Every so often, someone kicks off a debate about the superiority of traditional hymns against inferior contemporary worship songs, or vice versa. Usually one of the big claims is that old hymns are full of doctrinal truth whilst modern worship focuses on sentimental love lyrics with the derogatory label “Jesus is my boyfriend songs”.
I have frequently come to the defence of contemporary worship. Of course there are some terrible songs out there but then again, there were far more hymns written back in Wesley and Watt’s day than made the cut into 20th and 21st century hymnals. There are some fantastic contemporary songs rich in truth and depth of emotion.
Meanwhile, the emphasis on older hymns as “doctrinal” has ironically left them open to an equally unfair counter attack, that they lack emotion, that their doctrine is cold and dry. How far from the truth can you get? I would highlight three examples proving that this is far from the truth. The first two below are set to more contemporary tunes (apologies to purists): Oh the Deep Deep love of Jesus and How sweet the name of Jesus sounds.
However, I wanted to particularly draw your attention to Charles Wesley’s hymn “Jesus lover of my soul.” I remember not being so fond of this in my youth as it could be wrecked by a bad tune choice or a struggling congregation turning it into a dirge. Yet listen here and then read the lyrics and I hope you will appreciate it as much as I now do.
1 Jesus, lover of my soul,
let me to thy bosom fly,
while the nearer waters roll,
while the tempest still is high;
hide me, O my Savior, hide,
till the storm of life is past;
safe into the haven guide,
O receive my soul at last!
2 Other refuge have I none;
hangs my helpless soul on thee;
leave, ah! leave me not alone,
still support and comfort me.
All my trust on thee is stayed,
all my help from thee I bring;
cover my defenseless head
with the shadow of thy wing.
3 Plenteous grace with thee is found,
grace to cover all my sin;
let the healing streams abound;
make and keep me pure within.
Thou of life the fountain art;
freely let me take of thee;
spring thou up within my heart,
rise to all eternity.
Notice how Wesley expresses intimacy, a desire to draw close to Jesus. He seeks comfort, shelter and protection, recognising Christ as the husband of the church. The imagery of dangerous storms is straight from Scripture reminding us of Jesus’ miracles on Galilee and echoing a number of the Psalms as does the reference to being sheltered under His wing. Similar thoughts are expressed in more contemporary songs such as Still (Hide me now).
In the third verse his reason for going to Christ is the offer of grace. This is grace that saves, covering sin, bringing forgiveness. It’s grace that heals and is life giving. Christ is protector and provider.
If Wesley is drawing on Scriptural influences for his intimate, dependent lyrics then most of all we might recognise the influence of Song of Songs which sings a love story pointing us to God’s deep affection for us and calling us to all in love for him in return.
Faithroots 