Away in a Manger -- Anonymous and John Thomas McFarland

Was it near Christmas time, or was there a children’s bible class that inspired two writers to pen these three verses, separated by at least several decades on history’s timeline? The author of the first two verses of “Away in a Manger” remains debatable, and therefore anonymous, while an educator and minister named John Thomas McFarland most likely crafted the words of the 3^rd verse in the early 19^th Century while in New York City. The first author has us look upon God the Holy Child, while the second author has the positions reversed – we’re all His children. That’s an unusual condition, to put it mildly; how does one occupy the lowest state of maturity, and yet be considered a Divine parent too? Only one is capable of that phenomenon, a providential circumstance that profits all of us who need a God who can lift humanity above our corrupt, adolescent selves onto another plane.

If the author of the first two verses was Martin Luther – which most sources today cast doubt upon – his words would be separated from John McFarland’s third verse by several centuries, though both sets of words portray God in relationship to children. Perhaps that’s why this hymn has so commonly been associated with Christmas, the holiday that is perhaps most closely connected to children. At one time, ‘Away in a Manger’ was subtitled as ‘Luther’s Cradle Song, and was frequently used as a Christmas carol, especially by the latter 19^th Century. Perhaps naturally, the 3^rd  verse came about as one church school teacher (Bishop William F. Anderson) proposed to another (John McFarland) that an additional verse would round out the song nicely for use in a children’s program. (Anderson suggests that 1904-08 is the period in which he coaxed McFarland to pen the words.) John McFarland reportedly assented and produced the words in one hour that we still have today. One can imagine that McFarland first considered the drift of the original two verses and then replied with his third verse. Maybe he thought any further exposition of the biblical scene of the God-Child in His first few moments was unnecessary, and therefore decided to exchange his own seat of observation for the child’s seat. Did He ponder that Jesus remained God-like as an infant and later too as He matured as a human? In contrast, the human remains a child (of God) no matter how aged he becomes. John notes in his verse that he needed Him to be ‘…close by’ and to ‘…bless …children…to live with Thee’ (v.3).  John evidently had his eye not just on the Christmas season and the kids he could see, but a broader picture that includes us grown-ups.

No one wants to remain a child, at least forever, right? Kids want to grow up and be able to ‘boss themselves’, instead of obeying parents for every decision, so they say. Remember that first time you felt like you controlled yourself, where to go, what to do, etc.? Hey, but other stuff goes with adulthood…bills, schedules, responsibilities. Is being a kid all that bad? Did Jesus go through the same quandary as he grew up as a human? Did He long for the manger again when He drew near Golgotha? He was resolute (Luke 9:51), apparently, as His own adulthood’s climax approached. Am I that way too? Are you, today? None of us can go backward to the crib. A better resting place awaits all us kids, huh?      

See more information on the song story in these sources: The Complete Book of Hymns – Inspiring Stories About 600 Hymns and Praise Songs by William J. Petersen and Ardythe Petersen, Tyndale House Publishers, 2006; and Amazing Grace: 366 Inspiring Hymn Stories for Daily Devotions by Kenneth W. Osbeck, Kregel Publications, 1990.  

Also see this link, showing all three original verses and a brief account of the song’s development: http://www.hymntime.com/tch/htm/a/w/a/y/awaymang.htm  

See history of the song here, also: https://en.wikipedia.org/wiki/Away_in_a_Manger

See here for brief biography of 3^rd verse’s reputed author: http://www.hymntime.com/tch/bio/m/c/f/mcfarland_jt.htm

This Little Light of Mine -- Harry Dixon Loes

This student, author, composer, and teacher was inspired to write this song based on something he heard, if we can reason that he often generated his songs after listening to a sermon. That method is reportedly what Harry Dixon Loes sometimes employed in his writing, so was that also true for “This Little Light of Mine” that he wrote sometime around 1920? Though where he first wrote the poetry for this song is uncertain, the 30ish Harry drew upon the influence that the Moody Bible Institute (see a contemporary picture of it here, in 2006) had exercised over most of his adult life, so maybe it was there that he gained the inspiration for the words he would pen. Is there a place or a people that move you to words that have lasted for 100 years? One wonders if Harry Loes knew what would transpire and for how long when he sat down to compose this poem.

Harry Loes studied at the Moody Bible Institute in Chicago in the early 20^th Century, and later served on the musical faculty of the school, episodes that must have been formative in his songwriting career. He also studied at the Amer­i­can Con­ser­va­to­ry of Mu­sic (Chicago); the Me­tro­pol­i­tan School of Mu­sic; and the Chi­ca­go Mu­sic­al Col­lege. Anecdotal accounts indicate Harry wrote at least two of the 1,500 songs attributed the him (‘Blessed Redeemer’ and ‘All Things In Jesus’) as a result of hearing sermons, including one at the Moody Church, a phenomena common among countless other composers and poets. Could it be that Harry was listening to a sermon or was studying from his bible on the passages from two writers regarding light and the analogous act of spreading God’s message? Matthew (5:14-16) and Luke (11:33) both indicate believers should ‘shine’, illuminating all the area and a message that inhabits such a place. Harry’s first few words suggest that he himself or others he knew felt inadequate to participate in God’s mission. A ‘little light’ (v.1) might sound on the surface like something a timid character holds, until the rest of what Harry wrote is examined. Verses 2 and 3 relate how the light is taken ‘everywhere I go’, and that ‘Jesus gave it…’, hardly the words of a shy and uncertain individual. So, was Harry perhaps trying to coax someone who lacked some confidence, at least initially with the ‘little light’? ‘Hold just that much, and see what it can do, then understand what verses 2 and 3 communicate about your assignment with the light’, Loes seems to say. His simple, repetitive poetry might seem too elementary – lots of school kids sing this, after all – until his strategy for conveying the light is put into action. Do you and I have only a little corner of our own world to influence, or is it bigger than that? Most of us probably would say we’re in a small world. Presumably, that’s what Harry thought, too.

