FOURTH SUNDAY AFTER EASTER.
Teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.—Col. 3, 16.
Teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.—Col. 3, 16.
We read in the 28th chapter of Genesis that when Jacob, the patriarch, was fleeing from the wrath of his brother Esau into the land of Mesopotamia, while resting at night upon a stone for his pillow, he had a wonderful dream. A ladder extended from heaven to earth, angels ascending and descending upon it, and God, standing at the top, spoke to the heartsore traveler beneath. That vision was highly typical. The ladder was a symbol of the intimate connection that existed between him and the God of his fathers, Abraham and Isaac; the angels ascending and descending, were a symbol that his prayers and sighs had come up before the heavenly throne, whilst the words of the Almighty were a guarantee that his journey would take a prosperous end, and cheerfully, we are told, did the patriarch take up his pilgrim staff and resume his route in the morrow. Now as it is with all things we find written in the Old Testament, so with this also. We have the reality of what Jacob experienced in dream only. The ladder which now extends between heaven and earth, connecting us pilgrims or strangers with our heavenly home, that ladder is Jesus Christ, man's Mediator, who declares, "I am the Way; no man cometh unto the Father but by me."—The word of the Almighty, then spoken, we have, greatly amplified, in this divine revelation, this holy volume before us; norare the angels, these celestial messengers, missing to carry on communication and intercourse between God and sinful man. Figuratively and symbolically speaking, these angels stand for all those agencies, exercises, and accompaniments by which the soul is lifted up to heaven and God, and by which we are spiritually helped and edified, and it is one such holy agency and accompaniment of sacred truth that we wish to consider in these moments of devotion.
St. Paul speaks in our immediate text of "teaching and admonishing one another in psalms and hymns and spiritual songs." Let us regard these words, and may ours be the same confession as Jacob's at Bethel: "How venerable is this place! This is none other but the house of God and this is the gate of heaven."
"O sing unto the Lord a new song, for He hath done marvelous things." "Make a joyful noise unto the Lord, sing forth the honor of His name, with the harp, with trumpets and the sound of cornet. Praise ye the Lord." These are the words of the 98th Psalm of David, and it was with this Psalm that the service began, in the ancient Church, on the fourth Sunday after Easter. The name of the Sunday is Cantate, which means "Singing Sunday," and probably there is no time in the course of the civil church-year more appropriate to raise one's voice in rejoicing and heart-felt song. In nature a new era of revival and tender growth has gone forth; the earth is clothed with loveliness, refreshed with energy, and from birds and blades, from flowering buds and a tender branch goes up a joyful melody and proclamation to their Creator; and when we come into His sanctuary, the house of His Word and His worship, and reflect on the blessed Easter scene from which we are just coming, we have reason to tune our voices in strains of loudest and loveliest anthems, and an appropriate and beautiful thing it certainly is to bring this noblest of human arts to the aid of the soul in its communication with God. Since time immemorial has the power of music been acknowledged over the heart of man. "Let me make the songs of the people," said a celebrated statesman, "and I care not who makes the laws." An illustrious Greek philosopher was not far wrong when he stated that the human soul was closely allied to rhythm and harmony, and we know that the Court of Rome feared the sacred hymns of Luther as much, if not more, than his publications and fiery eloquence.
Turning to the Holy Scriptures, we observe a constant recognition of music in the Old Testament and in the New. Standing on the shores of the Red Sea, Moses, the man of God, chants forth the gratitude of his people after their safe deliverance from Egypt's bondage in song, whilst Miriam, his sister, responds with timbrel and dance. David, the anointed shepherd boy, takes his harp and charms into tranquillity the ferocious spirit of Saul. Elisha, when he would prophesy, calls for a minstrel, and under his playing the prophet's heart grows warm and his lips eloquent with a message from God. And where do we hear of more magnificent renderings than in the temple at Jerusalem, thousands of voices organized in costly choir to chant with accompaniment of complete orchestra, the psalms written by their monarch, David, called the sweet singer of Israel. Cherubim and Seraphim are incessantly praising God in thrice "Holy to the God of Sabaoth," and angels' choirs filled the midnight stillness of Bethlehem's plains. Add to this Zacharias'Benedictusand Mary'sMagnificat, which have lent their hallowed inspiration to ages since in the Christian Church, and if there is one scene which impresses every reader of his Bible, and to which he looks forward with pure delight, it is the worship of the Lamb in Revelation, the joining of the celestial choir in hymns of endless melody. Desiring to bear our part in that tuneful service, can our lips be silent on earth? Nay, music is one of God's good and perfect gifts, of which to-day's Epistle speaks as coming down from above. True, like all other good gifts to man, it has been seized upon and perverted for evil purpose by the enemy. Satan it is who has levied upon music and made sad havoc in the line of song. But shall we abandon to him the territory? Shall we not make reprisal upon the enemy, consecrate to the divine Giver His first-fruits? And unquestionably, in the worship of our Lutheran Church, hymnology has a larger and a more correct province than in any other body of Christians. I have listened to various music, I have heard entranced the melting tones of theMisererein early mass at the Catholic Cathedral, the sweetly attuned antiphons of a vested Episcopal choir. I have listened to solos and quartets, accomplished tunes, composed by masters; but what do all these solos, superbly rendered, amount to when in God's worship the congregation itself sits mute in its pews, deprived of every response, as in the Catholic Church, or too indolent to respond, as in manyothers? Is it Christian, is it churchly, is it consistent with our text or the spirit of true worship, that ninety-nine tongues of a hundred be silent in the house of the Lord? When the minister turns to the people and says, "The Lord be with you," is he supposed to address only four singers and an organist? No, my dear hearers, praise is the duty and privilege of all the people, and to deny or stint them in a share in it is to wrong their souls and insult their Maker. A well-tuned solo is good, the chorus of the choir is better, but best of all is the response and song of the entire congregation, sending up its confession and praise to the God of heaven. There is nothing more solemn and pleasing to the Lord of Sabaoth than a singing congregation, and nothing more dull and spiritless than singing wailed forth in melody calculated to freeze the last spark of holy fire upon the altar of the heart.
