered), O God hear my cry! O God, O God, hear my cry!  The enemy shouteth (the enemy shouteth), the godless come fast (the godless come fast), perplexed and bewildered, O God, hear my cry! O God, hear my cry! O God hear my cry (perplexed and bewildered), O God, hear my cry.  O God, hear my cry, O God hear my cry, O God, hear my cry! O God hear my cry!
     My heart is sorely pained, within my breast, my soul with deathly terror is oppressed, trembling and fearfulness upon me fall, with horror overwhelmed, Lord, hear me call (Lord, hear me call)! With horror overwhelmed, Lord, hear me call (Lord hear me call)!
     O for the wings, for the wings of a dove!  Far away, far away would I rove!
O for the wings, for the wings of a dove! Far away, far away, far away. O for the wings, for the wings of a dove! Far away, far away, far away far away would I rove!
Run On
This is a traditional Gospel song, likely based on Psalm 37, where it is promised that the sinner will be "cut off":
Well you may run on for a long time. Run on for a long time. Run on for a long time. Let me tell you God almighty gonna cut you down. Go tell that long-tongued liar, oh well well go tell that midnight rider, oh well well, tell the gambler, rambler, back-biter Tell them God almighty gonna cut them down. Stop God almighty let me tell you the news My head's been wet with the midnight dews Coming down on my bended knees Talking to the man from Galilee My God spoke and he spoke so sweet I thought I heard the shuffle of angel's feet. He put one hand upon my head. Great God almighty let me tell you what he said: Go tell that long-tongued liar, oh well well Go tell that midnight rider, oh well well, tell the gambler, rambler, back-biter: Tell them God almighty gonna cut them down. Run on for a long time, Run on for a long time, Let me tell you God almighty gonna cut you down You may throw your rock and hide your hand, working in the dark against your fellow man. As sure as God made the day and the night, what you do in the dark will be brought to the light. You may run and hide, slip and slide Trying to take the mote from your neighbour's eyes As sure as God made the rich and poor You gonna reap just what you sow
Run on for a long time, Run on for a long time Let me tell you God almighty gonna cut you down Go tell that long tongued liar, oh well well Go tell that midnight rider, oh well well Tell the gambler, rambler, back-biter Tell them God almighty gonna cut them down Some people go to church just to sit in the fire. Trying to make a date with the neighbour's wife. Brother let me tell you as sure as you're born. Run on for a long time, Run on for a long time. Let me tell you God almighty gonna cut you down. You better leave that woman alone. Because one of these days mark my word. You think that brother is going to work And you'll sneak up and knock on that door That's all brother you'll knock no more Go tell that long tongued liar, oh well well Go tell that midnight rider, oh well well Tell the gambler, rambler, back-biter Tell them God almighty gonna cut them down.
On the Willows

This is a setting of Psalm 137 from the Broadway/film musical, Godspell. The original Psalm begins in sadness as the exiles remember their homeland. The Psalmist asks that if he ever sings a song of God to entertain his tormenters, he forget how to sing or play his music at all:
1By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.2We hanged our harps upon the willows in the midst thereof.3For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.4How shall we sing the LORD's song in a strange land?5If I forget thee, O Jerusalem, let my right hand forget her cunning.6If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.
On the willows, there we hung up our lives. For our captors there required of us songs and our tormentors' mirth. On the willows, there we hung up our lives. For our captors there required of us songs and our tormentor's mirth, saying, "Sing us one of the songs of Zion. Sing us one of the songs of Zion." But how can we sing--sing the Lord's songs in a foreign land?
Turn, Turn, Turn
In 1965 the American Rock group, the Byrds, had a Top Ten hit with this musical setting of Ecclesiastes 3:1-8. The added conclusion to the song ("I swear it's not too late") nicely shows the deeper meaning of the Bible text, which is more about "timing" than "time."  The text was set by Pete Seeger (composer of Where Have All the Flowers Gone?).
To every thing, turn, turn, turn. There is a season, turn, turn, turn. And a time to every purpose under heaven. A time to be born, a time to die. A time to plant, a time to reap. A time to kill, a time to heal. A time to laugh, a time to weep. To everything, turn, turn, turn. There is a season, turn, turn, turn. And a time to every purpose under heaven. A time to build up, a time to break down.
A time to dance, a time to mourn. A time to cast away stones. A time to gather stones together. To everything, turn, turn, turn. There is a season, turn, turn, turn. And a time to every purpose under heaven. A time of love, a time of hate. A time of war, a time of peace. A time you may embrace. A time to refrain from embracing. To everything, turn, turn, turn. There is a season, turn, turn, turn. And a time to every purpose under heaven. A time to gain, a time to lose. A time to rend, a time to sew. A time for love, a time for hate. A time for peace, I swear it's not too late.
Bless His Holy Name
Gospel singer, Andrae Couch, set the first two verses of  Psalm 103 to music in Black Gospel style.
Bless the LORD, O my soul: and all that is within me, bless his holy name.  Bless the LORD, O my soul: and all that is within me, bless his holy name. He has done great things, he has done great things, He has done great things, bless His holy name. He has done great things (so many great things), he has done great things (so many great things), He has done great things, bless His holy name. Bless the LORD, O my soul: and all that is within me, bless his holy name. Bless the LORD, O my soul: and all that is within me, bless his holy name.
Psalm 24
1The earth is the LORD's, and the fulness thereof; the world, and they that dwell therein. 2For he hath founded it upon the seas, and established it upon the floods.3Who shall ascend unto the hill of the LORD? or who shall stand in his holy place?4He that hath clean hands, and a pure heart; who hath not lifted up his soul unto vanity, nor sworn deceitfully.5He shall receive the blessing from the LORD, and righteousness from the God of his salvation.6This is the generation of them that seek him, that seek thy face, O Jacob. Selah. 7Lift up your heads, O ye gates; and be ye lifted up, ye everlasting doors; and the King of glory shall come in.8Who is the King of glory? The LORD strong and mighty, the LORD mighty in battle.9Lift up your heads, O ye gates; even lift them up, ye everlasting doors; and the King of glory shall come in.10Who is the King of glory? The LORD of hosts, he is the King of glory. Selah.
A Mighty Fortress Is Our God
German reformer, Martin Luther set Psalm 46 ("God is our refuge and our strength, a very present help in trouble") to an existing melody and gave the world one of its most well-known hymns. This is only the beginning of the hymn:
A mighty fortress is our God, a bulwark never failing;
Our helper He, amid the flood of mortal ills prevailing:
For still our ancient foe doth seek to work us woe;
His craft and power are great, and, armed with cruel hate,
On earth is not his equal.
Psalm 23
This is the most famous Bible text. Cissy Houston recorded a Gospel version for the soundtrack of her daughter Whitney's film, The Preacher's Wife, affixing words from the Messianic prophecy in Isaiah 9:6:
1The LORD is my shepherd; I shall not want.2He maketh me to lie down in green pastures: he leadeth me beside the still waters.3He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake.4Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.5Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.6Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD forever. AMEN.
"Wonderful Counsellor, Prince of Peace, Mightiful (?) Shepherd, I love you."

As contrast, listen to the beginning of this Psalm set to the tune of an Anglican (English Church) chant:
"The Lord is my Shepherd: therefore can I lack nothing. He shall feed in a green pasture; and lead me forth beside the waters of comfort."
Psalm 150
The Psalter (Book of Psalms) ends in 5 Praise Psalms. This is the last:
1Praise ye the LORD. Praise God in his sanctuary: praise him in the firmament of his power.2Praise him for his mighty acts: praise him according to his excellent greatness.3Praise him with the sound of the trumpet: praise him with the psaltery and harp.4Praise him with the timbrel and dance: praise him with stringed instruments and organs. 5Praise him upon the loud cymbals: praise him upon the high sounding cymbals.6Let every thing that hath breath praise the LORD. Praise ye the LORD.
Ecclesiastes 12
1Remember now thy Creator in the days of thy youth, while the evil days come not, nor the years draw nigh, when thou shalt say, I have no pleasure in them;2While the sun, or the light, or the moon, or the stars, be not darkened, nor the clouds return after the rain:3In the day when the keepers of the house shall tremble, and the strong men shall bow themselves, and the grinders cease because they are few, and those that look out of the windows be darkened,4And the doors shall be shut in the streets, when the sound of the grinding is low, and he shall rise up at the voice of the bird, and all the daughters of music shall be brought low;5Also when they shall be afraid of that which is high, and fears shall be in the way, and the almond tree shall flourish, and the grasshopper shall be a burden, and desire shall fail: because man goeth to his long home, and the mourners go about the streets:6Or ever the silver cord be loosed, or the golden bowl be broken, or the pitcher be broken at the fountain, or the wheel broken at the cistern.7Then shall the dust return to the earth as it was: and the spirit shall return unto God who gave it.8Vanity of vanities, saith the preacher; all is vanity.
The Black poet, Langston Hughes adoped a short Bible text for a famous poem:  "Hope deferred makes the heart sick, but a longing fulfilled is a tree of life" (PROVERBS 13:12). As usual, the Bible text is used to promise fulfillment rather than denial:

What happens to a dream deferred*? [*denied, delayed

Does it dry up
like a raisin in the sun?
Or fester* like a sore—  [*sicken, poison
And then run*?  [*bleed
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

Maybe it just sags* [*drops
like a heavy load.

Or does it explode?
The Song of Songs
Composer: Lukas Foss (1947)
This is a setting of parts of The Song of Songs, in neoclassical style. "Neoclassicism" was a 20th century style of music reviving an older (Baroque) musical style (Bach, Vivaldi, etc.). This is like today's Rock singer using a 1950s "doo-wop" harmony singing in a new way. The setting of the text nicely matches meaning and music, as it should. The music is pastoral and lively in the first two parts, since the lover is a shepherd and the beloved is impatient. The third part is a eerie, as the beloved dreams on her bed. The final part is solemn, with emphasis on two words: "strong" and "death," since love is strong as death.
(1)
Awake, O north wind; and come, thou south; come thou
south wind, awake. Awake, awake O north wind. Blow O
north wind, blow! (4:16)
   Blow upon my garden, blow upon my garden. Blow upon
my garden. (4:16)
     Awake O north wind. Awake O north wind and come thou south. Awake O north wind. Awake, awake O north wind. Awake, O north wind, blow!
     Until the day break, and the shadows flee away, blow upon my garden. Until the day break and the shadows flee away, blow upon my garden, turn and be thou like a roe or a young hart upon the mountains of Bether. (2:17)
     Turn, my beloved, turn and be thou like a roe or a young hart upon the mountains of Bether.
(2)
Come, my beloved, my beloved. Come, let us go forth into the fields. Let us lodge in the villages. Let us get up early to the vineyard, early to the vineyards. let us see fi the vine flourish, whether the tender grape appear, and the pomegranates bud forth: Let us see my beloved. Let us see. Let us see, my beloved. Let us see if the grapes appear. Come my beloved. Come my beloved. Come my beloved. Come my beloved, come my beloved. There will I give thee my loves. (7:11-12)
     My beloved spake and said unto me, Rise up, my love, my fair one, and come away. For, lo, the winter is past, the rain is over and gone. The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land. Arise my love, my fair one, and come away. (2:10-13)
     Come my beloved, my beloved, come, come, come, let us go forth Let us lodge in the villages. Let us get up early to the vineyards, early to the vineyards. Let us see ifthe vine flourish, whether the tender grape appear, and the pomegranates bud forth: Let us see my beloved. Let us see. Let us see, my beloved. Let us see if the grape appear.
     Come my beloved. Come my beloved. Come my beloved. Come my beloved, come my beloved. There will I give thee my loves. (7:11-12)
(3)
By night on my bed I sought him, him, him, whom my soul
loveth: I sought him, but I found him not (3:1). I
sought him but he gave me no answer. A watchman that
went about the city found me. They smote me, they
wounded me! I charge you, I charge you, O daughters, I
charge charge you, if ye find my Beloved, my Beloved,
that ye tell him that I am sick of love. (5:6-8)
(4)
Set me as a seal upon thine heart. Set me as a seal upon
thine heart, upon thine heart, as a seal upon thine heart, as a seal upon thine heart. Set me as a seal upon thine heart, as a seal, a seal upon thine arm, set me upon thine arm, set me as a seal upon thine arm, as a seal upon thine arm. Set me as a seal upon thine arm, thine arm, set me as a seal upon thine arm, set me as a seal upon thine arm, as a seal, set me as a seal upon thine heart.  Set me as a seal upon thine heart. For
love is strong, for love is strong as death. For love is strong as death (8:6).
Set Me As a Seal (from Song of Songs)
Set me as a seal upon your arm, as a seal upon your heart. For love is strong as death, jealousy as strong as the grave. Its passions are like blazing flames, ardent as columns of fire. Many waters cannot quench love, nor can the floods drown it. If a man would give for love all the wealth of his house, it would be utterly despised. Set me as a seal upon your arm, as a seal upon your heart.
The Lily of the Valley (1)
Although the Beloved (not the Lover) is called "the lily of the valley" and "the rose of Sharon," the phrases are also used for Jesus (although Jesus, of course, would be the Lover, not the Beloved). As the second song below shows, Jesus is also known as the "Morning Star": "I, Jesus, have sent my angel to give you this testimony for the churches. I  am the Root and the Offspring of David, and the bright Morning Star" (Revelation 22:16).
He's the Lily of the Valley, oh my Lord (4) I've never been to Heaven, but I've been told That the streets up there are paved with gold, oh my Lord.
What kind of shoes are those which you wear, oh, my Lord, That you can walk up in the air, O my Lord? These shoes I wear are Gospel shoes, O my Lord, And you can wear these if you choose, Oh my Lord. He's the Lily of the Valley, Oh my Lord (2)

The Lily of the Valley (2)
I have found a friend in Jesus, He’s everything to me, He’s the fairest of ten thousand to my soul; The Lily of the Valley, in Him alone I see, All I need to cleanse and make me fully whole. In sorrow He’s my comfort, in trouble He’s my stay*; (*support), He tells me every care on Him to roll* (*lay, put).
     He’s the Lily of the Valley, the Bright and Morning Star, He’s the fairest of ten thousand to my soul.      He all my grief has taken, and all my sorrows borne* (*carried); In temptation He’s my strong and mighty tower; I have all for Him forsaken* (*given up), and all my idols torn from my heart and now He keeps me by His power. Though all the world forsake me, and Satan tempt me sore* (*greatly, a lot), Through Jesus I shall safely reach the goal.
     He’s the Lily of the Valley, the Bright and Morning Star, He’s the fairest of ten thousand to my soul.

Bless My Soul

Psalm 103 (adopted)
from the Broadway/film musical,Godspell
Oh bless the Lord my soul! His praise to thee proclaim! And all that is within me join to bless His holy name! Oh yeah! Oh bless the Lord my soul! His mercies bear in mind! Forget not all His benefits, The Lord, to thee, is kind. He will not always chide He will with patience wait. His wrath is ever slow to rise. Oh bless the Lord and ready to abate and ready to abate. Oh yeah! Oh bless the lord, Bless the lord my soul, Oh bless the lord my soul! He pardons all thy sins, prolongs thy feeble breath. He healeths thine infirmities and ransoms thee from death. He clothes thee with his love Upholds thee with his truth and like an eagle he renews the vigor of thy youth. Then bless His holy name, Whose grace hath made thee whole, Whose love and kindness crowns Thy days. Oh bless the lord Bless the lord my soul, Oh bless the lord my soul! Bless the lord my soul, Oh bless the lord my soul! Bless the lord my soul, Oh bless the lord my soul! Bless the lord, bless the lord My soul! Bless the lord my soul!

Kisses Sweeter Than Wine
The folk song, Kisses Sweeter Than Wine, claimed by Blues singer Ledbetter (Leadbelly), was a hit for the folk group, The Weavers (1951) and again for pop ballad singer, Jimmie Rodgers (1957, #3). Ideas in the song can be traced to the Bible's Song of Songs (title and refrain are from 1:2 and 4:10).
     As in the Song of Songs, Kisses Sweeter than Wine revives an Edenic culture of desire, whose aim is pleasure, not childbirth. In Genesis, we are told the woman "was taken out of man" and so "a man will . . . be united to his wife, and they will become one flesh" (2:23, 24).
     There is no mention of childbirth. Moreover, the couple's desire is blameless: "The man and his wife were naked and felt no shame" (2:25).
     In the same way, the singer in the folk song does not desire children. Instead he regrets he's "never been kissed."
     When he does kiss a woman, he thinks, not of children, but of more kissing:

     So I got me a girl, and I kissed her and then, and then,
     Oh Lordy, well I kissed her again.

