Someday – Anonymous

 

It’s just a simple little round song. Picture this: a group of a few dozen teenagers, perhaps standing around a smoky bonfire, out in a field at a campsite. A few adults act as mentors, and this was what they chose to sing – “Someday”. Did the words come out of nowhere? The answer seems pretty obvious, doesn’t it? Perhaps three sub-themes constituted what one or more the adults talked about that night, thus helping to drive what they decided to sing in three verses. When or how the first group decided to sing “Someday” is lost in space, at least until everyone reassembles in the time and place about which they were all thinking when they premiered this little tune. Do you call it heaven, or maybe eternity (see one conception of this place in the picture)? How about paradise, or rapture? What about dreamland, where all of one’s fondest wishes come true, as suggested in a well-known Iowa-based baseball movie? You may not be able to put your finger on this someday with mathematical certainty, but does that mean it’s not going to arrive? It’s a question each person must answer.

 

Was ‘Someday’ in fact at first a campfire song? The answer is ‘could have been’, but does it matter? Lots of songs might have been sung in such a setting, but three ways to coax listeners to walk toward God could be derived from just the 15 words in this jingle. ‘Someday’ could sound rather indefinite, and therefore not too convincing as a way to give a group of people inspiration. Yet, consider a group of early 19^th Century American slaves, whose terrestrial outlook did not allow them much room for glad tidings, at least on this side of eternity. For them, ‘someday’ could have helped gird their inner strength, and tell themselves that there ultimately would be judgement and salvation dispensed by a righteous God. And, though the words of verse 2 might have rung a bit hollow here on earth, they could believe that ‘peace’, ‘joy’, and ‘happiness’ would by necessity make ‘no more sorrow’ a reality in the never-ending day. How many times could they have read about those three words – at least, those who had learned to read a bible, and were permitted to tell others? They could have heard these words repeated hundreds of times, perhaps none more hopeful and encouraging than when He’s called the ‘God of peace’ (Hebrews 13:20; 1 Thessalonians 5:23; Philippians 4:9; Romans 16:20).  How great is it to hear about ‘joy’ like what Jesus promised (such as in John 16:21-22)? Or, how about ‘happiness’ like that which the Master will reward us (Matthew 25:21-23)? With those first two verses in mind, it’s easier to convince hearers with verse three that they ‘gotta be ready when He calls my name’. Could a campfire teacher have emphasized this theme with words by Jesus himself, once again, this time as He was instructing followers about the importance of watchfulness? Four times in one such teaching (Luke 12: 35-48), Jesus uses the word ‘ready’, because no one can predict when He will come.  The wise person who wants what is promised in verse 2 will internalize the need to practice verse 3, and wait expectantly for verse 1’s reality to come true.

 

Put to music what you want your hearers to live out. One could deduce that the first time, and many times thereafter, that ‘Someday’ was sung, this was the objective. What I vocalize can be just pretty sounds. If that’s all they are, perhaps one prophet needs to reappear – Amos (5:23). He said that God called that stuff ‘noise’. Someday…what do you want the one day that will never end to feel like? Do you believe it will sound insincere and empty there? ‘Someday’ wants me to begin practicing like I think that day’s already here. It’ll be full-blown, impossible-to-ignore reality. Gotta get ready.

God Rest Ye Merry, Gentlemen -- Anonymous

 

Whoever the author was, could it be that he actually saw the painting here (by Gerard van Honthorst), since it was done in 1622, and that he was inspired to write something in poetry to match how he felt upon seeing this work? “God Rest Ye Merry, Gentlemen” was how this anonymous author felt that Christmas season, perhaps sometime as early as the 16^th Century, although other sources indicate it was written in either the 17^th Century or possibly even later. And, note where the comma occurs, and that this changes the flavor of the song’s message too. Do this author’s words make you feel the awe and wonder that the characters in the poem experienced? Perhaps that might explain too why the music was crafted the way it was. There’s plenty to appreciate about how this nameless writer went about expressing the greatest joy mankind can have. Maybe that realization also affected what would flow from his quill.

 

This writer puts himself and us in the shoes (or sandals) of everyone that was there to gaze upon the Christ-child those first few hours. While all humanity can feel merriment at the sin-relief this child would eventually provide, the phrasing and the meaning of the word ‘rest’ and ‘merry’ in old England indicates God is the one acting upon us -- He’s the one making us merry. Alternatively, if the comma is misplaced, I’m wished a rest, but my merriment could be interpreted as just a human condition that’s only indirectly related to this rest He provides. Think of the original intent of the phrase as ‘Be ye made merry’ -- with the ‘rest’ meaning that He’s keeping, causing, and making my joyous condition remain in place. That’s more than just feeling relief or rest, right? What other emotions the writer had might also be deduced, if he had a hand in the printed music that eventually showed up in the 1700s and 1800s. Even musically illiterate folks can hear the difference between a song written in a major versus a minor key. That musical historians believe ‘God Rest Ye Merry…’ was conceived in a minor key suggests the poet-musician was trying to covey more than an upbeat praise, but instead really the awe the onlookers at Bethlehem sensed. Certainly, ‘comfort and joy’ (in the refrain) must have been present, but wonderment and amazement at how events had transpired must have coaxed many questions, too. Who among the shepherds would not have had eyes-wide-open looks on their faces when seeing the angels (vv.3-5) and then discovering this exceptional God-child in a cow’s feeding trough (vv. 2,6)? ‘Fear not’ (v.4), they’re told. They’ve also surmised that they are ‘saved from Satan’s power’ (v.1), a most breathtaking consequence of this child’s life.

