Pause for thought mid-Advent…

When I was a child I used to sleep facing the wall. I lived in a place of comings and goings. We had a guest house. The people around me for half the year had different accents, came and went. Perhaps I’d never see them again. But my parents were constant. Somewhere I’d picked up the idea that people never got shot in the back, that there was an innate ethic even held by bad people. So I slept facing the wall. It was safe. I was hiding my face from the world, and if I could not see it, it could not hurt me. Such is the logic of a small child.

Some of us never grow up. St Paul spoke of seeing through a glass darkly. Sometimes the veil is drawn back and we see the world as it is. It can be the slow drawing back of a curtain on a glorious sunrise, or a lightning flash. But we learn to see the world as it really is. Occasionally we even get to see ourselves, but for that to happen we usually need help.

John the Baptist not so much drew back the curtains as tore them apart. And behind them was a mirror. And the people saw themselves. It was not a pretty sight.

I imagine they had heard about this man, out in the wilderness, wild, unkempt, perhaps a bit of a rogue. Some probably thought it would be entertaining to see him, perhaps a bit of a tease. Some had thought he was a prophet. And so the proud, the pompous, the pretentious gathered by the river. Unusual then, as for us perhaps, the poor and needy mingled with them, pushed and jostled.

And John, this ‘prophet’ spoke. Loud, contentious, not what you’d want to hear in church, not in polite society, not how you, or I, would want to be addressed, no ‘Lords, Ladies, and Gentlemen’ but…

You brood of vipers! Who warned you to flee from the wrath to come?
Bear fruits worthy of repentance. Do not begin to say to yourselves, ‘We have Abraham as our ancestor’; for I tell you, God is able from these stones to raise up children to Abraham.
Even now the axe is lying at the root of the trees; every tree therefore that does not bear good fruit is cut down and thrown into the fire. (Luke 3: 7 – 9)

Bit of a shock that. Necessary, though, in preparation for meeting Jesus, the one of whom John said, ‘I baptise you with water, he will baptise with fire’. Jesus would pick up on that message bringing good news to the poor, release for captives and so on. But for now eyes needed to be open. “And the crowds asked him, ‘What then should we do?’” (Luke; 3:10).

So before we continue headlong into the parties, if we dare hold them, the carolling and feasting, unless we’ve already begun, a time to pause. A time to turn our faces from the wall to the world, from our self-satisfaction and security to what it might actually mean to follow Jesus. ‘What then, should WE do?’

This will not be a return to the old ‘Normal’, but a new beginning that will burst the bubbles of our self-centredness and open us to the love of a God who trusted humanity sufficiently to become a child, to be suckled by a human mother, held by a human father. This vulnerable baby is the God, from whose love neither you, nor I, nor those we might seek to judge as unworthy can be separated, now or in eternity.

So let us pause for thought, and only then let us celebrate…

Remember what was ahead:

When Jesus came to Bethlehem there was no harsh a day,
they say a census had been called, there was no place to stay;
this baby who would shake the world, would first lay down his head,
not in a royal house or hall, but in a manger bed.

When Jesus went to Nazareth his father had a trade,
a carpenter now had a son and business plans were laid;
but soon within the temple courts, this lad would have his way,
dissenting from his parents’ wish, they’d looked for him all day.

The path that he set out to tread from Jordan’s crowded bank
would take him him through a wilderness with neither power nor rank;
returning he would scourge the ones and verbally deride
a viper’s brood, these hypocrites, who dressed themselves in pride.

Returning to Jerusalem, but not in regal dress,
he’s seated on a donkey’s back, not here to rule or bless;
the temple tables were upturned, but more disturbing still,
his challenge to authority would cause the air to chill.

That chill was in Gethsemane when he knelt down to pray,
and all the pain of all the world seared through him on that day;
the time of crisis had arrived to turn from what was right,
or walk with soldiers on to what now looked like endless night.

The trial came and ones that he had scourged with words scourged him,
and this was brutal vengeance now, not wondrous, simply grim:
his flesh was ripped, his sinews torn, his body hung to dry,
and as the darkness gathered round the whole world seemed to sigh.

That ragged child that Mary bore was taken from the tree,
the women waited through three days, covertly went to see:
they found the tomb was empty now, the one they sought had gone,
and as they raced in fear away, the mystery lingered on.

Yet through two thousand years and more the influence of that man
has rippled down through history from where it first began;
his spirit stills inspires a faith that trusts to what is right,
to seek for truth, to live in love, keep justice burning bright.