     Pleasure here, as in the Song, is an end. When the singer asks the woman to be his wife, it is not for the sake of children, but to be "happy."
     Like Adam, in the Eden of Genesis, the singer is a "natural" man.  As in the Song, desire (at least for a while) is all of life, not part of parenthood. For this reason, there is no mention of a future family in the Song of  Songs.
     In the Song, sex does not change the social order. But it changes the lovers. They are equal before each other, though not before others.
     Like the Song's Beloved, who takes "care of the vineyards" (1:6), or the Lover who takes care of the flocks (1:7), the lovers in the folk song work "mighty hard." But only through love do they "make a good life."
     The curse of Adam cannot be undone, but it can be forgotten in love. But in the Song, men (the "mother's sons" in 1:6) make the Beloved "take care of the vineyards" and neglect her body (1:6); men veil her or beat her as she pursues her desire (1:7, 5:7).
     The Song suggests the curse is through the "mother's sons," while the blessing is through a woman, the Beloved's mother: She wishes her lover were her brother, born of the same mother (8:1). Then "no-one would despise" her (8:1). For her mother taught her (8:2).  What?
     The Lover's mother seems to be traced back to Eve, the Mother of Desire: "Under the apple tree I roused you; there your mother conceived you." This could be the tree of Eden. Regardless, the apple tree suggests that Nature (desire), not Society, is the force that drives men and women.
     Yet there is the curse of Adam, to work by the sweat of his brow (Genesis 3:17, 19). Instead of the Song's vineyards and sheep, the folk song's lovers take care of "corn" and "wheat." But the curse of labor is lightened by the blessing of love.
     Children follow as a result, but almost as a surprise: "Whoops, Lordy, I was the father of twins." This high value placed on desire is passed on to the generation of the singer's grandchildren, who "all had a sweetheart a-knocking at the door."
     As in Song, there is an Edenic equality of the sexes here. Both sexes labor ("hand in hand"). Both pursue and praise each other.
     The woman does not obey the man, as in Genesis: "Your desire will be for your husband, and he will rule over you" (3:16).  Rather, the unequal rule of Law has been replaced by the equal rule of Desire.
     Like their Edenic parents, the singer's children (ruled by desire) "didn't hesitate." This makes the singer a grandfather "of eight," and fulfills the Biblical blessing of the priestly Creation story to "be fruitful and multiply" (Genesis 1:28). It unites both Creation stories in the image of desire.
     Before he dies, the man thinks of his "kids" and his "trouble and pain," as in the Bible's curse to Adam and Eve: "I will greatly increase your pains in childbearing; . . ."
     But the curse of Genesis is replaced by the sexual blessing of Songs. Not once in Song of Songs or Kisses Sweeter Than Wine is childbirth mentioned  as the aim of love. Rather love has its own aim. The singer says, "We'd do it again." Not for the children, but because of "kisses sweeter than wine."
     This is not to overlook the emphasis in Song of Songs (and in the folk song) on a love regulated by social norms, whatever those norms are in different cultures (Song, 4:12, 8:10). For all cultures regulate the sex drive in different ways.
     Still the Song of Songs was probably intended as a corrective text, reviving the Edenic narrative (Genesis 2:23-25), where desire was a fulfillment of God's plan, not an obstacle to it.
     Oddly, this correction may be stronger, since the hand of the Priestly redactor is suggested in the text's marking of the day at sunset ("when the shadows flee," 2:17, 4:6). This recalls the Priestly reckoning of days in the first Creation story: "And the evening and the morning were the first day" (Genesis 1).
     Despite the different views of sex in Genesis 1:28 and 2:23-24, the Song of Solomon ignores those differences in praise of sex. As part of the Bible, this view is now, to many Jews and Christians, the Word of God.

Well when I was a young man and never been kissed
I got to thinking it over how much I had missed.
So I got me a girl, and I kissed her and then, and then,
Oh Lordy, well I kissed her again.
Because she had kisses sweeter than wine,
She had mmm kisses sweeter than wine.
(Kisses sweeter than wine.)

Well I asked her to marry and be my sweet wife,
I told her we'd be so happy for the rest of our life.
I begged and I pleaded like a natural man,
And then, whoops, Oh Lordy, well she gave me her hand.
Because she had kisses sweeter than wine,
She had mmm kisses sweeter than wine.
(Kisses sweeter than wine.)

Well we worked very hard, both me and my wife,
Working hand in hand to have a good life.
We had corn in the field and wheat in the bins,
And then, whoops, Oh Lord, I was the father of twins.
Because she had kisses sweeter than wine,
She had mmm kisses sweeter than wine.
(Kisses sweeter than wine.)

Well our children they numbered just about four,
And they all had a sweetheart a-knocking at the door.
They all got married and they wouldn't hesitate;
I was, whoops! Oh Lord, the grandfather of eight.
Because she had kisses sweeter than wine,
She had mmm kisses sweeter than wine.
(Kisses sweeter than wine.)

Well now that I'm old and I'm ready to go,
I get to thinking what happened a long time ago.
I had a lot of kids, a lot trouble and pain,
But, then, whoops, Oh Lordy, well I'd do it all again.
Because she had kisses sweeter than wine,
She had mmm kisses sweeter than wine.
(Kisses sweeter than wine.)

Isaiah:
Songs and Texts
The importance of the Book of Isaiah for Christians is shown by Handel's use of no fewer than sixteen texts for different numbers in the most famous of oratorios, The Messiah. This is why Isaiah has often been called the Fifth Gospel; and it's also the most quoted Old Testament book in the Gospels other than the Psalter (Psalms). (For comparison, The Song of Songs is not quoted at all!)
     The importance of Isaiah for Christians is in its Messianic prophecies, especially the idea of the Suffering Servant, although for Jews this refers to Israel rather than to Jesus. Besides, Isaiah is important in itself, apart from its influence on Christianity. So many of its ideas, such as its promise of a kingdom of peace, a ruler of peace, a kingdom of harmony (where the lion lies down with the lamb), and the grapes of wrath, are familiar to almost everyone in one form or another (even if they don't know where it comes from).
     Below are the texts that Handel used for his Messiah:
_______________________
Comfort ye, comfort ye my people (40:1). Every valley, every valley shall be exalted, shall be exa-a-a-lted (40:4). And the glory, the glory of the Lord shall be revealed. (40:5). Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel (7:14). O thou that tellest good tiding to Zion, get thee up into the high mountains (40:9). For behold, darkness shall cover the earth, and gross darkness the people (60:2). The people that walked in darkness, that walked in darkness, the people that walked, that walked in darkness have seen a great light (9:2). For unto us a child is born, unto us a child is given, unto us a son is given (9:6). Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as an hart and the tongue of the dumb shall sing (35:5). He shall feed his flock like a shepherd; and He shall gather his lambs with his arm, with his arm (40:11). He was despised, despised and rejected, rejected of men, a man of sorrows, a man of sorrows (53:3). Surely he hath borne our griefs and carried our sorrows  (53:4). And with his stripes we are healed (53:5). All we like sheep have gone astray. All we like sheep have gone astray (53:6). He was cut off out of the land of the living, for the transgression of Thy people was He stricken (53:8).
_______________________________________
Down by the Riverside
This famous Gospel song is based on a text from Isaiah: "They will beat their swords into ploughshares and their spears into pruning hooks. Nation will not take up sword against nation,
nor will they train for war any more" (2:4).

I'm gonna lay down my burden by the riverside
Down by the riverside, down by the riverside
I'm gonna lay down my my burden by the riverside
I'm gonna study war no more

I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more

Well I'm gonna lay down my sword and shield down by the riverside
Down by the riverside, down by the riverside
I'm gonna lay down my sword and shield down by the riverside
I'm gonna study war no more

I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more

I'm gonna try on my long white robe down by the riverside
Down by the riverside, down by the riverside
I'm gonna try on my long white robe down by the riverside
I'm gonna study war no more.

I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more

Gonna meet my loving Jesus,
Down by the riverside, down by the riverside
Gonna meet my loving Jesus,
Down by the riverside, down by the riverside

I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more
I ain't a gonna study war no more I ain't a gonna study war no more
___________________________________________________________
The Battle Hymn of the Republic
Julia W. Howe took a tune called John Brown's Body and added new words, partly based on the "grapes of wrath" text in Isaiah: "I have trodden the winepress alone; from the nations no-one was with me. I trampled them in my anger and trod them down in my wrath; their blood spattered my garments, and I stained my clothing. For the day of vengeance was in my heart, and the year of my redemption has come" (63:3ff.) Here God is pictured as a God of Battle, ready to enforce justice among nations.
______________________________________

Mine eyes have seen the glory of the coming of the Lord;
He is trampling out the vintage where the grapes of wrath are stored;
He hath loosed the fateful lightning of His terrible swift sword;
His truth is marching on.
Glory! Glory! Hallelujah! Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah! His truth is marching on.

I have seen Him in the watch fires of a hundred circling camps
They have builded Him an altar in the evening dews and damps;
I have read His righteous sentence by the dim and flaring lamps;
His Day is marching on.
Glory! Glory! Hallelujah! Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah! His day is marching on.

In the beauty of the lilies Christ was born across the sea,
With a glory in His bosom that transfigures you and me;
As He died to make men holy, let us die to make men free;
While God is marching on.
Glory! Glory! Hallelujah! Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah! While God is marching on.
_______________________________________________________________________
Peace in the Valley
This famous Gospel song, by blues/Gospel composer, Thomas Dorsey, uses verses from Isaiah: "The wolf will live with the lamb, the leopard will lie down with the goat, the calf and the lion and the yearling together; and a little child will lead them" (11:6). It also borrows from the verses known as Isaiah's Apocalypse (a vision of a new world), part of which promises, "The Sovereign Lord will wipe away the tears from all faces" (25:8). A later apocalypse, Revelation, borrows this text. This was the only Gospel song Elvis sang on television, in his first wave of popularity (1956). Recorded by him later that year, it was the title song of the first Gospel album to sell a million copies. (For fact-lovers, Mahalia Jackson made the first Gospel single to sell a million (Move On Up A Little Higher).
__________________________________________________

Oh well, I’m tired and so weary
But I must go alone
Till the lord comes and calls, calls me away, oh yes
Well the morning's so bright
And the lamb is a light
And the night, night is as black as the sea, oh yes

There will be peace in the valley for me, some day
There will be peace in the valley for me, oh Lord I pray
There'll be no sadness, no sorrow
No trouble, trouble I see
There will be peace in the valley for me, for me

Well the bear will be gentle
And the wolves will be tame
And the lion shall lay down by the lamb, oh yes
And the beasts from the wild
Shall be led by a child
And I'll be changed, changed from this creature that I am, oh yes

There will be peace in the valley for me, some day
There will be peace in the valley for me, oh Lord I pray
There'll be no sadness, no sorrow
No trouble, trouble I see
There will be peace in the valley for me, for me.
 
Isaiah in Music
The following songs, popular and classical, show the influence the Book of Isaiah has had on Western culture. They will also help the student fix in the memory key ideas of Isaiah.
O Come, O Come Emmanuel
This fifteenth-century French carol has several verses in English translation, all based on texts mostly from Isaiah and (through Isaiah) the New Testament. Text references are shown below. "Emmanuel" (also spelled Immanuel) means "The Lord is with us" and the name suggests hope during the Babylonian Exile of the Jewish people from Israel (586-539 BCE).
O come, O come, Emmanuel (Isaiah 7:14)
And ransom* [*pay for] captive Israel,
That mourns in lonely exile here (Babylonian Exile, until 539 BCE)
Until the Son of God appear.
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.

O come, O come, Thou Lord of might,
Who to Thy tribes on Sinai’s height
In ancient times once gave the law
In cloud and majesty and awe. (Exodus 19:16)
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.

O come, Thou Rod of Jesse, free (Isaiah 11:1, 4)
Thine own from Satan’s tyranny;
>From depths of hell Thy people save, (Isaiah 66:24)
And give them victory over the grave. (Isaiah 26:19)
Rejoice, rejoice, Emmanuel.
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.

O come, Thou Key of David, come (Isaiah 22:22)
And open wide our heavenly home; (Matthew 16:19; Revelation 1:18)
Make safe the way that leads on high, (Isaiah 25:8; 40:3; 49:11; 62:10)
And close the path to misery.
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.
O come, Thou Root of Jesse’s tree, (Isaiah 11:1)
An ensign of Thy people be; (Isaiah 11:10)
Before Thee rulers silent fall; (Isaiah 9:6)
All peoples on Thy mercy call. (Isaiah 2:2-4; 11:10, 12)
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.

Immanuel, Immanuel
This modern hymn refers to the Man of Sorrows text in Isaiah 53. This text was used as an epigraph (text before) Mel Gibson's recent movie, The Passion of the Christ.