 

Most hymnbooks, unfortunately, do not have the 7^th and 8^th verses of ‘God Rest Ye Merry…’, a missed opportunity for a bit of evolution that could be achieved in the hymn’s tone, as it concludes. Those two verses seem to emotionally crown the events of the previous six. So, here’s a suggestion from this lay-person-blogger: how about modulating verses 7 and 8 into a major key? This would let the celebrants know that indeed, now there’re no lingering doubts – that nothing but ‘sing(ing) praises …true love and brotherhood’ (v.6), and ‘many…merry Christmas (es)’ (v.7) await us who glow in His presence. Something indeed to celebrate in the season, and not just at Christmastime.

   

   

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.

 

See here for history of the song: https://en.wikipedia.org/wiki/God_Rest_You_Merry,_Gentlemen

 

See link here to the song’s original eight verses and refrain: http://www.hymntime.com/tch/htm/g/o/d/r/godrest.htm

 

See here information re: the source in which the song may have first been published: https://en.wikipedia.org/wiki/Roxburghe_Ballads

O Come, O Come Emmanuel -- Anonymous

This writer was one of but a few who could have appreciated all that his bible was telling him. Maybe this anonymous poet even saw an illustration during his time (like this one, known as the Tree of Jesse, based on the Hortus deliciarum of Herrad of Landesberg) that helped spark some of his eight verses of “O Come, O Come Emmanuel (alternately spelled ‘Immanuel’)”. Just a scant number of people actually had access to a bible in the 12^th Century when this hymn, now at least nine centuries old, was first penned. So, maybe he was a monk, and one who could read and write in Latin (the poem-song’s original language). It seems likely that Christmas was approaching, during the season known as Advent that occurs in the weeks before December 25^th.  How does one best honor the God who came as a babe? This poet evidently took most of his cues from prophets, who had several names for Him.

 

Can you imagine the names of the God-Son sung in chant in a building made of stone, so that His name might seem to echo forever? That is the method this blogger employed, trying to place himself in the shoes of this ancient writer. And, open a bible and start reading the various names that prophets foretold, including ones that mention Jesus’ genealogy. That gives an otherwise obscure name like Jesse (although he was the father of a well-known king) significance. He’s the ‘rod’ and the ‘root of Jesse’ (vv. 3 and 7). This author camped out some more in the same place where he had read about Jesse: the writing of the prophet Isaiah captured his imagination, and so he had ‘Emmanuel’ and ‘Thou Key of David’, the genesis for two other verses (vv. 1 and 5). Could he have been reading Proverbs too, where ‘wisdom’ (v.2) is used over 50 times, far more than any other book of the bible? ‘Day-spring’ (v. 4) indicates the author was certainly reading Luke’s version of events, and was convinced that God-in-the-flesh was foretold by another prophet’s father (Zechariah [alternately known as Zacharias], father of John the Baptist). How many times have even devout believers cracked open the book of the minor prophet Haggai? This 12^th Century monk (?) must have, since he calls Emmanuel also the ‘Desire of nations’ (v.8, referring potentially to Haggai 2:7). The ‘great Lord’ (v.6) would not have been difficult for the poet to identify in many biblical places, but perhaps none better than Psalms, the Hebrews’ songbook (Psalms 48, 95, 96, 99, 104, and 135, especially).   

 

How many verses could a lyricist concoct, if he used the same method this 12^th Century bard applied? Indeed, could God’s names ever be exhausted? He’ll give us who gain heaven the opportunity to try! We’re told that is where believers will spend our time singing and calling out to Him (Revelation). So, it just might be good strategy to start boning up on all His names that you can find within the pages that He’s given. I sure wouldn’t want to be wondering about His identity, and I hope He will recognize me, too. So, how does one get practice? So many people use His name, but not in the way even the abusers of it would admit is complimentary. Even some of us who want to honor Him slip up occasionally, if we’re honest. One way begins with a monk’s approach. Try putting yourself in his place, 900 years ago. It’s not too late.    

 

   

   

   

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; Amazing Grace: 366 Inspiring Hymn Stories for Daily Devotions by Kenneth W. Osbeck, Kregel Publications, 1990; and 101 Hymn Stories, by Kenneth W. Osbeck, Kregel Publications, 1982.

 

See link here to the song’s original eight verses and refrain: http://www.hymntime.com/tch/htm/o/c/o/m/ocomocom.htm