Having emphasized which is the best form of songful worship, that by the congregation, let us regard it a little more closely. The singing of a congregation of worshipers is, as it were, the preaching of the congregation, is the confession which it renders on its part and in behalf of its faith, is the Amen which it places upon the words and utterances of the preacher. The most important place, it must ever be maintained, in a truly evangelical service, is the exposition, the setting forth of God's Word. A worship consisting exclusively of singing, commonly called a Song Service, is an innovation in Lutheran church life, and a very questionable one at that. The object of our attendance at church is not to hear "sweet music,"—this can be better answered at the concert or the oratorio,—honest Christian people come to hear God's Word, to build up their souls in divine truth. The sweetest tune sung by the lips of angels or of man cannot replace the least passage of the Bible, for it alone is the power of God unto salvation. Christianity is not rapturous ecstasy, super-induced by fine melody, not emotional feeling; Christianity means repentance and faith.
There is nothing, no symphonies and oratorios, no strains, that can bring peace and rest to a sinner's heart, but only and solely the simple words of the Lord received and believed. The sermon, then, occupies the central position of the worship, just as the sun is the center of the solar system, and, in turn, determines the true place of the song and music. It is the noble handmaiden, preceding and accompanying the preaching of theWord, the sweet odors which carry our devotion and sacrifice upward to heaven, in harmony with the utterance of the speaker. It is thus we value our hymns as the finest ornament of our evangelical worship, and nothing is more significant than to find in your homes the Christian hymn-book lying upon God's Book. And what does a careful survey of that hymn-book reveal to us? We would not from any feeling of denominational pride detract any from the grandeur of hymns originated in dissenting bodies, many of which are embodied in our hymnal, but if there is one church whose voice swells out loudly among the hymnody of Christendom, that can look with satisfaction on its collection of sacred songs, it is our beloved Lutheran Zion with its stately and majestic chorals, its incomparable anthems. There is about our hymns a spirit of divine power; they are the expressions of our Christian faith, church-hymns in the fullest and best sense, not only inspiring and devotional, but educating and instructive, designed to lead us in our way to salvation and heaven. Take, for instance, the various seasons of the church-year: Advent, expectant and exultant over the coming of the Savior of man; Christmas, what hymns will compare with those of our church in childlike simplicity and depth of feeling? Passion-tide, with its solemn lines: "O Bleeding Head and Wounded," "O Lamb of God Most Holy;" Easter-tide, with its stirring hallelujahs. How doctrinally sound are our hymns of faith, how cheering our hymns of praise, how touching the melodies of penitence and death! Referring to our text, we find the first requisite for a correct church-hymn is this: to bring God's Word closer to us. The Apostle says: "Teaching." Our hymns will stand the test of this standard. In the days of the Reformation they were one of the most beneficial means of winning hearts and conquering lands for Bible truth and Bible Church. Many a priest, history records, was sung down from the pulpit and out of the church by the congregation joining in a Lutheran hymn, and later, in the dreary days of Rationalism, when man's folly was put in the place of God's wisdom, it was these church-hymns which still afforded spiritual food to the children of God, and till this day, wherever those tried and heavenly true hymns resound, we can cheerfully be persuaded that they assert their influence in making men wise unto salvation.
Nor are they merely calculated to instruct, but also to cheer and inspire. There is scarcely another power that will ease theheart, strengthen and sustain the lagging and downcast spirit, as will a heartfelt "Commit whate'er may grieve thee," and kindred hymns. In the darkest moments of his life, David tuned his harp and bade sorrow and grief flee. In Philippi's dungeon, at the hour of midnight, Paul and Silas raised their voices in melody of praise. After days of bitter conflict and labor the Reformer would produce his lute, and sing unto the Lord a pleasant song, to the joy of the angels and the chagrin of the devil. Gustavus Adolphus, Sweden's valiant hero of the faith, who fought and died for religious liberty, never entered a battle without prostrating himself with his army before the Lord of heaven and singing, "A Mighty Fortress Is Our God," "Fear Not, O Little Flock, the Foe." Sacred story tells us of Saul, that whenever the evil spirit came over him, the king would send for David, and under his tune find relief from his torments.
Nor has the spiritual song lost any of this soothing element. "The singing of songs and hymns purifieth our thoughts," says a church-father, "represses sensuality, stirs the heart to pure emotions, awakens a love and a longing for the beauty of holiness, moves to holy contrition and godly sobriety." No wonder that Luther ranked music next to theology of pure religion, effectual as it is in warding off Satan's suggestions, and aiding us in becoming better and more noble, and hence, in harmony with this Sunday, Cantate, we are justified in bringing this topic to your consideration, especially in our times, which are replete with so much vain and shoddy music, senseless and overwrought travesties, often set to tunes that are a perfect scandal and shame upon all divine worship, and better suited for the opera than for the house of God. Let us rejoice in this good gift God has bestowed upon us, and diligently use it in our churches and homes until it shall be our happy lot to join the multitudes of those who shall raise their voices to pour forth their everlasting song, and cause the city of God to ring with anthems of perpetual worship. Amen.