Immanuel, O Immanuel, bowed in awe, I worship at Your feet. And sing Immanuel, O Immanuel=God is with us, sharing my humaneness, my shame, feeling my weaknesses, my pain, taking the punishment, the blame, Immanuel. And now my words cannot explain all that my heart cannot contain. How great are the glories of Your name, Immanuel.
For Unto Us a Child Is Born
Another modern hymn, based on Isaiah 9:6. Handel's setting of this text in his Messiah is world famous.
For unto us a child is born, unto us a Son is given. And the government shall be upon His shoulders. For unto us a child is born, unto us a Son is given, and the government shall be upon His shoulders. And he will be called Wonderful, Wonderful Counsellor, Mighty God, the Everlasting Father, Prince of Peace, Mighty God. There shall be no end to the increase of His rule. To the increase of His government and peace. For He shall sit on David's throne, upholding righteousness. Our God shall accomplish this. And he will be called Wonderful, Wonderful Counsellor, Mighty God, the Everlasting Father, Prince of Peace, Mighty God. For He is the Mighty God, He is the Prince of Peace, the King of Kings and Lord of Lords. All honour to the King, all glory to His name, for now and evermore.
This is Handel's setting of the same text for chorus:
For unto us a child is born, unto us a son is given, unto us a son is given. For unto us a child is born, for unto us a child is born, unto us a son is given, unto us a son is given, for unto us a child is born, for unto us a child is born. Unto us a son is given, unto us a son is given, unto us a son is given,  a son is given. And the government shall be upon His shoulder, and the government shall be upon His shoulder, and the government shall be upon His shoulder. And his name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, the Prince of Peace.
Bible Songs: Week of 12 April 2005
The idea of "laying a good foundation" goes back to Isaiah (28:16-17) and appears in Jesus' parable (lesson story) about the wise and foolish builders. The wise builder "laid the foundation on rock" (Luke 6:48). The foolish builder "built a house . . . without a foundation (Luke 6:49). (Compare Matthew 7:24-27.)
     Psalms refer to God as the Rock (for example, Ps. 18 and 62). Jesus calls Simon, "Peter" (the "rock" on which the church is built: Matthew 16:18).  (Related English words are "petroleum" and "petrified.")
     In Proverbs we read that "When the storm has swept by, the wicked are gone, / but the righteous stand firm" (10:25).
     In Isaiah, God says,
     "See, I lay a stone in Zion . . . for a sure foundation" (28:16). The foundation endures because of justice, "the measuring line" (28:17).
     Righteous building was made popular in the song, Who's Afraid of the Big, Bad Wolf?  from Walt Disney's cartoon short, Three Little Pigs (1933). Two pigs build their homes in "haste," but the "righteous" pig builds his home so it stands firm when the wolf starts to blow (compare "the little foxes" who ruin the vineyard in Song of Songs, 2:15).
"I build my house of straw, I build my house of hay. I toot my flute, I don't give a hoot* and play around all day."    [*polite form of "damn"
     "I build my house of sticks, I build my house of twigs. With a hey-diddle-diddle I play on my fiddle and dance all kinds of jigs."
     "I build my house of stones, I build my house of bricks. I have no chance to sing or dance, for work and play don't mix."
     "He don't take no time to play, time to play, time to play! All he does is work all day."
     "You can play and laugh and fiddle, don't think you can make me sore. I'll be safe and you'll be sorry when the wolf comes through your door!"
     "Who's afraid of the big bad wolf, big bad wolf, big bad wolf. Who's afraid of the big bad wolf?"
     "Who's there?"
     "I'm a poor little sheep with no place to sleep. Please open the door and let me in."
     "Not by the hair of our chinny-chin-chin, you can't fool us with that old sheep skin!"    
     "I'll huff and I'll puff and I'll blow your house in!"
     "Who's afraid of the big bad wolf, big bad wolf, big bad wolf? Who's afraid of the big bad wolf?"
     The Gospel song, Working on the Building is based on these Bible texts. The reference to the "blood-stained banner" is from Revelation: "These are they who have come out of the great suffering: they have washed their robes and made them white in the blood of the Lamb [Jesus]" (7:14).
Working On The Building
I'm working on the building. It's a true foundation. I'm holding up the blood-stained banner for my Lord. Well I never get tired, tired, tired of working on the building: I'm going up to heaven, oh yeah, to get my reward. (5x)
*Beulah Land*
"Beulah Land" is a phrase taken from Isaiah 62:4. God renames Israel, "Beulah" ("married" to God). This spousal metaphor (God's relationship to Israel) is a main theme of the Bible and appears plainly in the allegory reading of the Song Of Songs. In John Bunyan's allegory, Pilgrim's Progress, Beulah Land is near Heaven:
     "Now I saw [that] the Pilgrims . . . entered into the country of Beulah, whose air was sweet and pleasant. . . . There they heard the singing of birds and saw flowers appear on the earth and heard the voice of the turtle[dove]* in the land."  [*The word "turtledove" often appears as "turtle" in older texts, the way that "photograph" appears as "photo" today.
     Note the reference to Song of Songs: "Flowers appear on the earth; the season of singing has come, the cooing of doves is heard in our land" (2:12). In the Gospel song, Beulah Land, the name refers to Heaven:
I'm kind of homesick for a country to where I've never been before. No
sad goodbyes will there be spoken. For time won't matter anymore.
     Beulah Land, I'm going to go and some day on Thee I'll stand and
there my home shall be eternal, Beulah Land, sweet Beulah Land.
     I'm looking now across the river, where all my faith's going to
end in style, a few more days, I'll wait and labor, and then I'll take
my Heavenly prize.
     Beulah Land, I'm going before you and some day on Thee I'll stand. Then my home shall be eternal, Beulah Land, sweet Beulah Land. Beulah
Land, sweet Beulah Land.
**The Sanctus**
The Sanctus is part of the Catholic mass, including the Requiem Mass for the Dead. The text comes from Isaiah: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory" (6:3).  This text (along with Ezekiel 1) influenced Revelation 4:8.
     In Latin the words of Isaiah 6:3 look like this:
     "Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et  terra gloria tua."*
     *The words look familiar because English comes from Latin. "Sanctus" means "holy," as in "sanctified," "sanctity," and "saint" (or Santa Claus). "Dominus" means Lord, as in domicile (lord's house), dominate (lord's power), dominion, and domestic (lord's business). In Spanish, "Domingo" is Sunday ("Lord's Day"). "Deus" means God, as in "deify" (make like a god). "Pleni" gives us "plentiful," "coeli" gives us celestial (heavenly) or ceiling, "terra" is earth ("terrestrial") and "gloria" appears in "glorious," "glorify," etc. "Gloria" is also a woman's name, like Victoria ("victory").
     Because the Catholic mass has been set to music thousands of times by  the world's greatest composers, there are many settings of Isaiah 6:3. Unlike the Dies Irae (Day of Wrath), which brings out the noisy side of a composer, the Sanctus brings out the tender side.
     We'll listen (briefly) to settings by composers, Gounod, Mozart (Requiem), Verdi, Mozart ("Great Mass" in C), Faure, and Poulenc.
     The Sanctus has also been set in English as hymns, as in the following examples:
     1. Holy, holy, holy, Lord God Almighty. Early in the morning our song shall rise to Thee.
     2. Holy, holy, holy, holy is the Lord. Holy, holy, holy, holy is the Lord.
     3. Holy, holy, holy is the Lord of Hosts. Holy, holy, holy is the Lord of Hosts. The whole earth is full of his glory, the whole earth is full of his glory, the whole earth is full of his glory, Holy is the Lord.
     4. Holy, holy, holy, Lord God Almighty, early in the morning our song shall rise to Thee.
     The beginning of a musical mass is usually the Kyrie Eleison ("Lord have mercy") and Christie Eleison ("Christ have mercy"). "Kyrie" means "Lord." This is where the word "church" ("Lord's house") comes from, as in the Scot "kirk" or German "kirche."
     The church formula is in Isaiah (33:2), in the Douay-Rheims translation: "O, Lord, have mercy on us. . . ." Other source texts are Psalms 4:2, 6:3, Matthew 9:27, etc. We'll listen to a few seconds by the French composer, Francis Poulenc.
This Old House
This Gospel song was a Top Ten hit for pop singer Rosemary Clooney in 1954, sung as a "novelty" (funny) song. But its composer, Stuart Hamblin was a Gospel songwriter. His Gospel credits include "How Great Thou Art" and "I, John" (both recorded by Elvis Presley, among others).
     What looks like novelty song (comparing an old body to an old house) is a serious warning about death that goes back to the book of Ecclesiastes (12), where death is viewed as a decaying house:
     "Before the sun and the light and the moon and the stars grow dark [and] the keepers of the house tremble, and the strong men stoop . . . and those looking through the windows grow dim; when the doors to the
street are closed; . . . and desire no longer is stirred. Then man goes
to his eternal home. . . ." (12:2-5).
"I love music and I love songs. And I think far too often that if people could hear the story about a song—why it was written—that it would make the song even better to them. And I want to—I want to tell you a story I've wanted to tell for a long time and then I'm going to do the song. It's a song that all of you have heard. It was written by a good old buddy of mine and it's a true story. He—well his name is Stuart Hamblin and he's a hunter—loves to hunt. And he and a friend got lost one time in a blizzard in the High Sierras. And they were wandering around in this blizzard and they came across an old prospector's shack. And Stuart's buddy said, "Well listen, it's empty and any old fool in a storm must go in there." And Stuart says, "The house is not empty, boy. There's a dead man in there." And Stuart's buddy said, "What do you mean?" He said, "Well the dog is on the porch and there ain't no smoke coming out of that chimney." And they went in—and Stu was right. There was an old prospector that had suffered a heart attack. But they built a fire in the fireplace and on the back of a cracker box by the light of that fireplace Stuart Hamblin wrote this song. And I think it might mean something a little different to you than it ever did":
This old house once knew my family, this old house once knew my wife;
And this old house was joy and comfort as we fought the storms of life.
This old house once rang with laughter, this old house heard many a shout;
But now she trembles in the darkness when the lightning walks about.
   But I ain't gonna need this house no longer,ain't gonna need this house no more. Ain't got time to fix the shingles, ain't got time to fix the door. Ain't got time to oil the hinges nor to mend the window pane. I ain't gonna need this house no longer, getting ready to meet the saints.
   This old house is getting shaky, this old house is getting old. This old house lets in the rain, this old house lets in the cold. Oh my knees are getting chilly but I feel no fear nor pain. But I see an angel peeking through a broken windowpane.
  But I ain't gonna need this house no longer, ain't gonna need this house no more. Ain't got time to fix the shingles, ain't got time to fix the door. Ain't got time to oil the hinges nor to mend the window pane. I ain't gonna need this house no longer, getting ready to meet the saints.
   My old hound dog lies a-sleeping. He don't know I'm gonna leave,
Else he'd wake up by the fireplace and he'd sit there and howl and grieve.
But my hunting days are over; ain't gonna hunt the 'coon no more;
Gabriel done brought in my chariot when the wind blew down the door.
  But I ain't gonna need this house no longer, ain't gonna need this house no more. Ain't got time to fix the shingles, ain't got time to fix the door. Ain't got time to oil the hinges nor to mend the window pane. I ain't gonna need this house no longer, getting ready to meet the saints.
Sunrise, Sunset
This song, from the musical, Fiddler on the Roof, is loosely adapted from Ecclesiastes. Its famous beginning goes: "Vanity of vanities, all is vanity" (1:2). Ernest Hemingway borrowed the title of his first novel from a later verse, "The sun also rises, and the sun goes down" (1:5).  The song refers to 1:4: "Generations come and go, but the earth remains for ever." The refrain shortens the Bible verse in 1:5 to "sunrise, sunset." The word "wisdom" refers to Ecclesiastes: "Wisdom is a shelter, as money is a shelter, but the good of knowledge is this: wisdom protects the life of its possessor" (7:12).
     But the sentiment of the song is softened, replacing the theme of uselessness ("vanity") in Ecclesiastes with a bland theme of change. But when jazz singer, Johnny Hartman (his vocals were used in Bridges of Madison County) recorded the song, he chose to make "tears" the final—so the strongest—word. His cantillation (=like chant) on the words, "and tears," evokes Jewish religious singing.
Is this the little girl I carried? Is this the little boy at play? I don't remember growing older—when did they?
When did she get to be a beauty? When did he get [grow] to be so tall? Wasn't it yesterday when they were small?
  Sunrise, sunset, sunrise, sunset. Swiftly flow the days.
Seedlings turn overnight to sunflowers. Blossoming even as we gaze. Sunrise, sunset, sunrise, sunset. Swiftly fly the years. One season following another—laden [filled] with happiness and tears.
  What words of wisdom can I give them? How can I help to ease their way? Now they must learn from one another—day by day. They look so natural together. Just like two newlyweds should be. Is there a canopy in store for me?
  Sunrise, sunset, sunrise, sunset. Swiftly flow the days.
Seedlings turn overnight to sunflowers. Blossoming even as we gaze. Sunrise, sunset, sunrise, sunset. Swiftly fly the years. One season following another—laden [filled] with happiness and tears.
I Wait for the Lord
This hymn is from Psalm 130, sometimes known by its first words in Latin, "De profundis" ("Out of the depths"). British writer, Oscar Wilde, used these words as the title of his prison book.
I wait for the Lord, I wait for the Lord, and in his Word I do hope. I
wait for the Lord. My soul waits for the Lord. My soul waits for the
Lord. More than those who watch for the morning. Yes, more than those
who watch for the morning, I wait for the Lord.
    Out of the depths I have cried to you, O Lord. Lord, hear my voice.
Let your ears be attnetive to the voice of my supplictions.
    I wait for the Lord, I wait for the Lord, and in his Word I do
hope. I wait for the Lord. My soul waits for the Lord. My soul waits for
the Lord. More than those who watch for the morning. Yes, more than
those who watch for the morning, I wait for the Lord.
    If you, Lord, should mark iniquities [sins], O, Lord, who could stand? But there is forgivenness with You, that you may be feared.
    My soul waits for the Lord, my soul waits for the Lord. More than
those who watch for the morning. Yes more than those who watch for the
morning, I wait for the Lord, for the Lord.
Bless His Holy Name (Psalm 103)
Gospel singer, Andrae Couch, set the first two verses of  Psalm 103 to music in Black Gospel style.
Bless the LORD, O my soul: and all that is within me, bless his holy name.  Bless the LORD, O my soul: and all that is within me, bless his holy name. He has done great things, he has done great things, He has done great things, bless His holy name. He has done great things (so many great things), he has done great things (so many great things), He has done great things, bless His holy name. Bless the LORD, O my soul: and all that is within me, bless his holy name. Bless the LORD, O my soul: and all that is within me, bless his holy name.
There Is a Balm in Gilead
This traditional Gospel song refers to a text from Jeremiah: "Is there no balm in Gilead? Is there no physician there? Why then is there no healing for the wound of my people?"
     Gilead was noted for its healing herbs. Jeremiah's question seems sarcastic—addressed to people who rely on help other than God. This is the sense in Edgar Allan Poe's ballad poem, The Raven, when the aggrieved Lover asks the raven, "Is there balm in Gilead?" knowing the answer will be "Nevermore" (the only word the bird knows). But the Gospel song (with Christian faith) believes in cure.
     The song refers to Peter and Paul. Peter preached to the Jews while Paul preached to the Gentiles (non-Jews): "I had been entrusted with the task of preaching the gospel to the Gentiles, just as Peter had been to the Jews" (Galatians 2:7). Through Paul's mission, a Jewish sect* became a worldwide religion.         *A religious group without a large following.
     Both names survive in the idiom, "To rob Peter to pay Paul," meaning to borrow from one person to pay another. Peter and Paul share a Catholic Feast day (29 July).
There is a balm in Gilead to make the wounded whole. There is a balm in Gilead to save a sinsick soul. If you cannot preach like Peter [apostle to the Jews], if you cannot preach like Paul [apostle to the Gentiles], oh, you can tell the world of Jesus, you can say he died for us all. There is a balm in Gilead to make the wounded whole. There is a balm in Gilead to make the wounded whole. There is a balm in Gilead to save a sinsick soul. Sometimes I feel discouraged. You know, and I feel like I can't go on. Oh, but then the Holy Spirit revives my soul again—revives my soul, my soul again.
The following is a song version of a famous text ("Set me as a seal on your heart") from the Song of Songs (8:6-7), performed by Ofra Haza.
Haza was one of the most popular Israeli singers. Just before her death from AIDS, she added vocals to the soundtrack of the Disney animated feature, Prince of Egypt.
The left panel below shows the Hebrew text, while the right panel shows an English translation. Note the word "Yah" in the Hebrew text about "a mighty flame" (line 7). This reference to the "Lord" is commonly omitted (but footnoted) in translations.
 "Yah" is a poetic or shortened for of Jehovah, first appearing in Exodus 15.2 (English translations use "Lord"). It appears in the word "hallelujah" and in proper names, such as Isaiah, Jeremiah, and Elijah. As "Jah" the word is common in Reggae music based on the Rastafarian religion.
SIMENI KAHOTAM AL LIBECHA'
SIMENI KAHOTAM AL ZROECHA'
KI AZAH KA'MAVET AHAVAH
KI AZAH KA'MAVET AHAVAH
KASHAH KISHOL KINA'AH
RESHFHA RESHPE YESH
ESH SHALHEVET YAH
MAYIM RABIM LO YUCHLU
LECHABOT ET HA'AHAVAH
VUNEHAROT
VUNEHAROT LO YISHTEFUHA
IM-YITEN EYSH
ET KOL-HON BEYTO BA'AHAVAH
BOZ YAVUZU LO     SET ME AS A SEAL ON YOUR HEART,
LIKE A SEAL ON YOUR ARM.
FOR LOVE IS AS STRONG AS DEATH;
FOR LOVE IS AS STRONG AS DEATH.
ITS JEALOUSY UNYIELDING AS THE GRAVE.
IT BURNS LIKE BLAZING FIRE,
LIKE A MIGHTY FLAME.
MANY WATERS CANNOT QUENCH LOVE;
RIVERS CANNOT WASH IT AWAY.
IF ONE WERE TO GIVE ALL THE WEALTH OF HIS HOUSE FOR LOVE,
IT WOULD BE UTTERLY SCORNED.