‘This Little Light…’ has such an uncomplicated message that other artists have used it in other venues, interestingly to help make the little light grow into something larger. Civil rights organizers used it in the 1950s and ‘60s to help promote this movement. Besides several secular offshoots of the song, Harry’s words have spurred additional recitations of the song for children that include hand motions, helping perpetuate its life among believers. Undoubtedly, its appeal is that kids can learn it effortlessly, while persuading even adults that none of us are powerless. He just needs me to hold that light. That’s all. He’ll do the rest.    

      

   

See the following link for history of the song: https://en.wikipedia.org/wiki/This_Little_Light_of_Mine

See also this site for information about the author: https://hymnary.org/text/this_little_light_of_mine_im_gonna_let

And, this site also for author information: https://hymnary.org/person/Loes_Harry

And, this site also: http://www.hymntime.com/tch/bio/l/o/e/loes_hd.htm  

Jesus Loves the Little Children -- Clare Herbert Woolston

He must have known the origin of the tune, but he wanted some words that children could sing in the church where he ministered. It was no longer wartime, after all, so Clare Herbert Woolston was in agreement with the tune’s writer (George Root) that the notes and rhythm first created for a Civil War song should evolve into something else, namely “Jesus Loves the Little Children”. Even so, Clare kept an echo of the war in the words he penned, perhaps to remind us that though we’re all children, our world does not respect the innocent and naïve. In fact, we all need a Divine Love – God – to care for us with the watchful eye of a parent on guard like a sentry. (Notice in the 19^th Century painting, shown here, by Carl Bloch, how Jesus protects the little ones.)  Woolston probably preached on more than one occasion that God will care for us until we arrive in a time and place where His rule has evicted danger and anxiety.    

Clare Herbert Woolston was a Baptist minister, in either the East Bunswick, New Jersey or Philadelphia, Pennsylvania area when he was prompted by his composer-friend and collaborator George Root to write some words for the Civil War tune that had grown old in the latter part of the 1800s. Other details of what was on his mind and the precise year he put pen-to-paper for ‘Jesus Loves…’ are unknown, but Woolston’s purpose is clear. He was thinking of children, and in two of his three verses (only the well-known chorus is what people typically sing today, over 100 years later) he describes a God who welcomes, guides, and protects little ones; in his third verse, Clare the minister, who undoubtedly was speaking to parents and other adults, has the child courageously voicing a pledge to behave more like an adult. ‘Your soldier I will be’, ‘…Your cross…I’ll bear’, and ‘’..do and dare’ spring from the emboldened spirit of this youngster, making it seem as though the one speaking these brave words might have been a warrior. Was Clare thinking of someone, even a child, who needed a shot of courage therapy? These would be words of someone who felt the shield of Him about his torso, one who indeed considered God’s promise of safety as utterly dependable. ‘For you love the little children of the world…’ Woolston writes, a condition that this minister must have believed was foundational for a believer’s courage. The Civil War was over, probably beyond the memory of children to whom Woolston gave this song, yet did some of them witness other strife, even racism? ‘Red, and yellow, black, and white…precious…’ suggests Clare was articulating this issue, despite the outcome of the war, that he wanted Christians to help address at the time.  

When one believes He loves, what does that do for the one who’s loved? Pluck. Determination. Resolve. They’re all synonyms that might describe the result of embracing the love offer He makes to you and me.  It’s unfortunate that the verses Clare wrote are often ignored in favor of singing the chorus exclusively. Do I merely bask in His love, or does His care for me move me to do something, to express my gratitude and newfound purpose? Find verse 3 when you recall ‘Jesus Loves…’ in the future. Yes, he leads (v.1) and protects (v.2), and loves me unconditionally (chorus), and Clare concludes in verse 3 that those truths transform me into His tool -- strong, sacrificial, and obedient. Aren’t those qualities you want to see in your kids?    

See more information on the song story in these sources:

Then Sings My Soul – 150 of the World’s Greatest Hymn Stories, Robert J. Morgan, Thomas Nelson Publishers, 2003.

See the link here, for three original verses and the chorus and alternate chorus: http://www.hymntime.com/tch/htm/j/e/s/l/jesloves.htm

Also see this site author information: http://www.hymntime.com/tch/bio/w/o/o/l/woolston_ch.htm