Hymn words Andrew Pratt © 2015 Stainer & Bell Ltd, London, England copyright@stainer.co.uk . Please include any reproduction for local church use on your CCL Licence returns. All wider and any commercial use requires prior application to Stainer & Bell Ltd.

Reflection originally written for the Mid-Cheshire Methodist Circuit 2021



‘With tender conviction’ – Wesley’s Catholic Spirit – a poem (or a song seeking a tune?)

Catholic Spirit 



With tender conviction I sense love is calling,

no grace is withheld, nor forgiveness repressed,

all people are held in unfathomable comfort,

this love is eternal, forever expressed.



The judgment some fear is a human construction,

for grace is a scandal for those who would judge,

they see it as fair to condemn, exact hatred,

while mercy is something they want to begrudge.



For me none is distanced from love by an action,

a word or a deed, we might not understand,

yet God’s love is wider, beyond comprehension,

if you share this creed, my friend, give me your hand!



[For me none is distanced from love by an action,

compassionate grace, could not set us apart,

for God’s love is wider, beyond comprehension,

if you share this creed, then we are of one heart.]*



*Alternative last stanza after conversation and critique by Pesky Methodists, thankyou!



© Andrew Pratt 5am 29/11/2021 - 4/12/2021

Link to A version of John Wesley’s sermon



Searching for the other – seeking God

A few years ago the then youngest member of our family was taken to Tate Modern. She reported back on the experience, ‘It was weird!’ So called modern art isn’t always easy ‘to get’. People tend to look at a canvas or a sculpture and then ask what is it? They are trying to work out what it represents. What does it picture or model? Often I think it is the question that is wrong. The piece of art simply ‘is’. It is itself and to ask what it represents isn’t helpful. It isn’t like anything, it is itself. That’s the point!

When people look at the plain canvases of colour that Mark Rothko painted they speak of experiencing something that we might well describe as nothing less than religious. Somehow these large works become a medium mediating something gracious. We might even judge them to be sacramental. I remember visiting such an exhibition and wondering how I might experience these paintings. I had an open mind. Adjacent to the Rothko exhibition was a display of surrealist art. I had been fascinated by surrealism for thirty or forty years. My real intention was to view the Rothkos and then move onto the things I really wanted to see. In the event I was held by these vast monochrome panels, taken into them, absorbed. The other exhibition was an anti-climax. It almost seemed fraudulent. There was nothing wrong with the choice of paintings or their execution but they felt ephemeral. If I was to use a scriptural parallel, it was as though the surrealists enabled me to ‘see through a glass darkly’. With Rothko it was face to face. It was like a window into ‘the other’.

As my own pilgrimage in faith progressed over the years I have been less, rather than more, sure of God. In case you misunderstand me let me explain. When I began to go to church of my own volition in my early twenties I was a bit unsure of faith and of God. People were quick to point me to who and what I should believe in, toward what God is like. Here was a clear picture of the triune God, of Father, Son and Holy Spirit. I learnt how, though this was not explicit in the Bible, it was a true representation of God. This, it was asserted, must be patently clear to any intelligent person.

A whole raft of theology followed on from this, built like a tower block on the firm foundation of scripture. The trouble with tall buildings is that they can be toppled. This happened to me first between Christmas and New Year one year when I was meant to be taking a Watchnight service covering for a minister who was taking a Christmas to new Year break. My faith, better my belief, was broken but then rebuilt, but the edifice was very different. I thought that was it. Over time there has been much building, demolition and re-building. Over years the background blue-print has been that scriptural one, backed up by reason and tradition. What was lacking was science, art, music and imagination. I’ll come back to that.

Theological training was once dominated by systems in which concepts and doctrines were organised. But you can only organise things you understand and understanding suggests power, control and knowledge. By definition a total understanding and knowledge of God is a contradiction in terms. The moment we begin to believe that we have full knowledge of God we are fooling ourselves. Scripture enables us to explore, alongside other things, the nature, actions and being of God and is complete within its own terms. But other faiths are just as certain of the truth of their scriptures. Gather all those scriptures together and we are presented with a mass of contradictions out of which we might draw some common threads.

That last word might just be the key to a way of opening faith to those who are sceptical about scripture and doubtful, or totally dismissive, of doctrine. Threads – imagine beginning to weave a piece of cloth. You have no control over the yarn you will use, no pattern to follow. You are going to weave for an infinite time. Already I feel overwhelmed by the prospect of the process. It is at once impossible, futile and incomprehensible. And might this just be a metaphor for how we understand God? From our perspective we pick up a single thread of a limited length. From that we try to imagine the whole. We cannot.