Gospel Songs: EZEKIEL
Week of 26 April 2005
Swing Down, Sweet Chariot
This gospel song should not be confused with Swing Low, Sweet Chariot, although both songs use the story of Elijah taken up to Heaven in a chariot. But this song blends Elijah's chariot with Ezekiel's chariot (Chapters 1 and 10) in a blend common in gospel, where persons and events from Old and New Testaments appear together. This itself goes back to educated biblical readings, such as allegory and typology, where events in the Old Testament are viewed as types of the New.
Elvis Presley recorded this song on his first gospel album and (as usual) he borrows from previous recordings (such as the "well, well, well" part).
The larger influence of gospel music on Elvis' rock 'n' roll style is shown in this early interview (c. 1955):
Interviewer: "Say, something about your unique style. Where did you get the idea for this?"
Elvis: "I'm a pretty close follower of religious quartets. And they do a lot of rock and rhythm screechings. And so that's where I got the idea from: religious quartets."
Why don't you swing down sweet chariot, stop and let me ride. Swing down chariot, stop and let me ride. Rock me Lord, rock me Lord, calm and easy.
Well I've got a home on the other side. (2)
     Well, well, well, well, well, well. . . .
     Ezekiel went down in the middle of a field. He saw an angel working on a chariot wheel. Wasn't so particular 'bout the chariot wheel. Just wanted to see how a chariot feel.
     Why don't you swing down sweet chariot, stop and let me ride. Swing down chariot, stop and let me ride. Rock me Lord, rock me Lord, calm and easy. Well I've got a home on the other side.
     Well, well, well. . . .
Ezekiel went down and he got on board. Chariot went a-bumping on down the road. Zeke wasn't so particular 'bout the bumping of the road. Just wanted to lay down his heavy load.
     Why don't you swing down sweet chariot, stop and let me ride. Swing down chariot, stop and let me ride. Rock me Lord, rock me Lord, calm and easy. Well I've got a home on the other side.
     Well I got a father in the Promised Land. Ain't no more stopping till I shake his hand. Rock me Lord, rock me Lord, calm and easy. I've got a home on the other side.
     Why don't you swing down sweet chariot, stop and let me ride. Swing down chariot, stop and let me ride. Rock me Lord, rock me Lord, calm and easy. Well I've got a home on the other side.
Ezekiel Saw the Wheel
This famous gospel song closely follows Ezekiel, chapters 1 and 10, with an interpretation of the big and little wheels: "the big wheel runs by faith, the little wheel runs by the grace of God." As in Swing Down, the song seems to blend ideas from Elijah and Ezekiel:
Well Ezekiel saw the wheel a-rolling, way up in the middle of the air. Ezekiel saw the wheel a-rolling, way in the middle of the air.
    Well there was a wheel in a wheel a-moving way up in the middle of the sky. A wheel in a wheel a-moving way in the middle of the air.
     Well the big wheel runs by faith, the little wheel runs by the grace of God. There was a wheel in a wheel way in the middle of the air.
     Now stop and let me tell you what a hypocrite will do. He'll talk about me, he'll talk about you.
     Great God! Well, Ezekiel saw the wheel a-rolling, way up in the middle of the air. Ezekiel saw the wheel a-rolling way in the middle of the air.
      Well it must have been a golden chariot. (Way up in the air) But Ezekiel was tired and he wanted to ride. (Way up in the air) He was tired of walking in the noonday sun. (Way up in the air) His journey home had just begun. (Way up in the air)
     Great God! Well, Ezekiel saw the wheel, way up in the air. Ezekiel saw the wheel way up in the middle of the air.
     Now the golden chariot took him away. (Way up in the air) He went way all up to the Milky White Way. (Way up in the air)
    Great God! Well, Ezekiel saw the wheel, way up in the air. Ezekiel saw the wheel a-rolling way in the middle of the air.
Ezekiel
This is a variant of  Ezekiel Saw the Wheel, with added verses.
Ezekiel saw the wheel way up in the middle of the air, Ezekiel saw the wheel way (turning) in the middle of the air. (Repeats) And the big wheel runs by Faith and the little wheel runs by the Grace of God:  There's a wheel in a wheel way in the middle of the air.
     O look out Sister (Brother), how you step on the cross. Way in the middle of the air! Look out Sister (Brother)! How you step on the cross! Your foot might slip (O God) and your soul get lost, way in the middle of the air.
     Old Satan wears a club foot shoe. (Way in the middle of the air) If you don't mind, he'll slip it on you! (Way in the middle of the air)
     Some go to church for to sing and shout. (Hallelujah) Before six months they're all turned out.
I'll Fly Away
This gospel song (used in the movie O Brother, Where Art Thou?) relies more on Elijah than Ezekiel while using the chariot motif:
Some bright morning when this life is over, I'll fly away to that home on God's celestial shore, I'll fly away.
      I'll fly away, oh glory, I'll fly away, in the morning. When I die, hallelujah, by and by, I'll fly away.
     When the shadows of this life have gone, I'll fly away, like a bird from these prison walls I'll fly. I'll fly away.
     I'll fly away, oh glory, I'll fly away, in the morning. When I die, hallelujah, by and by, I'll fly away!
     Oh how glad and happy when we meet, I'll fly away. No more golden shackles on my feet, I'll fly away.
     I'll fly away, oh, glory! I'll fly away, in the morning. When I die, hallelujah by and by, I'll fly away.
     I'll fly away, oh, glory! I'll fly away, in the morning. When I die, hallelujah by and by, I'll fly away. Just a few more weary days and then I'll fly away to a land where joys will never end. I'll fly away! I'll fly away, oh, glory! I'll fly away, in the morning. When I die, hallelujah by and by, I'll fly away.
Oh, Let Me Fly
Another song based on the chariot motif from Elijah and Ezekiel. But details of Bible texts are not as important for believers as general ideas of faith, power, and glory.
Way down in the middle of the field, angels working at the chariot wheel. Not so particular about working on the wheel, I just want to see how that chariot feels. Oh let me fly, oh let me fly, oh let me fly to Mount Zion, Lord, Lord! Oh let me fly, oh let me fly, oh let me fly to Mount Zion, Lord, Lord!
     Well I got a mother in the Promised Land. Ain't gonna stop till I shake her hand. Not so particular about shaking her hand, I just want to get to the Promised Oh let me fly, oh let me fly, oh let me fly to Mount Zion, Lord, Lord! Oh let me fly, oh let me fly, oh let me fly to Mount Zion, Lord, Lord! I heard such a rumbling in the sky, I thought my Lord was passing by. 'Twas the good old chariot drawing nigh and it shook the earth and it swept the sky.
     Oh let me fly, oh let me fly, to Mount Zion, Lord, Lord! won't you let me fly to Mount Zion, Lord, Lord! Oh let me fly, oh let me fly, to Mount Zion, Lord, Lord! Let me fly to Mount Zion, oh Lord, Lord, Lord!
Listen to the Lambs
Obviously based on Ezekiel 34 (itself based on Jeremiah 23:1), with its messianic image of a Good Shepherd, later borrowed by Jesus, especially in one of the "I Am" texts from the Gospel of John: "I am the good shepherd. The good shepherd lays down his life for the sheep. . . . I am the good shepherd: I know my sheep and my sheep know me (John: 10:11-14). In using "I am," Jesus links himself with the God of Moses (Exodus 3:14) as well as with the Covenant of Salvation (God as Redeemer), also clear in "an appearance of a rainbow" around the figure ("like that of a man"), in Ezekiel (1:26-28; cf. Genesis 9:16), which Christians view as Jesus ("a man").
Listen to the lambs, all a-crying (3) all a-crying. (3)
     He shall feed his flock like a shepherd and carry the young lambs in his bosom (4) and carry the young lambs in his bosom (6).
     Ah, listen! Ah, listen!
     Listen to the lambs, all a-crying (3) all a-crying. (3) Amen.
That Jesus is the Good Shepherd promised in Ezekiel is shown in the gospel song, Rise Up Shepherd and Follow, which advises shepherds on Christmas Day to leave their flock, because the True Shepherd has come, as Jesus himself says in John 10:
Rise up shepherd and follow, rise up shepherd and follow, rise up shepherd and follow.
     There's a star in the East on Christmas morning. (Rise up shepherd and follow!) It will lead to the place where the Savior is born. (Rise up shepherd and follow!) If you take good heed to the angel's word (Rise up shepherd and follow!) you'll forget your flock, you'll forget your herd. (Rise up shepherd and follow!)
     You can leave your sheep and you can leave your lambs. (Rise up shepherd and follow!) You can leave your ewes and you can leave your rams. (Rise up shepherd and follow!)
     Get up and follow the Star to Bethelhem. (Rise up shepherd and follow!) Come on and follow, rise up shepherd and follow! (Repeat song)
Ezekiel's Vision in Dante's Divine Comedy
These are the verses from Dante's Divine Comedy, showing a Heavenly Chariot. Dante refers to Ezekiel's four living creatures (angel [man], lion, ox, and eagle) and their wings, "with feathers full of eyes" (like "the eyes of Argus": a mythological person with eyes all around).
     Then Dante (l. 100) refers the reader to Ezekiel and his vision (1:4-14). But Dante relies on John's account in the Book of Revelation (4:6-9) for the number of wings (6, not 4) each creature had (ll. 104-05).
     Dante's Divine Comedy is in three parts, describing 1. Hell (Inferno), 2. Purgatory (Purgatorio), and 3. Heaven (Paradiso). The reference to Ezekiel appears in the Purgatory.
     Translation from the Italian is by the nineteenth-century American poet, Henry Wadsworth Longfellow:

          Behind the elders came four living creatures,
          Each with a crown of green leaves on his head.
 
          Each had six wings with feathers full of eyes.
95       And were the eyes of Argus still alive
          They would have looked exactly like his eyes.
 
100      But read Ezekiel who pictures them
          As he saw them come from the frozen north
          Out of a storm of wind and cloud and fire.
 
          And just as you will find them in his pages,
          Such were they here, except that, for the wings,
105     John is with me and disagrees with him.
    Bible Songs: Daniel and the Minor Twelve
    Week of 3 May 2005
    The influence of the Bible is worldwide and continuous, down to the latest (so-called) "popular" culture, including pop music (reggae, hip-hop) and movies, such as Pulp Fiction, with John Travolta. In this film, the assassin, played by Samuel L. Jackson, quotes (or misquotes) a text from Ezekiel before avenging a crime. (The misquote is obviously designed by the director to reveal character, and not the writer/director's mistake.) Regardless, the assassin is faithful to Ezekiel's vision of avenging social injustice, as in Ezekiel, 34. The young man, Brett, is given a Bible lesson:
         "Do you read the Bible, Brett? Well there's this passage I got memorized. Ezekiel 25:17. 'The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee.'"
         The above is based on the Shepherd theme in the Bible, such as in Ezekiel, 34 and the symbolic actions in the "Two Shepherds" chapters of Zechariah (11 and 12).
         The Shepherd theme is then developed in the New Testament, especially in the Gospel of John, Chapter Ten, where Jesus links himself with the God (or "I Am") of the Hebrew scriptures and says, "I am the gate" (for the sheep) and "I am the good shepherd."
         Many Gospel songs are based on this image of Jesus as the Good Shepherd, such as Saviour Like a Shepherd Leadeth:
         Savior, like a shepherd lead us, much we need Thy tenderest care;
         In Thy pleasant pastures feed us, for our use Thy folds prepare.
         Blessèd Jesus, blessèd Jesus! Thou hast bought us, Thine we are.
         Blessèd Jesus, blessèd Jesus! Thou hast bought us, Thine we are.
         We are Thine, Thou dost befriend us, be the guardian of our way;
         Keep Thy flock, from sin defend us, seek us when we go astray.
         However, in Matthew, Jesus predicts the shepherd (himself) will be killed and the sheep scattered (26:31). This refers to Zechariah: "Strike the shepherd, and the sheep will be scattered" (12:7).
         This text puzzles some, as it seems part of the bad shepherd of 11:27 and seemingly should follow that verse, instead of 13:6. Yet God refers to "my shepherd" and "the man who is close to me." This fits the Christian idea of Jesus as "son of God."
         Regardless, Psalm 23, the most famous text in the Bible, is a poetic summary of the Shepherd theme that is important in the later prophets. Cissy Houston recorded a Gospel version for the soundtrack of her daughter, Whitney's film, The Preacher's Wife, affixing words from the Messianic prophecy in Isaiah 9:6:
          The LORD is my shepherd; I shall not want. He maketh me to lie down in green pastures: He leadeth me beside the still waters. Oh, He restoreth my soul, He restoreth my soul, He restoreth my soul, He restoreth my soul. (Oh! I want to thank you Lord, I want to thank you.) He leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. He preparest a table before me in the presence of mine enemies: He anointest my head with oil; my cup runneth over and over and over. Oh, yeah! Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD forever and ever, forever and ever. Amen, amen, amen, amen!
    Wonderful Counsellor, Prince of Peace, Mightiful (?) Shepherd, I love you, Lord.

    EZEKIEL SAW DE WHEEL
    Well, Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-rolling way in the middle of the air. Great God! Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-rolling way in the middle of the air.
         Well great God Almighty, the Bible declared, Ezekiel saw the wheel in the middle of the air. The great big wheel and the little bitty wheel: a wheel turning over in the middle of the wheel. The good book says and the book don't lie, God told Ezekiel to prophesy. And my God spoke in Ezekiel's mind. He raised his voice and begins to cry.
         He cried, "Old bones! Old bones are walking! Great God Almighty these old bones are talking. Old bones, bones, won't you hear me now. Old bones, you hear the word of God!"
         Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel arolling way in the middle of the air. Great God! Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-rolling way in the middle of the air.
         Well God told Ezekiel to prophesy. Zeke tried to do it and that's no lie. God sent the wind from the west to the east and spirits struck him from his head to his feet.
         He cried, "Old bones! Old bones are walking. Great God almighty the old bones are talking. Old bones, bones, won't you hear me now. Old bones, you hear the word of God!"
         Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-arolling way in the middle of the air.
         Well old Ezekiel tried his best to do the things the Lord had told him to. He did his best, that's all he can. After all Zeke was a natural man.
         Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-rolling way in the middle of the air. One more! One more! Ezekiel saw the wheel a-rolling, the great big wheel a-turning over. Ezekiel saw the wheel a-rolling way in the middle of the air. Yes, indeed. Old Zeke was wailing that time!
    DANIEL SAW THE STONE
    This gospel song refers to Daniel's explaining the rock cut from the mountain in Nebuchadnezzar's first dream: "This is the meaning of the vision of the rock cut out of a mountain, but not by human hands." This is the "kingdom that will never be destroyed" (DANIEL 2:44f.). The image of God as the "Rock" occurs in Psalms and Isaiah, where God is called "the Rock eternal" (26:4); hence the hymn, "Rock of Ages." Christians view the Rock as Jesus, as the following gospel song shows:
          Well old Daniel saw the stone that was hewed out the mountain. Daniel saw the stone stone that was rolling down to Babylon, Daniel saw the stone that was hewed out the mountain coming down to redeem a mighty world. (2)
         Won't you meet me, Jesus, meet me, won't you meet me in the middle of the air? Cause now if these wings should fail me, Lord I want to hitch on another pair.
         King Jesus was the stone that was hewed out the mountain. King Jesus was the stone that come a-rolling in Babylon. King Jesus was the stone that was hewed out the mountain, coming down to redeem a mighty world. (2)
         Well the tree ends were bending, way up in the heavenly land. Well my God spoke to the Holy Ghost, he said, "Come on, and let's make plans."
         I'm looking for the stone that was hewed out the mountain, I'm looking for the stone that came a-rolling in Babylon, I'm looking for the stone that was hewed out the mountain coming down to redeem a mighty world. (2)
         Well now early in the morning the trumpet's going to sound, the dead in Christ is going to rise. Well if you ain't got good religion, Lord in hell you'll open up your eyes.
         I found that stone that was hewed out of the mountain, I found that stone that was rolling in Babylon, I found that stone that was hewed out of the mountain, coming down to redeem a mighty world. (2)
    ROCK OF AGES
    One of the most famous hymns, based on Isaiah 26:4 and Daniel 2:44:
    Rock of Ages, cleft for me, Let me hide myself in Thee; Let the water and the blood, >From Thy wounded side which flowed, Be of sin the double cure; Save from wrath and make me pure.
    SHADRACK
    Gospel song based on the Fiery Furnace text from DANIEL:
    Well there were 3 children from the land of Israel. Shadrack, Meshach, and Abednego. They took a little trip to the land of Babylon. Shadrack, Meshach, and Abednego. Well old Nebuchadnezzar was the king of Babylon. Shadrack, Meshach, and Abednego. Well he took a lot of gold and he made him an idol. Shadrack, Meshach, and Abednego.  
         Well he told everybody when they heard the music of the coronet. Well they told everybody when they heard the music of the flute. And they told everybody when they heard the music of the horn. Great God says, You must bow down and worship the idol. Shadrack, Meshach, and Abednego.
         But the children of Israel would not bow down. Shadrack, Meshach, and Abednego. You couldn't fool them with a golden idol. Shadrack, Meshach, and Abednego. I said, you couldn't fool them with a golden idol. Shadrack, Meshach, and Abednego.
         So the king put the children in a fiery furnace. Shadrack, Meshach, and Abednego. He heaped on coals and red-hot brimstone. Shadrack, Meshach, and Abednego. Made it seven times hotter: hotter than it ought to be. Shadrack, Meshach, and Abednego. It even burned up the soldiers that the king had put there. Shadrack, Meshach, and Abednego. Shadrack, Meshach, and Abednego.
        Then the Lord God sent them an angel. And he gave them a couple of wings. So they moved them on down to the fiery furnace and began to cool the flames. Those children they got so happy, they were strutting right through the fire, just laughing and singing about the power of the gospel. Shadrack, Meshach, and Abednego. Shadrack, Meshach, and Abednego.
         Then old Nebuchadezzer said, Hey, now! when he saw the power of the Lord. "Have a good time in the land of Babylon." Shadrack, Meshach, and Abednego. Shadrack, Meshach, and Abednego.

         But the Lord sent an angel with snowy white wings down in the middle of the furnace talking to the children about the power of the gospel. Shadrack, Meshach, and Abednego. Well they couldn't even burn a hair on their halo. Shadrack, Meshach, and Abednego. Laughing and talking while the fire was jumping around. Shadrack, Meshach, and Abednego. Old Nebuchadnezzer called, "Hey there!" when he saw the power of the Lord. And they had a good time in the hose of Babylon. Shadrack, Meshach, and Abednego.  Ho-ho, Abednego.
    BELSHAZZAR
    Country singer, Johnny Cash, wrote this song about the "handwriting on the wall" scene in DANIEL:
    Well the Bible tells us about a man who ruled Babylon and all its land. Around the city he built a wall and declared that Babylon would never fall. He had concubines and wives. he called his Babylon, Paradise. On his throne he drank and ate but for Belshazzar it was getting late.
          For he was weighed in the balance and found wanting. His kingdom was divided, it couldn't stand. He was weighed in the balance and found wanting. His houses were built upon the sand.
         Well the people feasted and drank their wine and praised the false gods of his time. All holy things they scorned and mocked but suddenly all their mocking stopped. For on the wall there appeared a hand: nothing else, there was no man. In blood the hand began to write and Belshazzar couldn't hide his fright.
         For he was weighed in the balance and found wanting. His kingdom was divided and couldn't stand. He was weighed in the balance and found wanting. His houses
         Well no one around but couldn't understand what was written by the mystic hand. Belshazzar tried but couldn't find a man who could give him peace of mind. But Daniel, the prophet, a man of God, he saw the writing on the wall in blood. Belshazzar asked him what it said and Daniel turned to the wall and read: , "My friend you're weighed in the balanced and found wanting. Your kingdom is divided, it can't stand, You're weighed in the balance and found wanting. Your houses are built upon the sand.
    HANDWRITING ON THE WALL
    An older Gospel song on the same theme:
    Well there's a handwriting (on the wall). It's a handwriting (on the wall). I see a handwriting (on the wall). Whoa, whoa! Lord, he writes on the wall.
         Well you read your Bible, you read it well. You know about the story that I'm about to tell. Belshazzar was sitting at the banquet ball, drinking out of vessels of Israel's God. They tell me that his eyes got red with wine when God come jumping on the wheels of time. He rode on down to the banquet hall, set his handwriting on the wall. Belshazzar looked up on the banquet wall, saw the handwriting of Israel's God. "Go get Daniel!" I heard him yell, "tell him to read that writing, read it well. But I'll make him the ruler of all the land if he could just read the writing that's written by the hand."
          Then Daniel comes jumping to the power of God, began to read what was written on the wall. Mene, Tekele, Uparson. Great God Almighty, your days are done. But God done got tired of your wicked ways, the angels in the heavens done numbered your days. He said, your evil deeds have done got tried, you got to go to judgment to stand your trial. You got to go to judgment and stand at the bar for drinking out the veseels of Israel's God.
    DANIEL, SERVANT OF THE LORD
    Gospel song based on the lion's den text from DANIEL:
    Oh, the King cried, Oh, Daniel, go find the Hebrew Daniel, servant of the Lord. O Daniel, Daniel, Daniel.
         Among the Hebrew nation, one Hebrew Daniel was found. They put him in the lion's den, he stayed there all night long.
          Oh, the King cried, Oh, Daniel, go find the Hebrew Daniel, servant of the Lord. O Daniel, Daniel, Daniel. O Daniel, Daniel, Daniel, the Hebrew Daniel, servant of the Lord.
          Now the king in his sleep was troubled. And then early in the morning he rose to find that God had sent off his angels for to close the lion's jaws.
          Oh the king cried, O Daniel, Daniel, the Hebrew, Daniel, servant of the Lord. (repeat)
    In His Care-O
    Daniel became a symbol for those who wished to keep God's laws regardless where they lived, as this gospel song shows:
    Well Daniel he was a good man, Lord, he prayed three times a day. Well, the angels raised their windows just to hear what Daniel had to say, say, say. Well Daniel he was a good man, Lord he prayed three times a day. I pray the Lord, I'm in his care-o!
    JONAH
    This song we're going to dedicate to all the young people. And I really like this. It's got a lot of funniness, it's a lot of humor. But it talks about a guy in the Bible that made a mess of his life. Jonah? Jonah! That's it. Jonah! Jonah!
         This guy, he didn't listen to God. He was too, Jonah was supposed to go to Ninevah. He didn't do it. They can hear me. Jonah was supposed to go to Ninevah. That way! I know that. He didn't do it. He went the other direction. I know that. I can hear you.
         How many people know what happened to Jonah? Holler out. What happened to him? I know, I know! You hush up, I'm not talking to you. What happened to Jonah? Holler out!
         Somebody said a whale got him, down here, said a fish got him. A big fish, right? See we already got division in this church already. You know, really, folks? I'm being honest. I don't believe we will ever know what really happened to poor old Jonah.
         I want you all to come up here and we're all going to sing about Jonah. And I want every one of that feels as young as I do, I want you all to make a joyful noise and clap your hands. Let's do Jonah! Everybody clap your hands! Everbody!
         Go Jonah! Go Jonah! Go to Ninevah. Go Jonah!
         A message came from Heaven. Ninevah was undermined. God said to Jonah go and let my light shine. Go and tell my people, you'd better mend your ways. Cause if you don't, this might be your last day.
         And God said, "Go Jonah! Go Jonah! Go to Ninevah. Go Jonah. 
         Well get on up and get on up and go down Jonah. Well get on up and get on up and go down Jonah. God will tell you what to say.
         Well instead of going down to Ninevah, Jonah looked the other way. But things didn't go the way old Jonah had planned. For soon Jonah jump and hollered, by the big old fish he was swalloed. God made that fish jump up that preacher man.
         God said, "Go Jonah! go Jonah! Well, Go to Ninevah. Go Jonah! Get on up and go down Jonah, get on up and go down Jonah! God will tell you what to say. Go Jonah! Go Jonah! Go to Ninevah, go Jonah! Get on up and go down, Jonah! God will tell you what to say! Heigh-ho Silver, away! Heigh-ho, Silver, away!
    JONAH AND THE WHALE
    Jonah was a man who got his word from the Lord to go and preach the gospel to the sinful land. But he got on a ship and he tried to get away and ran into a storm in the middle of the sea.
        Now the Lord made the waves just to roll so high. The ship begins to sink and they all begin to cry. So they pulled old Jonah out of the hole and they dumped him in the water just to lighten up the load.
         Now the Lord made a whale, long and wide. Lord, Lord, wasn't that a fish? And he swallowed up Jonah, hair and hide. Lord, Lord, wasn't that a fish?
         Now Jonah starts to pray in the belly of a whale. Lord, Lord, wasn't that a fish? He repented of his sins like a man in jail. Lord, Lord, wasn't that a fish? Lord, Lord.
         Now Jonah must have been a bad man. He must have been a sinner. Lord, Lord, wasn't that a fish? Cause the whale got him down and he didn't like his dinner. Lord, Lord, wasn't that a fish? Lord, Lord.
         Well he swum around the ocean sick as he could be. Lord, Lord, wasn't that a fish? After three days, he had to set him free. Lord, Lord, wasn't that a fish? So the whale spit Jonah out on the dry land. Lord, Lord, wasn't that a fish? And he went on to preaching like a righteous man. Lord, Lord, wasn't that a fish? And the people put their sins when they hear him in the town. Lord, Lord, wasn't that a fish? So when you hear the call don't you turn the course around. Lord, Lord, wasn't that a fish?
    The Dies Irae
    The Dies Irae (Day of Wrath), based on a Christian poem in Latin, comes from the "Day of the Lord" text in Zephaniah: "That day will be a day of wrath" (1:15). The reader will recognize similar words in English: "dies" (diary), "irae" (irate), "solvet" (dissolve), "saeclum" (secular), "teste" (testify).
    Dies irae, dies illa solvet saeclum in favilla teste David cum Sibylla.     Day of wrath, day of tears, dissolves
    the world in ashes, as said by David and the Sibyl.
    We hear first a plainchant version, quoted countless times by composers (it appears in many Rachmaninov compositions, including the romantic Rhapsody on a Theme of Paganini).
         Setting this text to music has tempted many composers, to tone painting. Verdi uses trumpets and timpani (as in Zephaniah's "a day of trumpet and battle cry") to paint a picture of terror.
         Faure, on the other hand, writing his tender Requiem, omitted the Dies Irae as too terrible. But even Andrew Lloyd-Webber (composer of musicals such as Cats and Phantom of the Opera) enjoyed painting a picture of terror in his Requiem, beginning his Dies Irae with timpani and horns (the usual instruments) as in Mozart's Requiem.
         The Lacrimosa (as English, "lachrymose" or tearful) is worded:
    Lacrimosa, dies illa qua resurget ex favilla judicandus homo reus, huic ergo parce Deus.
        On this day full of tears, when from the ashes arises guilty man, to be judged, Lord have mercy on him.
    The version by Verdi in his Requiem is sweet and tuneful; and, while the baritone repeats the melody, an ostinato (repeated) motif sounds like the cry of doves.
         Berlioz, however, recalling the "Day of Wrath," ends his Lacrimosa in agony, as the chorus fearfully hammers out the words, "Lacrimosa, dies illa" ("tears this day") in the following way:
    "Lacrimosa, dies illa: di-es ill-a!!!"

    stressing, therefore, the words DAY!!!! OF!!! TEARS!!!
         Mozart, in his final music (unfinished), starts his Lacrimosa with an ostinato figure that suggests tears. He too divides his text, but not with a sense of agony (like Berlioz), but rather of holy mystery, on the words, "Qua resurget ex favilla, judicandus homo reus" ("returning from dust, man waits for judgment"). Mozart stresses each syllable to show the mystery, as he also suggests the dead softly returning from their graves!
    BRINGING IN THE SHEAVES
    "They know not the thoughts of the Lord: for he shall gather them as the sheaves into the floor" (Micah 4:12).
    Sowing in the morning, sowing seeds of kindness, Sowing in the noontide and the dewy eve; Waiting for the harvest, and the time of reaping, We shall come rejoicing, bringing in the sheaves.
      {Refrain} Bringing in the sheaves, bringing in the sheaves,We shall come rejoicing, bringing in the sheaves, Bringing in the sheaves, bringing in the sheaves, We shall come rejoicing, bringing in the sheaves,
      Sowing in the sunshine, sowing in the shadows, Fearing neither clouds nor winter’s chilling breeze; By and by the harvest, and the labor ended, We shall come rejoicing, bringing in the sheaves. {Refrain}
    MICAH and the Pun
    The Bible is full of wordplay, most of which is lost in translation.  Some of it survives, such as the ripe fruit in Amos, which shows the time is "ripe" for God's judgment (8:1). The first chapter of Micah has a series of puns: "Tell it not in Gath [sounds like "tell"], weep not in Acco [sounds like weep], in Beth Ophrah [House of Dust] weep in the dust," etc. Linking ideas by sound continues today. Paul Simon did something similar in his hit, 50 Ways to Leave Your Lover, where some of the "ways" rhyme on a man's name:
    There must be 50 ways to leave your lover: 50 ways to leave your lover. You just slip out the back, Jack. Make a new plan, Stan. You don't need to be coy, Roy. Just get yourself free. Hop on the bus, Gus. You don't need to discuss much. Just drop off the key, Lee, and get yourself free. Ooh, slip out the back, Jack. Make a new plan, Stan. You don't need to be coy, Roy, you just listen to me. Hop on the bus, Gus. You don't need to discuss much. Just drop off the key, Lee, and get yourself free.
    AMOS
    One of the greatest calls for justice in the Bible is from AMOS 5:24: "Let justice roll down like a river and righteousness like a mighty stream." Martin Luther King refers to this text in his famous "I Have a Dream" speech in Washington:
    "No we are not satisfied and we will not be satisfied until justice rolls down like waters and righeousness like a mighty stream!"
    HOSEA
    The image of the wind as a means of God's punishment is found throughout the Bible, but most clearly in Hosea "They sow the wind and reap the whirlwind" (8:7). (This sentence is also a model of progressive parallelism in Hebrew poetry.) The "wind" refers to the uprooting of an unjust social order. Bob Dylan borrowed this image for the lyric of  Blowing in the Wind, though the source (and therefore force) of the metaphor may be forgotten or ignored:

         How many roads must a man walk down before you call him a man? How many seas must the white dove sail, before she sleeps in the sand? Yes and how many times must the cannonballs fly before they're  forever banned? The answer, my friend, is blowing in the wind. The answer is blowing in the wind!

         The theme of idolatry (a repeated concern among the prophets) appears in Paul Simon's song, The Sound of Silence, where business (the "neon sign") has become the new idol; while "the words of the prophets" speak (as in the Bible) the discontent of the poor and the outcast, who scribble their anger on subway walls and tenement halls. Whether intended or not, the lyric neatly opposes those who have money to worship the "neon sign" with those who have no money and live neglected in tenement buildings:

         People bowed and prayed to the neon god they made. And the sign flashed out its warning in the words that it was forming: And the sign said the words of the prophets are written on the subway walls and tenement halls.

    As in the Bible, no-one listens to the words of the prophets (or to those who have something meaningful to say):

         People talking without speaking, people hearing without listening.
    Bible Songs, Week of 10 May 2005
    HONOUR YOUR MOTHER AND YOUR FATHER
    This song is in ska or blue beat style, the basis of Reggae, musical styles from Jamaica with influence on pop music worldwide. Because of Jamaican readings of the Bible as a freedom text, references to Old and New Testaments are common. This song begins quoting from the Ten Commandments, in Deuteronomy: "Honour your father and your mother, as the Lord your God has commanded you, so that you may live long and that it may go well with you in the land the Lord your God is giving you" (5:16). The next quote is from Ephesians 6:1: "Children obey your parents in the Lord, for this is right." Then part of the Golden Rule (from Matthew 7:12) is quoted: "So in everything, do to others what you would have them do to you, for this sums up the Law and the Prophets." Another quote is from Matthew 19:19: "honour your father and mother and love your neighbour as yourself" (see Exodus 20:12, Deuteronomy 5:16, and Leviticus 19:18 for Jesus' sources).  It can be seen that not a single phrase is original, but all phrases are close to Bible texts.
    Honour your mother and your father that your days may be long on the land. Children obey your parents in the Lord: This is the law and the prophets. Honour your mother and your father that your days may be long on the land. Children obey your parents in the Lord. This is the law and the prophets. Love your parents as how you love yourself. Do unto others as they would do to you. Honour your mother and your father that your days may be long on the land. Children obey your parents in the Lord. This is the law and the prophets. {Break} Love your parents as how you love yourself
         Do onto others as they would do to you. Honour your mother and your father that your days may be long on the land. Children obey your parents in the Lord: This is the law and the prophets.
    THE CHARIOTS IS A-COMING
    This is another version of the chariot theme, with Jesus as Jehovah (the Lord):
    The chariots is a-coming, the chariots is a-coming, the chariots is coming for me, for me. (3) There's a chariot coming that won't have wheels, it's going to fly over mountains and hills. And when I see the driver on that great day, I'll know the chariot is taking me away.
         The chariots are coming. Will you be ready? The chariot's a-coming for me, for me. Coming with the driver, in the Heavenly host. A holy and a righteous number never seen before. They all stand for victory―
    this the world must know. And they're only taking those that's been washed by the snow.
         The chariots is a-coming for me! The chariot's a-coming, etc. for me, for me. Listen. Coming with a driver―it will be the Heavenly Host, that have never ever been seen before. And they all stand for victory―
    this the world must know. And they're only taking those that's been washed by the snow.*
    [*"These are they who have come out of the great tribulation; they have washed their robes and made them white in the blood of the Lamb" (Revelation 8:14).]
         The chariot is a-coming, the chariot is a-coming, the chariot is a-coming, it's coming for me, it's coming for me. I'm going to ride! I'm going to Jesus. It's coming for me, it's coming for me. Oh the chariot, Jesus is coming, oh the chariot's coming, the chariot's coming for me. You know one day you might look for me one and one morning I just might be gone.
    O LITTLE TOWN OF BETHLEHEM
    This famous Christmas carol refers to Micah's prophecy that, though "small among the clans of Judah," Bethlehem will give the world "one who will be ruler over Israel, whose origins are from of old, from ancient times" (5:2). Christians see this fulfilled in the birth of Jesus in Bethlehem (Matthew 2:1).
    Oh little town of Bethlehem, how still we see thee lie. Above thy deep and dreamless sleep, the silent stars go by. Yet in thy dark streets shineth the everlasting light: the hopes and fears of all the years are met in thee tonight.
    THE GOODNESS OF JESUS
    This is a type of song sermon common in "sanctified" (holy) churches in the south. Sanctified worship is moved by the presence of the Holy Spirit, shown in rolling the body, foot-stomping, hand-clapping, and vocal hollers that (with some irony) influenced the music known as Rock 'n' Roll. The term itself, though claimed to have sexual meaning, might as well have come from the rocking and rolling in the aisles common in sanctified churches in the south.)
    When I think of the goodness of Jesus and all he's done for me. You know my soul cries out Hallelujah, oh Lord, and I thank God for saving me! Let me say it again. When I think of the goodness of Jesus and all he's done for me. You know my soul cries out, oh Lord, good God Almighty. And I thank God for saving.
         Let me say together. When I think of the blessing of Jesus and all he's done for me. Well my soul cries out, let me tell it out loud, Lord, hey! hey! I'll tell it like this:
         I thank you Jesus. I thank you Jesus. The reason why I thank you: I know you been mighty good. I know you been good to me. You been better to me than I been to myself. You made me run and tell. You made me tell somebody else. Can't nobody do me like you, Lord. I said can't nobody, do me like you, Jesus. That's the reason why I know I got to thank you Jesus.
         I remember one Friday when I went down on my knees. I said I wouldn't tell nobody, that something got a hold of me. That it got all in my hair. That it got all in my feet. It just made me tell the world that something got a hold of me. Can't you feel that power? (repeat)
         Can't you feel it in your hair? When you go down on your knees. Don't it make it all right? I remember in the last song: I asked everybody out there. I got this question again that I want to ask you. Did you get that power? (repeat)
         When you talk about the Holy Ghost. Did he get in your hair? Did he get in your walk? Did it get all in your talk? Did he make you tell somebody that you been born again? Ain't it all right?  Wait a minute, all. I'll tell you something. I said I'll go to church in a while. Come on, and go with me.
         Oh, yeah, all right, God Almighty. God Almighty, come on, come on.
         Did you get that power? (repeat)
         I come to talk about the Holy Ghost. Did it get in your hair. Did it get in your walk? Did it get all in your talk? Did it make you tell somebody that you been born again? Ain't it all right? Wait a minute, all! You know what, I said I'll go to church in a while.
         I thank you Jesus! (3) Ain't it all right? Wait a minute, all.
    PREPARE YE THE WAY OF THE LORD
    This song is from the Broadway musical, Godspell, based on the Gospel of St. Matthew. The text is spoken by John the Batpist in Matthew 3:3, quoting Isaiah ("Second Isaiah") 40:3:
    Prepare ye the way of the Lord.
    THE LORD'S PRAYER
    From Matthew 6:9-15, this prayer―the most famous of Christian texts―appears in shorter (and prose) form in Luke 11:2-4. It's believed Luke's version was first and that Matthew added verses for church use. Where Luke uses "sins," Matthew uses "debts" (translated as "trespasses" in England). An end doxology (praise to God) was only later added to Matthew's text and is omitted in today's Bibles, though included in Malotte's famous musical setting:
    Our Father, which art in Heaven. Hallowed be Thy name. Thy kingdom come, Thy will be done on earth as it is in Heaven. Give us this day our daily bread and forgive us our debts as we forgive our debtors. And lead us not into temptation, but deliver us from evil. [Doxology]: For Thine is the Kingdom, and the Power, and the Glory forever. Amen.

         Charlotte Church's recording replaces "debts" with "trespasses," in Anglican (British) style: Give us this day our daily bread and forgive us our trespasses as we forgive those who trespass against us.

    WHAT A FRIEND WE HAVE IN JESUS
    This gospel song is based on the idea of The Lord's Prayer, that common people can speak to God as a "father." It's assumed Jesus himself used the Aramaic word, "abba" to address God (as "Daddy"), rather than "father." Of course, The Lord's Prayer was meant for others, not for Jesus (according to Christian belief, Jesus was without sin or need of forgiveness).