Or again, we are composing a symphony for a thousand, no ten thousand, perhaps an infinite number of instruments to last for a millennium. How will it harmonise? Where will the melody go?

These imaginary processes, if we immerse ourselves in them, might begin to get us closer to the essence of the divine. To borrow a phrase from Sidney Carter we are entering an exploration which will never be either fixed or final. Just when we reach the conclusion new possibilities open up and these are endless.

Perhaps the way into this exploration could be through science, imagination, music or art. Richard Feynman pointed out that science is always provisional. However important an academic, whatever her or his name, if their work does not stand up to scrutiny it could be wrong. How much more difficult is it to pin down God?

This is where for me art comes in. I have never been trained as an artist. I have no taught understanding of how paint and paper behave. Like life it has just been a matter of trial and error, experience and learning. My mother began to paint using painting by numbers, filling up spaces with predetermined colours to produce an expected picture. I tried but I soon got bored with this. I use water colours painting wet on wet. One colour flows into another. No lines are drawn. I have no idea, no expectation as to how a painting will turn out. Many are thrown away as rubbish. Some are recognisable as sea scenes. Plenty are sunsets. Occasionally they are random, but to my eyes unexpectedly beautiful. I can take no credit for this, but I enjoy the process and it takes me out of myself in a way that I can only describe as in some way mystical, nearer to God, perhaps sacramental.

The other medium in which I work is words. More often than not these are used in rhymed verse. At their best I hope these approximate to poetry. I began writing to understand systematic theology, to make sense of a language which, as a scientist, was foreign to me. I experimented. As I became more adept with the medium I used different rhythmical structures, varied poetic patterns. I had one advantage in this process. Being new to hymns I could write in contemporary language. I felt a freedom to use non-religious language. I wasn’t familiar with John Bell, Fred Kaan, Brian Wren, or Thomas Troeger, nor even Fred Pratt Green at that time. I began to plough my own furrow. I found my own voice and my own subject matter.

One consequence of this exploration has been the danger, or opportunity, of flirting with heresy, of pushing the boundaries of theology beyond the classic forms. I have found myself challenging and disturbing things I had been taught to regard as ‘gospel’. The motivation, when it has been conscious, has been to re-think theology when it has not matched what I have read in scripture, or experienced in life. I have not always set out to consciously explore different perspectives. This is nothing new. Walter Brueggemann has pointed out the way in which in the Old Testament imagination drove Psalmists and Prophets. It seems to me that Ezekiel 37 is one such example. The imaginative vision of a valley of bones being enfleshed and coming to life is vivid. That imagination challenged the accepted theology of a God lodging in a sacked Jerusalem. The ‘divine’, Ezekiel imagines, is in the dust and ashes of a broken people in a desert place. Not only this, but those bones might live, rise up, walk, dance and re-inhabit the home from which they have been exiled. The key here is a God who is omnipresent, not limited by time or space, quite a leap! It is this sort of stimulus that encouraged the likes of Marcus Borg to re-think theology with that label, anathema to many, of ‘progressive’.

There is some evidence that the whole of the Hebrew scriptures were pointed for singing  so that the poetry we read in pretty remote translation was once sung with vigour. Think of the way in which you can be lifted as you sing, how you are bonded to your neighbour and, if you are able, how you can improvise and add layers to a melody, a descant to your song. Take this a stage further. Dave Brubeck, the jazz pianist, composed music for his wife’s hymns. But for hymns there is that rigidity of structure, metre, verse. Think of a purer form of jazz that cannot be held in a recording because it is inherently spontaneous, of the moment, unrepeatable. I hear a musical metaphor of creation, a melodic mirror of the wet on wet watercolour.

Then coming away from clamour, the movement, the energy I am taken to a lakeside. There is a low morning mist draped across the water. I lean on the railing of a wooden bridge looking away over water. Beyond the trees coloured for fall are the Great Smoky Mountains beginning to show their form as the day lightens. And I know I can never in a photograph or a painting capture this moment. But I also know that I have been changed by being here. I have been re-orientated, glimpsed something of the divine. I will never be the same again. But this is not the end. And I walk on.

There is no final resting in the pilgrimage. The road leads me. There is more, infinitely more. And I cannot freeze this in time or hold it in a creed. At the next glimpse of the God-head my view will be different, my perspective changed, my creed challenged.

For now I must continue through science, art, words and music to touch the divine, to come close to God, to know God better, yet never completely. This is the dance which we are all called to join, the mystic choreography in which we circle and move, gliding, glancing through light and shade.