    What a friend we have in Jesus, all our sins and griefs to bear.  And what a privilege to carry everthing to God in prayer. Can we find a friend so faithful, who will all our burdens share? We should never be discouraged, take it to the Lord in prayer. What a friend we have in Jesus, all our sins and griefs to bear.  What a privilege to carry everthing to God in prayer.
    TOUCH THE HEM OF HIS GARMENT
    Sam Cooke's self-penned, Touch the Hem of His Garment is an example of how gospel songs are taken straight from the Bible, in this case the story of the woman who can't stop her female bleeding (Matthew 9:20-22). For those with a sense of humor, note that, in Luke, this event is told without mentioning failed doctors' care (Luke 8:43). The reason was probably because Luke was a doctor and did not wish to offend his colleagues or profession.
    Oh, there was a woman in the Bible days. She had been sick, sick so very long. But she heard that Jesus was passing by, so she joined the gathering throng. and while she was pushing her way through, someone asked her, "What are you trying to do?" She said, "If I could just touch the hem of his garment I know I'll be made whole." She cried, "Oh, Lord, oh, Lord," [and] said, "If I could just touch the hem of his garment, I know I'll be made whole."
         Oh, she spent her money here and there, until she had no, had no more to spare. The doctors they done all they could, but their medicine would do no good. When she touched him, the Savior didn't see, but still he turned around and cried, "Somebody touched me." She said, "It was I who just want to touch the hem of your garment. I know I'll be made whole right now." She stood there, cryng "Oh, oh, I know, Lord, oh Lord, oh Lord." [She] said, "If I could just touch the hem of your garment, I know I'll be made whole right now."
    HIS EYE IS ON THE SPARROW
    A classic gospel song based on Matthew 10:29: "Are not two sparrows sold for a penny? Yet not one will fall to the ground apart from the will of your Father."
    Why should I feel discouraged? Why should the shadows come? Why should my heart feel lonely and long for Heaven and home? When Jesus is my portion, my constant friend is he. His eye is on the sparrow and I know he watches me. His eye is on the sparrow and I know he watches me.
         I sing because I’m happy. I sing because I’m free. Oh, his eye is on the sparrow and I know he's watching me.
    JEHOVAH
    This song refers to two well-known New Testament texts (the Lilies of the Field from Matthew 6:28) and Matthew 7:9-11: "Which of you, if his son asks for bread, will give him a stone? . . . [H]ow much more will your Father in heaven give good gifts to those who ask him!"
    Consider the lilies of the field: Solomon dressed in royal robes has not the worth of them. Consider the lilies of the field. He takes after each and every need. Leave all your cares behind, seek him and you will find your father loves you so. Consider the creatures of the air. For all of the diamonds in all the earth have not the wealth of them. Consider the creatures of the air. Jehovah loves them with tender hand. He knows your every care. His touch is always there to see you through the night.
         And Jehovah I love you so. And Jesus I want you to know, all you've done for me to set me free. I'll never let you go. (2)
         Consider the lilies of the field. For how much more does he love his own, if Yaweh cares for them. Consider the creatures of the air. He takes after each and every need. If we ask him for bread, will he give us a stone? Jehovah loves his own.
        And Jehovah I love you so. And Jesus I want you to know, all you've done for me to set me free. I'll never let you go.
    PEACE, BE STILL
    This gospel song, like the gospel text (Matthew 8:23-27), goes back to Genesis, where God makes the sea and calls it "good." The sea, like darkness, are the two primeval (first) fears of the Hebrews, who insist (as in Matthew and this song) that God controls these natural terrors, as in Psalm 89: "You rule over the surging sea; when its waves mount up, you still them" (v. 9). In the same Psalm, God promises David, "I will set his right hand over the sea" (v. 25). The sea is even named, Rahab, as if to control it better  (89:10) (By contrast, God has no name except "I Am.") This image appears in many spirituals and gospel songs, such as He Calmed the Ocean:

    He calmed the ocean, my Lord, oh, He said he would. He said he would calm the raging sea, said he would.

    An inspirational pop hymn of the 1950s uses the same image:

    He can turn the tides and calm the angry sea.

    The image of Jesus untroubled by the raging sea while his apostles are terrified is common in Western art, an image (like the song tells) of the peace that follows faith:
    Master, the tempest is raging!  Oh, the billows are tossing high! The sky is o'ershadowed with blackness.  No shelter or hope is nigh [near]. Carest thou not that we perish?  How can thou lie asleep? It seems like each moment so madly is threatening oh, a grave, a grave, a grave in the angry deep! Get up, Jesus, because the winds and the waves shall obey thy will:  Peace, be still, peace be still, peace be still, peace be still.
          Whether the wrath of the storm-tossed sea or demons or men or whatever it be, no waters can swallow the ship where lies the Master of ocean and earth and skies. They all shall sweetly obey thy will:  Peace, peace, be still. the winds and the waves shall obey your will and all you got to say is peace be still. Whether the wrath of the storm-tossed sea or demons or men or whatever it be, no waters can swallow the ship where lies the Master of ocean and earth and skies. They all shall sweetly obey thy will:  Peace, peace, be still. When you're lonely, when you're hopeless, Lord peace, peace, yes, peace, I'm looking for peace. Yes, yes, yes! Oh, peace, be still.
    WOULD THEY LOVE HIM DOWN IN SHREVEPORT?
    In a real sense there has never been only one Jesus. Each age makes its own Jesus, from the Jewish Messiah to the Crucified Lord to the Battle God of the Crusades, to the blonde-haired, blue-eyed WASP ("white Anglo-Saxon Protestant"), down to the social reformer of our own time. Each Jesus speaks for an age, as each age claims to speak for Jesus. In Godspell, Jesus is another Hippie youth saying (like the Beatles), "all you need is Love." In Andrew Lloyd Webber's Jesus Christ, Superstar, Jesus has his ten minutes of fame, like other celebrities.  It's well to consider that whatever Jesus represented in his own time, we would find unpopular in our own. If Jesus did come back, he'd be hated and killed all over again, especially by those who have safe images of him planted in their minds or pasted on their walls. Jesus makes the same point in the Gospel of Matthew, where he stands in for all the poor and homeless: "[W]hatever you did not do for one of the least of these, you did not do for me" (25:31ff.). This point is nicely made by country singer, George Jones, who reminds us that Jesus had long hair, was a Jew and Palestinian, hung around with misfits, and had values few of us share today, any more than they did when Jesus lived. Like Amos, Jones draws his Country music audience in by referring to Shreveport, but then mentions Nashville, the Country music center!
    If they saw him riding in, long hair flying in the wind, would they love him down in Shreveport today? If they heard he was a Jew and a Palestinian too, would they love him down in Nashville today? If they saw him talk with ease up to the junkies, drunks, and thieves, would they love him out in Wichita today? Would the rich men think it funny, if he said give up your money? Would they love him p on Wall Stree today?  If he made the wine to water, gave it to their sons and daughters, what would the folks in Salt Lake City say? If he talked of brotherhood as he walked their neighborhood, would they love him up in Boston today? Oh, if he said love those who use you and forigve those who abuse you. If he turned the other cheek , what would they say? Would you laugh and call him crazy and then send him on his way, if he walked right into your town today? Oh, would you laugh and call him crazy and then send him on his way, if he walked right in to your town today?
    TO BEAT THE DEVIL
    Like the last song, this song updates the Bible by showing Satan and Jesus as a cynical old man and an idealistic youth. As in the Temptation of Jesus (Matthew 4:1-10), the young folksinger (today's prophet) is tempted to give up hope of social change. He is in the wilderness ("the cold"), hungry (wanting "beans"), and (like Jesus) has a "pocket full of dreams." Like Jesus left his pride to go into the wilderness, the singer "left my pride and stepped inside a bar." Instead of dust, there's "sawdust" and "friendly shadows." The old Devil puts him to the test ("show us what you are"), tempting him: "It's a tough life," and people don't listen anyway. The world belongs to the Devil, who offered it to Jesus (Matthew 4:9). But faith belongs to the singer (today's prophet) who, though he knows the devil can't be beaten, he can be mocked. His beer and song are used for good instead of evil:
    It was winter time in Nashville, down on Music City Row. And I was looking for a place to get myself out of the cold, to warm the frozen feeling that was eating at my soul and keep the chilly wind off my guitar; my thirsty wanted whiskey, my hungry needed
    beans; but it'd been a month of pay days since I'd heard that eagle scream. So with a stomach full of empty and pocket full of dreams I left my pride and stepped inside a bar. Actually I guess you'd call it a tavern). Cigarette smoke to the ceiling and sawdust on the floor. Friendly shadows. I saw that there was just one old man sitting at the bar. And in the mirror I could see him checking me with my guitar. He turned and said "Come up here boy and show us what you are." I said "I'm dry" and he bought me a beer. He nodded at my guitar and said "It's a tough life ain't it?" I just looked at him and he said "You ain't making any money, are you?" I said "You've been reading my mail." He just smiled and said "Let me see that guitar: I got something you ought to hear." Then he laid it on me:
         "If you waste your time a-talking to the people who don't listen to the things that you are saying, who do you think's going to hear? And if you should die explaining how the things that they complain about are things they could be changing, who do you think's going to care? There were other lonely singers in a world turned deaf and blind who were crucified for what they tried to show. And their voices have been scattered by the swirling winds of time, 'cause the truth remains that no-one wants to know!"
         Well, the old man was a stranger, but I'd heard his song before―back when failure had me locked out on the wrong side of the door: when no-one stood behind me but my shadow on the floor―and lonesome was more than a state of mind. You see, the devil haunts a hungry man. If you don't want to join him, you've got to beat him. I ain't saying I beat the Devil, but I drank his beer for nothing, and then I stole his song!
         And you still can hear me singing to the people who don't listen to the things that I am saying, praying someone's going to hear. And I guess I'll die explaining how the things that they complain about are things they could be changing, hoping someone's going to care. I was born a lonely singer and I'm bound to die the same, but I've got to feed the hunger in my soul. And if I never have a nickel I won't ever die of shame 'cause I don't believe that no-one wants to know!

    Students,
         To aid in remembering what may seem like a confusing group of prophets, I'm giving capsule summaries of each of them below. All dates are BCE ("before the common era").
         The prophets are divided the following way: The classical or early prophets have no books dedicated to them (they appear in Joshua, Judges, Samuel, Kings). The latter prophets are numbered 15 by Jews and 17 by Christians (including Daniel and Lamentations). The twelve Minor Prophets are inclued in a single book in the Hebrew Bible but are divided into twelve books in the Christian Bible.
        1. ISAIAH. First of the Major Prophets. Divided into 3 parts. Chapters 1-39 (dated 8th century) warns of God's judgment. Chapters 40-55 (dated 6th century) comforts the exiles in Babylon (the first word of 40 is "Comfort"). Chapters 56-66 are dated post-exile. Famous for its universalism, the Peaceable Kingdom, the Grapes of Wrath, Emmanuel, the Prince of Peace, and the Suffering Servant.

        2. JEREMIAH. Dated 7th to 6th centuries. Famous for the idea of the New Covenant (31:31), among other verses.]

        3. LAMENTATIONS. Dated during the exile. Attributed to Jeremiah. Ranked as a Major Prophet by Christians but included among the Writings in Jewish Bibles. Jerusalem is movingly compared to a widow.

        4. EZEKIEL. Dated to the 6th century. Famous for the chariot vision and the Tetramorph (4-faced creatures) that influenced Revelation; the vivid sexual imagery; and the Valley of Dry Bones.

        5. DANIEL. Supposely dated in the 6th century, but probably written in the 2nd. Considered a major prophet by Christians, but included among the Writings by Jews. It continues to have a huge influence. A Rastafarian reference is in Bob Marley's song, Survival.  Daniel's prophecy concerns the period of exile in Babylonia (after 587/6). Famous for the scenes of the Burning Furnace, Daniel in the Lion's Den, Belshazzar's Feast (the "writing on the wall" that tells Belshazzar his days are numbered and gave English a proverb about "the writing on the wall"); the statue made of four metals showing the rise and fall of four kingdoms; the Dream of the Tree (showing Nebuchadnezzar's mental illness and cure); the rock carved without human hands (viewed by Christians as Jesus―made directly by God). Daniel is also famous for the only apocalpse in the Hebrew Bible (Old Testament); for the description of God as the "Ancient of Days" (7:9); for the Messianic phrase, "Son of Man" (viewed by Christians as Jesus and used by Jesus himself); and, finally, for the first clear statement of an afterlife in the Bible (12:2).

        6. HOSEA. 8th century. First of the Minor Prophets. Famous for his symbolic act of marrying a prostitute (Gomer), leaving her, then taking her back. This shows that God is willing to forgive the "adultery" of his people. A famous verse is, "They sow the wind and reap the whirlwind" (8:7).

        7. JOEL. 6th and 5th centuries.  Famous for the image of a locust invasion (1:4f.) and the Day of the Lord (1:15f.). Verses of revivalism, or "religious awakening" (2:28-29), became a main text for later revival movements and is quoted in Acts.

        8. AMOS. 8th century. Famous for concern with justice: "They sell the righteous for silver, and the needy for a pair of sandals. They trample on the heads of the poor" (2:6f.); and, "Let justice roll on like a river" (5:24), quoted by Martin Luther King.

        9. OBADIAH. Uncertain date. Attacks rival, Edom for gloating over Jerusalem's defeat by the Babylonians. Continues the "sibling" rivalry that goes back to Genesis (Edom=Esau, Jacob's brother): "You should not look down on your brother in the day of his misfortune" (1:12).

        10. JONAH. Uncertain date. One of the great satires. The Jewish prophet, Jonah, defies God, but the enemies of the Jews, the Ninevites, or Assyrians (including their animals!) obey God as soon as they're warned (3:7-9). Other humor is Jonah's simple-minded plan to escape God on a ship. Even Jonah's general prayer (in the belly of the fish) has comic effect: "Those who cling to worthless idols forfeit the grace that could be theirs. But I, with a song of thanksgiving, will sacrifice to you" (2:8-9). Famous for the story of the whale, though the fish is never named.

        11. MICAH. 8th century. Has some of the Bible's most famous verses, including the prophesy that a Messiah will be born in Bethlehem (5:2-5). The puns on place names should interest the student of literary style (1:10-15). The theme of universalism and the Mountain of the Lord verses (4.1ff.) repeat Isaiah (2:1ff.), though it's not clear which came first. Micah ends on a vignette of domestic comfort: "Every man will sit under his own vine and under his own fig-tree, and no-one will make them afraid" (4:4). The most famous verse is: "And what does the Lord require of you? To act justly and to love mercy and to walk humbly with your God" (6:8).

        12. NAHUM. Dated 650 (Assyria fell in 612). A strong attack on Assyria, whose destruction is prophesied, to the glee of the Jews (1:15): "Look, there on the mountains, the feet of one who brings good news, who proclaims peace" (that is, peace for Jerusalem.

        13. HABAKKUK. Dated 600. A theodicy (explaining God's ways), because "the law is paralyzed, and justice never prevails" (1:4). Most prophecy includes a theodicy (as does Job), but it's the main focus here. A famous verse is "Write it down and make it plain so a messenger may run with it" (2:2), advice for all good writing. The most important verse (as quoted by Paul in Romans) changed the course of history, inspiring Martin Luther to challenge the Catholic Church by faith, instead of works: "the righteous will live by his faith" (2:4). Note the slightly different sense, more like "faithfulness" (endurance)  instead of faith (belief).

        14. ZEPHANIAH. 7th century. Famous for the Day of Wrath, source of  the Latin church poem, Dies Irae (1:15ff.), set to music numerous times.

        15. HAGGAI. 6th century. He's concerned with rebuilding the Temple.

        16. ZECHARIAH. 6th century. Important for several Messianic verses, including the prophecy of Zion's king, "gentle and riding on a donkey" (9:9); the symbolic acts of the Two Shepherds (11); the shepherd sacrificed for 30 pieces of silver (11:13); a reference to "one they have pierced," as Jesus later would be (12:12); and the verse about striking the shepherd and scattering the sheep (12:7). All these texts are referenced in the Gospels.

        17. MALACHI. 5th century. Last of the Minor Prophets, placed before the New Testament in Christian Bibles, because its prophecy of Elijah's return (4:5) links it with John the Baptist in the Gospels; while its conclusion on a curse (4:6) allows the Gospel to preach a more hopeful message―ending the curse.

AVE VERUM CORPUS
This is the text for the Eucharistic (communion) hymn known as the Ave Verum Corpus (Hail True Body), in memory of the Lord's Supper (Last Supper).
     In 1791, Mozart (among countless others) set this text to music in a simple arrangement of unison singing.  With economy, he reserves the most solemn music for the words, vere passum ("who truly suffered") and a melismatic (multiple note) setting of the word mortis (death). After all, the Eucharist is about the victory over death.
     Hans Zimmer briefly quoted a part of this music in his score for Walt Disney's The Lion King. The singer Beth Nielsen Chapman also sang a solo version, with acoustic guitar accompaniment, on her CD, Hymns.
     The student can follow either the parallel version or the interlinear version beneath it:
LATIN     ENGLISH
Ave, ave verum corpus, natum
de Maria virgine.
Vere passum immolatum
in cruce pro homine.
Cujus latus perforatum
unda fluxit et sanquine
Esto nobis praegustatum
in mortis examine,
in mortis examine.
    Hail, hail true Body,
born of the Virgin Mary,
Who truly suffered,
offered on the cross for humankind.
>From whose pierced side
flowed water and blood
Be for us a foretaste
in the testing of death,
in the testing of death.
Ave / verum / Corpus, natum / de / Maria / Virgine:
Hail / true / Body / born / of / Mary / Virgin,
     Vere / passum, / immolatum / in / cruce / pro / homine:
     truly / suffered / was sacrificed / on / cross / for / mankind
Cujus / latus / perforatum, / unda / fluxit / et / sanguine:
Whose / side / was pierced / from where or water / flowed / and / blood
     Esto / nobis / praegustatum / in / mortis / examine.
     Be / for us / foretaste / in / of death / testing. Besides the simple beauty of the music, the student can see how much Latin has influenced English. In fact no fewer than twenty words of this brief text have English cognates (related words), shown below:

1. verum (true): veracious, verity, verisimilitude, aver.
2. corpus (body): corporeal, corporation, incorporate,
     corpse, corpulent (fat), corporal, corporal
     punishment.
3. natum (born): natural, native, nativity, nature.
4. Maria (Mary): Mariolatry (worship of the Virgin
     Mary).
5. virgine (chaste): virgin, virginity.
6. vere (truly): verily, veritable.
7. passum (suffered): passion, passive, impassive.
8. immolatum (offered): immolation, immolate
     (sacrifice).
9. cruce (cross): crucifix, crucify, crux, crucible, crucial.
10. pro (for): pro and con (for and against).
11. homine (man): human, humane, humanity, hominid,
     Homo Sapiens.
12. latus (side): lateral, latitude, lateral pass (football).
13. perforatum (pierced): perforated.
14. unda (water): undulant, undulate, undulatory.
15. fluxit (flowed): flux, fluctuate.
16. et (and): etc. (etcetera: and so on).
17. sanquine (blood): sanguine, sanguinary.
18. praegustatum (foretaste): gustatory.
19. mortis (death): mortal; mortality.
20. examine (testing): exam.

Mozart and The Lion King
For those who have the soundtrack of Hans Zimmer's Oscar-winning score for The Lion King, you may wish to check out a quotation from Mozart's Ave Verum Corpus, which we heard in class.
     In two tracks from that score, Zimmer uses the melody near the end of Ave Verum Corpus, which accompanies the words, esto nobis praegustatum in mortis examine ("be for us a foretaste in the testing of death").
     The quotations appear in two places:
     On Track 7, "To Die For. . . ." it appears at 2:44 into the track.
     On Track 8, "Under the Stars," it appears at 0:54 seconds into the track.
     Of course, in both cases, Zimmer chose to quote the Mozart score to evoke the text of the hymn in relation to the film's context ("subtext").

ONE SOLITARY LIFE
This text has been variously attributed, but goes back to the early part of the last century. It has been recorded and broadcast many times―especially during the Christmas season. It gives a summary profile of one extraordinary life. Here are two versions of the text: Here was a man: A man who was born in a small village: the son of a peasant woman.  He grew up in another small village. Until he reached the age of 30, he worked as a carpenter.  Then for 3 years, he was a traveling minister.  But he never traveled more than 200 miles from where he was born and―where he did go―he usually walked.   He never held political office, he never wrote a book, never bought a home, never had a family, he never went to college and he never set foot inside a big city. Yes―here was a man, though he never did one of the things usually associated with greatness.  He had no credentials but himself. He had nothing to do with this world except through the divine purpose that brought him to this world.  While he was still a young man, the tide of popular opinion turned against him. Most of his friends ran away; one of them denied him; one of them betrayed him and turned him over to his enemies. Then he went through the mockery of a trial and was nailed to a cross between two thieves.  And even while he was dying, his executioners gambled for the only piece of property that he had in this world; and that was his robe―his purple robe.  When he was dead, he was taken down from the cross and laid in a borrowed grave provided by compassionate friends. More than 19 centuries have come and gone and today he’s the centerpiece of the human race: our leader in the column to human destiny. I think I am well within the mark when I say that all of the armies that ever marched, all of the navies that ever sailed the seas, all of the legislative bodies that ever sat, and all of the kings that ever reigned―all of them put together―have not affected the life of man on this earth so powerfully as that one solitary life.  Here was a man!
There was a man born of Jewish parents in an obscure village. He grew up in another obscure village. He worked in a carpenter's shop until he was thirty. And then for three years he was an itinerant preacher. He never wrote a book. He never held office. He never owned a home. He never had a family. He never went to college. He never put his foot inside a big city.  He never traveled 200 miles from the place where he was born. He never did any of the things that usually accompany greatness. While still a young man, the tide of popular opinion turned against him. His friends ran away from him. He was turned over to his enemies. He went through the mockery of a trial. His executioners gambled for the only piece of property he had―his coat. When he was dead he was taken down and laid in a borrowed grave. All of the armies that have ever marched, all of the navies that were ever built, all the parliaments that ever sat, all of the kings that ever reigned, put together, have not affected the life of man upon the earth as this one solitary life.

Gospels of Luke and John: Songs for Week of 31 May 2005

WOULD THEY LOVE HIM DOWN IN SHREVEPORT?
In a real sense there has never been only one Jesus. Each age makes its own Jesus, from the Jewish Messiah to the Crucified Lord to the Battle God of the Crusades, to the blonde-haired, blue-eyed WASP ("white Anglo-Saxon Protestant"), down to the social reformer of our own time. Each Jesus speaks for an age, as each age claims to speak for Jesus. In Godspell, Jesus is another Hippie youth saying (like the Beatles), "all you need is Love." In Andrew Lloyd Webber's Jesus Christ, Superstar, Jesus has his ten minutes of fame, like other celebrities.  It's well to consider that whatever Jesus represented in his own time, we would find unpopular in our own. If Jesus did come back, he'd be hated and killed all over again, especially by those who have safe images of him planted in their minds or pasted on their walls. Jesus makes the same point in the Gospel of Matthew, where he stands in for all the poor and homeless: "[W]hatever you did not do for one of the least of these, you did not do for me" (25:31ff.). This point is nicely made by country singer, George Jones, who reminds us that Jesus had long hair, was a Jew and Palestinian, hung around with misfits, and had values few of us share today, any more than they did when Jesus lived. Like Amos, Jones draws his Country music audience in by referring to Shreveport, but then mentions Nashville, the Country music center!
If they saw him riding in, long hair flying in the wind, would they love him down in Shreveport today? If they heard he was a Jew and a Palestinian too, would they love him down in Nashville today? If they saw him talk with ease up to the junkies, drunks, and thieves, would they love him out in Wichita today? Would the rich men think it funny, if he said give up your money? Would they love him p on Wall Stree today?  If he made the wine to water, gave it to their sons and daughters, what would the folks in Salt Lake City say? If he talked of brotherhood as he walked their neighborhood, would they love him up in Boston today? Oh, if he said love those who use you and forigve those who abuse you. If he turned the other cheek , what would they say? Would you laugh and call him crazy and then send him on his way, if he walked right into your town today? Oh, would you laugh and call him crazy and then send him on his way, if he walked right in to your town today?
TO BEAT THE DEVIL
Like the last song, this song updates the Bible by showing Satan and Jesus as a cynical old man and an idealistic youth. As in the Temptation of Jesus (Matthew 4:1-10), the young folksinger (today's prophet) is tempted to give up hope of social change. He is in the wilderness ("the cold"), hungry (wanting "beans"), and (like Jesus) has a "pocket full of dreams." Like Jesus left his pride to go into the wilderness, the singer "left my pride and stepped inside a bar." Instead of dust, there's "sawdust" and "friendly shadows." The old Devil puts him to the test ("show us what you are"), tempting him: "It's a tough life," and people don't listen anyway. The world belongs to the Devil, who offered it to Jesus (Matthew 4:9). But faith belongs to the singer (today's prophet) who, though he knows the devil can't be beaten, he can be mocked. His beer and song are used for good instead of evil:
It was winter time in Nashville, down on Music City Row. And I was looking for a place to get myself out of the cold, to warm the frozen feeling that was eating at my soul and keep the chilly wind off my guitar; my thirsty wanted whiskey, my hungry needed
beans; but it'd been a month of pay days since I'd heard that eagle scream. So with a stomach full of empty and pocket full of dreams I left my pride and stepped inside a bar. Actually I guess you'd call it a tavern). Cigarette smoke to the ceiling and sawdust on the floor. Friendly shadows. I saw that there was just one old man sitting at the bar. And in the mirror I could see him checking me with my guitar. He turned and said "Come up here boy and show us what you are." I said "I'm dry" and he bought me a beer. He nodded at my guitar and said "It's a tough life ain't it?" I just looked at him and he said "You ain't making any money, are you?" I said "You've been reading my mail." He just smiled and said "Let me see that guitar: I got something you ought to hear." Then he laid it on me:
     "If you waste your time a-talking to the people who don't listen to the things that you are saying, who do you think's going to hear? And if you should die explaining how the things that they complain about are things they could be changing, who do you think's going to care? There were other lonely singers in a world turned deaf and blind who were crucified for what they tried to show. And their voices have been scattered by the swirling winds of time, 'cause the truth remains that no-one wants to know!"
     Well, the old man was a stranger, but I'd heard his song before―back when failure had me locked out on the wrong side of the door: when no-one stood behind me but my shadow on the floor―and lonesome was more than a state of mind. You see, the devil haunts a hungry man. If you don't want to join him, you've got to beat him. I ain't saying I beat the Devil, but I drank his beer for nothing, and then I stole his song!
     And you still can hear me singing to the people who don't listen to the things that I am saying, praying someone's going to hear. And I guess I'll die explaining how the things that they complain about are things they could be changing, hoping someone's going to care. I was born a lonely singer and I'm bound to die the same, but I've got to feed the hunger in my soul. And if I never have a nickel I won't ever die of shame 'cause I don't believe that no-one wants to know!
AVE MARIA
The Ave Maria was patched together from several verses in the Nativity Prologue of Luke. In this form, it has become one of the two most popular prayers among Christians. Two of its musical settings (by Schubert and Gounod) are standards of concert singers. Schubert actually set an Ave Maria by Sir Walter Scott, translated into German; but someone later substituted the Latin prayer and this has become the standard text used for Schubert's melody. A quick look at the Latin text will show many English-related Latin words, including "gratia" (gratitude), "plena" (plenty), "dominus" ("dominate," "domicile"), "tu" (thou), "benedictus" (benefit, benediction), "fructus" (fruit), "pecatoribus" (impeccable), "hora" (horoscope, hour), "sancta" (sanctity, Santa Claus).
The Schubert Version
Ave Maria, gratia plena, Maria gratia plena, Maria
Hail Mary, full of grace, Mary full of grace, Mary
   gratia plena. Ave, ave dominus Dominus tecum
  full of grace. Hail, hail, the Lord, Lord is with thee.
Benedicta tu in mulieribus Et benedictus Et benedictus
Blessed are you among women, and blessed, and blessed
   fructus ventris, ventris tui Jesus Ave Maria.
  is the fruit of thy womb, of thy womb, Jesus. Hail Mary.
The Gounod Version
Ave Maria, gratia plena Dominus tecum
  Hail Mary, full of grace, the Lord is with thee.
Benedicta tu in mulieribus et benedictus fructus
   Blessed are you among women, and blessed is the fruit
ventris tui Jesus. Sancta Maria, sancta Maria, Maria,
  of thy womb, Jesus. Holy Mary, holy Mary, Mary
Ora pro nobis, nobis pecatoribus.  Nunc et in hora
  Pray for us, for us sinners. Now and in the hour
in hora mortis nostrae. Amen, Amen!
  In the hour of our death, Amen. Amen.
In 1902, the castrato singer, Alessandro Moreschi made a recording of Gounod's Ave Maria. This is the only recording made of a castrato singer, so it's of historical interest.
     Yet another version of the Ave Maria, by Caccini, became popular in recent years, although the authorship of this piece has been disputed. Its text uses only the first words ("Ave Maria") for the whole melody.
WERE YOU THERE?
An old spiritual that imagines Jesus' Passion (suffering), an imaginary identification with Jesus that is part of Catholic ritual (the Stations of the Cross) and became a box-office hit in Mel Gibson's Passion of Jesus. This is a kind of "catharsis" (emotional release) familiar in tragedy but now more common in the daily news media. Where we once followed the fate of Hamlet, or identified with the Trial of Jesus, most prefer today to identify with the trial of Michael Jackson or the marital tribulations of Jennifer Lopez or other Hollywood stars. Human psychology hasn't changed, although our objects of devotion and purgation have.
Were you there when they crucified my Lord? Were you there when they crucified my Lord? Oh, oh, sometimes it causes me to tremble, tremble, tremble. Were you there when they crucified my Lord? Were you there when they pierced him in the side? Were you there when they pierced him in the side? Oh, oh, sometimes it causes me to tremble, tremble, tremble. Were you there when they pierced him in the side? Were you there when they laid him in the tomb? Were you there when they laid him in the tomb? Oh, oh, sometimes it causes me to tremble, tremble, tremble. Were you there when they laid him in the tomb?
AMEN
"Amen" means "certainly." This usually occurred at the end of prayers, but Jesus commonly used it to begin strong statements, although this usually appears today in English forms ("Certainly," "Verily," or "Truly").
Amen, amen, amen, amen, amen. Sing it over! Amen, amen, amen, amen, amen. See the little baby wrapped in a manger on Christmas morning. Singing in the Temple, talking with the elders, tomorrow there's wisdom. Amen, amen, amen, amen, amen. Hallelujah! Amen, amen, amen, amen, amen. Down at the Jordan, John was baptizing and changing all sinners, talking with the fishermen and made them disciples. Amen, amen, amen, amen, amen.
TWO LITTLE FISHES, FIVE LOAVES
Based on the Miracle of the Loaves, featured in the Gospels as a type Jesus' sacrifice, (this is clear in one of Jesus' I Am sayings in John: "I am the bread of life"). Sister Rosetta Tharp and the Dixie Hummingbirds are only two of the famous Gospel acts to record this song:
Oh, only two little fishes and five loaves of bread. The good Lord stood up, told his disciples to bring him bring the fishes by and let them try a little idea that he had in his head. About those two little fishes and fives loaves of bread. Hear what I say, if we could all love one another then the world would be fed on only two little fishes and five loaves of bread.
AMAZING GRACE
The most famous white spiritual, based on verses in John, including one of Jesus' seven "signs" (miracles). This became a Top Ten hit for folksinger, Judy Collins:
Amazing grace, how sweet the sound that saved a wretch like me. I once was lost, but now I'm found, was blind but now I see.
OH, HAPPY DAY 
This old spiritual became a pop hit for the Edwin Hawkins Singers in the 1960s.
Oh Happy Day Oh Happy Day Oh Happy Day When Jesus washed Oh when he washed And then he washed
washed my sins away Oh it's a Happy Day He taught me how To watch watch and pray Watch and pray And live rejoicing everyday Everyday Oh Happy Day Oh Happy Day When Jesus washed Oh when he washed Oh when Jesus washed He washed my sins away. Oh, happy day!
HOSANNA
"Hosanna" means "The Lord saves," which the people cry out as Jesus enters Jeruslem on a colt. It's part of the Sanctus in the Catholic Mass. Andrew Lloyd-Webber set it to music in his Requiem:
Hosanna in excelsis, benedictus qui venit in nomine Domini. Hosann in excelsis.
HOSANNA
 Lloyd-Webber set the same verses to music in his first big musical, Jesus Christ Superstar. The music aroused some displeasure among those for whom displeasure is a part of life; but it successfully paints a modern picture of Jesus in the musical styles of its time. (The other syllables after Hosanna are nonsense syllables.)

CROWD: Hosanna Hey Sanna Sanna Sanna Hosanna Hey Sanna Hosanna Hey JC, JC won't you smile at me? Sanna Hosanna Hey Superstar!
CAIAPHAS: Tell the rabble to be quiet, we anticipate a riot. This common crowd is much too loud. Tell the mob who sing your song that they are fools and they are wrong. They are a curse. They should disperse.
CROWD: Hosanna Hey Sanna Sanna Sanna Hosanna Hey Sanna Hosanna Hey JC, JC you're alright by me Sanna Hosanna Hey Superstar.
ALL FOR THE BEST
Another musical that offended some Christian groups was Godspell. Here again, the composer (who later won an Oscar for his Prince of Egypt score) captures the timeless Gospel of Matthew in timely musical styles. All for the Best refers to Job indirectly, but is more directly based on Matthew, Chapters 5-6. The musical captures the sarcastic attitude of Jesus in his conflict with the Pharisees:
Now how can you look at a speck of sawdust in your brother's eye when all the time there's a great plank in your own? I don't know! How can you look at a speck of sawdust in your brother's eye when all the time there's a great plank in your own? Or, how can you take the speck of sawdust out of your brother's eye when all the time there's a great plank in your own. I dn't know.  How can you take the speck of sawdust out of your brother's eye when all the time there's a great plank in your own. You hypocrite! First you take the plank out of your own eye so you can see clearly enough. Then you take the speck of sawdust out of your brother's. That's no answer to the question. Nor did I promise you an answer to the question! Ha-ha!
Some men are born to live at ease, doing what they please,
Richer than the bees are in honey
Never growing old, never feeling cold
Pulling pots of gold from thin air
The best in every town, best at shaking down
Best at making mountains of money
They can't take it with them, but what do they care?
They get the center of the meat, cushions on the seat
Houses on the street where it's sunny..
Summers at the sea, winters warm and free
All of this and we get the rest.
But who is the land for? the sun and the sand for?
You guessed! It's all for the best!     When you feel sad, or under a curse
Your life is bad, your prospects are worse
Your wife is sighing, crying,
And your olive tree is dying,
Temples are graying, and teeth are decaying
And creditors weighing your purse.
Your mood and your robe
Are both a deep blue
You'd bet that Job
Had nothing on you.
Don't forget that when you get to
Heaven you'll be blessed!
Yes, it's all for the best!
AGNUS DEI
The Agnus Dei (Lamb of God) is part of the Mass, and comes from John's Gospel: "The next day John saw Jesus coming towards him and said, 'Look, the Lamb of God, who takes away the sin of the world!'" (1:29). Countless composers have set this text to music. Andrew Lloyd-Webber's version, which he included in his Pie Jesus (from the Requiem) became a pop hit:

Agnus Dei, Agnus Dei, Agnus Dei, Agnus Dei, qui tollis peccata mundi, dona eis requiem, semptiternum.
<>Beethoven's version, from his Missa Solemnis (Solemn Mass) makes full use of the contrast between peace and war. Following a timpani and horn passage (representing war) the chorus cries out for the Lamb of God ("Agnus Dei"). A cry for peace ("pacem") is repeated countless times.  But instead of peace, the sound of the timpani returns twice, though in softer versions. Now the choir, seemingly wearied by their useless cry, make one last loud appeal for peace (both worldly and spiritual) as the Mass ends:
Agnus, Agnus Dei. Pacem!! Pacem!! Pacem!! Pacem!! Pacem!! Dona nobis pacem. (Lamb of God: Peace! Give us peace!)