It is not God changing, but I must. For now I see through a glass darkly. Just now and again, the view clears. I must be attuned for the next time. I hope I’m ready, prayerfully ready. May love deepen with me. May I care more deeply for those I meet. And just perhaps I can prompt others to imagine, to probe, to explore, to listen, perhaps to see, and above all to love.

© Andrew Pratt 26/9/2017

Prophetic Hymnody: How can we sing Magnificat today with the prophetic shock of scripture

This paper was originally used as part of a Webinar by the Hymn Society of Great Britain and Ireland.
A recording of this and other presentations is available at Short Metre HSGBI

I ought to begin by clarifying something. When someone begins with the words ‘we all know’, someone usually doesn’t. So, for the sake of clarity, though not everyone would agree, I am taking Biblical prophecy as pointing people back to God. It offers hope; but also, judgment. And it can be found in both Hebrew scripture and the New Testament.

It's not primarily about predicting the future, though sometimes prophets say, ‘if you do this, that will happen to you’! 

I don’t believe that prophecy is just something past. Hence the opening words of one of my hymns:

	God still needs prophets who will rage,
	against discrimination,
	who speak God's words amid despair,
	to this and every nation;

It goes on:
	
	God still needs prophets who will hold
	a mirror to our blindness,

And then
		
	May we be prophets through our words
	and in our hands of healing,
	that others might see Christ in us
	while Christ to us revealing. 

But where does The Magnificat fit in with this? Don Saliers said that hymns, enable us ‘to say some things that we do not truly think we believe until we sing them’.  Singing scripture does not just make a pretty noise, it can embed belief in us, change us and transform belief into action. It can motivate us for good. 

So let us look at some hymns that have started with the Magnificat. My area of study is hymnody so I won’t address Chants.

‘Tell out my soul the greatness of the Lord’ is not the most political, nor the most prophetic hymn I’ve ever sung. Like most of Timothy Dudley-Smith’s hymns it is as near perfect as a hymn can be. So why does it need to be prophetic?

The title of the Magnificat is taken from the opening to the Song of Mary in a Latin translation – ‘My soul doth magnify the Lord’. Commentators suggest that the song is out of place in terms of the context of a young girl finding that she is pregnant and in the general flow of the gospel narrative. It is, however, very much in the Lukan voice which is later going to record Jesus announcing that he comes  

to bring good news to the poor.
He has sent me to proclaim release to the captives
and recovery of sight to the blind,
to let the oppressed go free, 

And here in Mary’s song we have:

He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
He has brought down the powerful from their thrones,
and lifted up the lowly;
he has filled the hungry with good things, 
and sent the rich away empty. 

The tense is Past, but this is what Jesus is going to do. It is timeless, an out of time context. Where God is, where love is active, this is as it is. So we are seeking to describe something transcending chronological time. These Love has done, is doing, will be doing…

The words are very much in the tradition of prophecy and, perhaps, apposite to the world in which we live today. The problem is that, within the church prophecy, as with much other scripture that is visceral, has been eviscerated. We sing the words in a way which does little to underline the prophetic nature of the original words. The person about whom we are singing will upset the religious and political equilibrium of the day and perhaps that of the whole world. My question is what do hymns do to address this?


To return to ‘Tell out my soul’ - 

	Tell out, my soul, the greatness of his might!
		Powers and dominions lay their glory by.
	Proud hearts and stubborn wills are put to flight,
		the hungry fed, the humble lifted high. 

‘Powers and dominions lay their glory by’, hardly. It sounds as though the powers and dominions do this voluntarily. Patently they do not and neither does the scripture suggest that they do. Think COP26. So what of Fred Kaan’s, ‘Sing we a song of high revolt’. This is, perhaps, more promising, where ‘God [is] at war with human wrong’. This deity ‘the proud disowns, / brings down the mighty from their thrones’.

	By him the poor are lifted up; 
	he satisfies with bread and cup the hungry ones of many lands; 
	the rich must go with empty hands.

The hymn becomes more difficult to sing as it progresses for we are bid ourselves to fight…
 
	with him for what is just and right, 
	to sing and live Magnificat 
	in crowded street and council flat. 

I expect there are laws against fighting for what is ‘just and right’ though perhaps they are being prepared in draft…but to sing this in church? 

And one possible tune: TANNENBAUM. We know it better as The Red Flag (socialist in the UK; or O Christmas Tree); a not unintentional choice I would guess. But so many congregations are inherently conservative – small or large ‘C’ and, by implication may find this interpretation difficult, if not offensive. The text is well known but has gained little traction. Sometimes side-lined as the last verse referring to a ‘council-flat’ feels either anachronistic or offensive.

Brian Wren is more subtle in ‘Daughter Mary, saying yes to the angel's visitation’. The hymn continues:

	As in heaven, so on earth,
	God will work salvation,
	as the child you bring to birth,
	checks the wealthy, feeds the poor,
	ending domination.

And verse 2 closes with the assertion that

	God's new invitation
	brings the outcasts to rebirth,
	lifts the humble, shifts the proud,
	ending domination. 

The problem with this text is the unusual metre with only one tune, ROSEWOOD being offered in HymnQuest.

In John Bell’s ‘Sing out, my soul, sing with joy to the Lord’ verses 5 & 6 imply that the miracle of reparation is complete:

5	God forces rulers to forfeit the throne;
	lifting the unloved, the lost and alone,
	God shows that favour reserved for his own.
	
6	Those who are hungry, God fills with good things,
	those who are rich into poverty brings;
	pregnant with justice, my heart gladly sings.

What is being sung is of God who will fulfil Hebrew expectations of a Messiah who will bring justice and just desserts for all, good and bad. This is less prophecy, more anticipation of faithful hope for ‘God, who is faithful, has come to our aid’. Translated into a hymn it coalesces a future hope with our necessary incarnational partnership with Christ – for ‘my heart gladly sings!’ 

As a writer myself I am motivated to write when I don’t find hymns which I feel express scripture with the force invested in it.

The challenge is to write a text that does justice to the scripture, that does not see actions complete with no future hope, which enables us to enter into the process of salvation and which is still singable. Here are snippets from work in progress.

A topsy-turvy, upturned world

1	A topsy-turvy, upturned world, 
	where values are distorted, 
	the first is last and last is first 
	with everything contorted.
	The rich are begging at the door 
	while ones they were despising
	are given charge of Godly wealth, 
	in stature they are rising.
	
2	Magnificat has come to stay,
	the proud have been extinguished; 
	the humble poor are lifted high, 
	their poverty relinquished. 
	The reign of God has come to pass 
	rebutting our world's choices, 
	each one that we would count as last 
	within this time rejoices.
	
3	And will we ever find a place 
	with pride and wealth rejected, 
	or will hypocrisy deny 
	our need to be accepted? 
	The choice is ours, the crisis dawns, 
	the time to make decisions, 
	to stand with God or walk alone 
	within this world's divisions. 

Might we sing this on State occasions, or at the opening of Parliament? 

At the heart of Jesus life and action are some very hard questions. In the Old Testament prophets underlined the sharpness of the distinction between justice and injustice. Prophets in the Hebrew scriptures called people to account and pointed them back to God. They were never afraid to criticise injustice, even if that put them in danger, or open to threat or ridicule. 

In the wake of COP26 this next hymn, from a time of financial crisis in 2015, feels redolent of the world in which we live, or for which we hope and echoes Magnificat.

Upturned world, the bankers humbled

1	Upturned world, the bankers humbled, 
	politicians brought to book, 
	children show new ways of living, 
	heads will spin and turn to look.
	Mary sang, exultant virgin, 
	birth would change her life and ours, 
	generations watch with wonder, 
	shaken like wealth's shining towers.
	
2	Love incarnate's gentle thunder 
	wakes the earth to truth and light, 
	hypocrites meet naked justice, 
	find no place in fear for flight.
	Mary sings, when will we hear her:
	revolution born of love, 
	heralding new dispensation, 
	cage the hawk and free the dove?
	
3	When the prison gates are broken, 
	when the poor can feast and dine, 
	then Magnificat is bringing 
	age of justice and new wine.
	Wine of joy and celebration, 
	end of hunger, God is near, 
	time of endless new beginnings, 
	birth of Jesus, end of fear.  

Finally to return more nearly to the original scripture:

Almighty God has done great things

1	Almighty God has done great things,
	an angel proffers stunning news,
	the news of human hope he brings,
	her baby heaven and earth shall fuse;
	and she will give her life for that,
	O, Mary, sing magnificat.

2	A mother and her unborn child,
	a man who ought to let her go
	to save his face, stay undefiled,
	as love and duty taunt and flow;
	and Joseph will consider that
	as Mary sings magnificat.

3	And all the greatness of a God,
	distilled to love, sets captives free,
	a single liberating Word:
	those born in darkness now can see;
	as human power considers that
	let Mary sing Magnificat…