Bible Songs, Weeks of 7 & 14 June 2005
CARPENTER'S SON
A country song that uses Jesus as a model, which he as been for thousands of years. Note that Jesus is mentioned as a carpenter in one gospel and as the son of a carpenter in another (though it's probable the son of a carpenter would also be a carpenter). But the word "carpenter" may be a loose translation of "laborer." Still, the image of Jesus as a carpenter is widespread in Western paintings and illustrations.
They were adding on to the Country Club but the carpenter's son didn't measure up and all those rich boys kept turning their heads. They laughed in fun and they made their jokes, but young Billy just let them blow their smoke. When they got done he turned to them and said:
     "Yes I am a carpenter's son. I work with my daddy till the job gets done. I work with the wood and the hammer and the nails and build with the love that never fails."
     Then he told them a story that came from above about a man whose only crime was love and yet they nailed him to a tree. They said he was the son of an average Joe but every man would have lost his soul if he hadn't died on Calvary.
     Yes he was a carpenter's son. He worked with his daddy till the job got done. He worked with the wood and the haammer and nails and he built with the love that never fails.
     So you should never judge a man by what his job is here on earth. If you're looking on the outside, it's hard to say just what he's worth. Let this be a lesson for the whole world to see. So when you're talking to a stranger you never know who it might be.
    And yes he is a carpenter's son, working with his father till the job gets done. He worked with the wood and the hammer and nails and he died on the wood with the hammer and nails, but he's filled us with the love that never fails. He was a carpenter's son.
LET ME BE A WITNESS
Bluegrass Gospel (with banjo picking) based on ideas in the Gospel of John: "The light shines in the darkness" (1:5) and one of the "I Am" verses ("I am the Bread of Life," 6:25ff.). This "light" theme in John may also have Gnostic relationship:
Some people preach the Gospel in a mighty way. Some people serve the Lord without one word to say. But I believe you have to live it before you ever give a friend in need the Bread of Life that will surely save his soul.
     Lord let me be a witness in this world of darkness. Let me shine, let me shine, let me shine. Oh Heavens shine down through me, I pray that you can use me, let me shine, let me shine, let me shine. Pray again! Pray again!
     Oh, Lord I am your servant and I do believe I don't need to wear a sign or a button on my sleeve. I'll reach out to my brother, I want to be a friend and help him cross that troubled water over to that Promised Land. Lord help me be a witness in this world of darkness, let me shine, let me shine, let me shine. Oh Heavens shien right through me, I pray that you can use me. Let me shine, let me shine, let me shine! Pray again! Pray again!
     Oh I'll proclaim the gospel every night and day. I'll shout it from the moutain tops and work so I can say. Holy is my savior he is the one that gives me the power and the grace to overcome.
     Lord help me be a witness in this world of darkness, let me shine, let me shine, let me shine. Oh Heavens shien right through me, I pray that you can use me. Let me shine, let me shine, let me shine! Let me shine, let me shine, let me shine! Shine, shine, shine!
NICODEMUS
Another Gospel song based on John (3): the story of the Pharisee named Nicodemus. This is the text that has given the world the common phrase, "born again." A "born again" Christian is a Christian who, though born as a Christian, discovers Jesus as an experience rather than a dogma (belief).
A man came to Jesus and said, "What must I do to be saved from the wicked ways. I'm weary, I'm wounded. From the start of my life, I've been torn! Lord I need a change."
     "Nicodemus, your soul must be saved! Nicodemus, turn from your wicked ways. Nicodemus, hear me when I say, you must be born again, yes you must be born again.
     If you were a sinner, won't you let him in today! Yes, the sinner's soul he'll save. He'll hear you, he'll fill you, give you a brand new life, yes he will, a brand new life, he will make a change.
     Nicodemus, your soul must be saved. Nicodemus, turn from your wicked ways. Nicodemus, Jesus saves! You must be born again (yes you must) you got to be born again. You must be born again! That's what the Bible said. You must be born again if you want to see Jesus. If you want to see your mother again, if you want to see your father again. You must be born again, you got to be born again, you must be born again, you got to be born again.
    Oh tell me how can I enter my mother's womb again? Is it possible for me to make, to make a change within? Please, Jesus! Forgive me for all of my sins!  you must be born again, you got to be born again, every man and every woman born, you must be born again.
     O wretched sinner, I used to be fooled. But I thank you Jesus, you came down and you saved me. ?? but now I'm saved, oh, you must be born again, you got to be born again. (I don't care who you are. You got to be born again.) You got to be born again! Every man on the street. You got to be born again, you got to be born again. . . Jesus said you must be born again!
WHAT WOULD YOU DO?
Another image of Jesus as our contemporary and how people would treat him if he came back today:
What would you do, what would you do if Jesus came to spend some time with you?
     If Jesus came to your house to spend a day or two, if he came unexpectedly, I wonder, what you'd do? When you saw him coming would you meet him at the door, with arms outstretched in welcome to your heavenly visitor?
     Or would you need to change some things before you let him in, like burn some magazines and maybe put the Bible where they've been. Could you let Jesus walk right in, or would you rush about to hide your worldly music and put some hymn books out.
     Oh, I know that you'd give your nices room for such an honored guest. And all the food that you would serve to him would be the very best, and you'd keep assuring him that you were glad to have him there, and serving him at your home was a joy beyond compare.
    But would your family conversation keep up its normal pace? Would you find it hard each meal to say a table grace? Would you be glad to have him meet your very closest friends, or would you hope they stayed away until his visit ends.
     Would you take him with you everywhere that you planned to go, or maybe change your plans for just a day or so. Would you be glad to have him stay forever, on and on? Or would you sigh with great relief that finally he had gone?
     You know it might be interesting to know the things you'd do if Jesus came in person to spend some time with you. What would you do, what would you do if Jesus came to spend some time with you?
THE WINGS OF A DOVE
God is pictured in spirit as a Dove in several places in the Bible. In Genesis (1) God seems to "hover" over the waters, like a bird. In the Flood story, the dove represents God's peace (as does the rainbow). In the New Testament, the dove descends when Jesus is baptized.
On the wings of a snow-white dove, he sends his pure sweet love, a sign from above on the wings of a dove. When troubles surround us, when evils come, the body grows weak, the spirit grows numb. When these things beset us, he doesn't forget us, he sends down his love on the wings of a dove. On the wings of a snow-white dove, he sends his pure sweet love, a sign from above on the wings of a dove. When Noah had drifted on the flood many days, he searched for land in various ways. Troubles, he had some, but wasn't forgotten: he sent him his love on the wings of a dove. On the wings of a snow-white dove, he sends his pure sweet love, a sign from above on the wings of a dove. On the wings of a snow-white dove, he sends his pure sweet love, a sign from above on the wings of a dove. On the wings of a dove.
GIVE ME THAT OLD-TIME RELIGION
One of the most famous spirituals, referring to the missionary work of Paul and Silas (ACTS 16:16ff.). The final verse refers to 2 Peter: "[T]he present heavens and earth are reserved for fire, being kept for the day of judgment and doom of unrighteous men" (3:7).
Give me that old time religion (3) it's good enough for me. Give me that old time religion (3), it's good enough for me. It was good for Paul and Silas (3) it's good enough for me. Give me that old-time religion (3) it's good enough for me. (repeat). It was good for the Hebrew children (3) it's good enough for me. Give me that old-time religion (3) it's good enough for me. It will do when the world's on fire (3) it's good enough for me.
SHALL WE GATHER AT THE RIVER?
"Then the angel showed me the river of the water of life, as clear as crystal, flowing from the throne of God and of the Lamb down the middle of the great steet of the city" (Revelation 22:1-2). The river image is taken from Ezekiel, 47, where it flows from the Jewish temple, also the Throne of God in Jewish theology.
Shall we gather at the river where bright angel feet have trod? With its crystal tide forever, flowing from the throne of God.
     Yes we'll gather at the river, the beautiful, the beautiful river. Gather with the saints at the river that flows from the throne of god.
     On the margin of the river, washing up its silver spray, we shall walk and worship ever on happy golden days.
     Yes we'll gather at the river, the beautiful, the beautiful river. Gather with the saints at the river that flows from the throne of god.
     Ere [Before] we reach the shining river, lay we every burden down. Grace our spirits will deliver and provide a robe and crown.
     Yes we'll gather at the river, the beautiful, the beautiful river. Gather with the saints at the river that flows from the throne of God.
    Soon we'll reach the shining river, soon our pilgrimage will cease. Soon our happy hearts will quiver with the melody of peace.
     Yes, we'll gather at the river, the beautiful, the beautiful river. Gather with the saints at the river that flows by the throne of God.
THE MAN IN WHITE
The "man in white" is Jesus, but the song is about St. Paul. Much of this is a brilliant summary of the Book of Acts, by the Country singer, Johnny Cash. "Gamaliel" was Paul's Hebrew teacher (Acts 22:3, 26:4). It was Paul's deep education in Hebrew scriptures that allowed him, a Jew, to use those scriptures so well to start a new religion. In many ways, Paul is the single most important figure in the history of Christianity. Though Jesus revised Hebrew thought, Paul started a new religion.
I studied at the feet of a Master, Gamaliel we called him, the beauty of the Lord. I was born of the tribe of Benjamin, I was a Pharisee and I could quote from memory th Holy Torah. That day that the Nazarene was brought to trial. It was on a Sabbath eve, there was an earthquake when he died. Just another peasant preacher who came up from Galilee, blaspheming troublemaker, we let him be crucified.
     And I thought that I would hear no more about him. But his friends found his tomb empty and then claimed that he rose from the dead. Then they say that he walked among them with the nail wounds in his hands, that king upon a donkey with a thorn crown on his head.
     His followers kept growing in great numbers and the one that they called mocked the sins of judgment hall. And with a Greek named Stephen we knew the Gentiles had come in. I cast my vote against him, he was stoned, I saw him fall.
     Then the friends of the Nazarene became united. And I became enraged and led a slaughter of their leagues. I found their secret places, they were beaten, they were chained. But some of them were scattered, justified in fearing me.
     Then the Man in White appeared to me in such a blinding light. It struck me down with his brilliance it took away my sight. Then the Man in White in gentle loving tones spoke to me. And I was blinded so that I might see the Man in White.
     But like the winds that blows the scattered sea, from Alexandria to Antioch their congregation grew. I went to the High Priest for letters of permission to go to other cities to see my mission through.
     Six days on the hot road to Damascus and just outside the city in the middle of the day, a great unearthly light struck and overpowered me, prostrate on the hot road I was blinded where I lay.
    Then I thought I heard the rushing of great waters and a multitude of angels singing sweet and heavenly. And through the sound of wind came a voice so soft and kind, meant for only me to hear, "Saul why did you persecute me."
     As I lay there on the ground in my blindness, he asked me once again, and suddenly the voice I knew. So finally I managed a trembling response, "Who are you Lord?" I asked him, but I already knew.
     "I am Jesus of Nazareth," the voice answered. "Arise, go to Damascus on the street called Straight. A place where you will wait for my servant, Ananias. He will open your eyes, you'll be a witness unto me."
     So now I live to serve my master. As zealous in his service as I once was as his foe. And keeping his commandments given on Damascus Road, I go to all the world and I let the whole world know that the Man in White appeared to me in such a bliding light. It struck me down and with its brilliance it took away my sight. And the Man in White in gentle, loving tones spoke to me and I was blinded so that I might see the Man in White. And I was blinded so that I might see the Man in White, the Man in White.
WHEN THE ROLL IS CALLED UP YONDER
This traditional gospel song refers to the Book of Life in Revelation: "And I saw the dead, great and small, standing before the throne, and books were openeed. Another book was opened, which is the book of life. The dead were judged according to what they had done as recorded in the books" (20:12-13).
When the trumpet of the Lord shall sound and time shall be no more and the morning breaks, eternal bright and fair. When the saints of earth shall gather over on the other shore and the roll is called up yonder, I'll be there.
     When the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder I'll be there.
     In that bright and cloudless morning when the dead in Christ and the glory of his resurrection share, when his chosen ones shall gather in their home beyond the skies and the roll is called up yonder, I'll be there.      When the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder I'll be there.
     Let us labor for the Master from the dawn till setting sun, let us talk of all his wondrous care. Then when all of life is over and our work on earth is done, and the roll is called up yonder, I'll be there. When the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder (I'll be there), when the roll is called up yonder I'll be there.
THIS LITTLE LIGHT OF MINE
Another gospel song based on the light theme in John (1, 3), including the "I Am" sayings (8:12, 9:5). John has a stronger Gnostic influence than the other gospels.
This little light of mine I'm going to let it shine (3), let it shine, let it shine, let it shine! Shine, shine, shine, I'm going to let it shine (3), let it shine (3). My god came to me, I'm going to let it shine (3), let it shine (3)! This little light of mine I'm going to let it shine (3), let it shine, let it shine, let it shine!
I DON'T KNOW HOW TO LOVE HIM
This song was the big hit from the London and Broadway musical, JESUS CHRIST SUPERSTAR. It's odd that a Christological study of Jesus (whether to love him as man or God) should become a big hit, but one must leave it to pop culture to teach theology these days.
I don't know how to love him, What to do, how to move him. I've been changed, yes, really changed. In these past few days when I've seen myself I seem like someone else. I don't know how to take this, I don't see why he moves me. He's a man, he's just a man. And I've had so many men before In very many ways: He's just one more. Should I bring him down? Should I scream and shout? Should I speak of love - let my feelings out? I never thought I'd come to this - what's it all about? Don't you think it's rather funny I should be in this position? I'm the one who's always been so calm, so cool, no lover's fool Running every show: He scares me so. I never thought I'd come to this - what's it all about? Yet, if he said he loved me I'd be lost, I'd be frightened. I couldn't cope, just couldn't cope. I'd turn my head, I'd back away, I wouldn't want to know - He scares me so. I want him so. I love him so.

 JEREMIAH
     12:1-4:



1Righteous are You, O LORD, that I would plead my case with You;
         Indeed I would discuss matters of justice with You:
         Why has the way of the wicked prospered?
         Why are all those who deal in treachery at ease?
      2You have planted them, they have also taken root;
         They grow, they have even produced fruit
         You are near to their lips
         But far from their mind.
      3But You know me, O LORD;
         You see me;
         And You examine my heart's attitude toward You
         Drag them off like sheep for the slaughter
         And set them apart for a day of carnage!
      4How long is the land to mourn
         And the vegetation of the countryside to wither?
         For the wickedness of those who dwell in it,
         (Animals and birds have been snatched away,
         Because men have said, "He will not see our latter ending."    
Gerard Manley Hopkins' sonnet based on Jeremiah 12:1-4


Thou art indeed just,  Lord, if I contend
With thee; but, sir, so what I plead is just.
Why do sinners' ways prosper? and why must
Disappointment all I endeavour end:
Wert thou my enemy, O thou my friend,
How wouldst thou worse, I wonder, than thou 
     dost
Defeat, thwart me? Oh, the sots and thralls of
     lust
Do in spare hours more thrive than I that spend,
Sir, life upon thy cause. See, banks and brakes
Now, leaved how thick! laced they are again
With fretty chervil, look, and fresh wind shakes
Them; birds build--but not I build; no, but strain,
Time's eunuch, and not breed one work that
     wakes.
Mine, O thou lord of life, send my roots rain.    
A prose version of Hopkins' sonnet:
You are truly just, Lord. So what I plead with you is just.
Lord, why do sinners succeed, but everything I do ends in disappointment?
Oh, my Friend, if you were my Enemy, how could you do worse than this to me?
Oh, those living by evil desires do, in their spare time, succeed more than I do,  though I devote myself to you.
Look, plants and bushes grow with thick leaves and herbs. Fresh winds shake them and birds build their nests in them. But I am unable to build like they do. Instead, I fail when I try to do so. O, Lord, God of Life, send me water, like a plant, so I can grow!