Introduction

Progressive Religion is a realistic endeavour to match a timeless faith with a modern view of the world.  One of the biggest hurdles in making such an essential adjustment to inevitable change, is our reluctance to leave the comfort zone of familiar thought forms. Many of us have been so indoctrinated by traditional religion that we no longer question the relevance of what we believe. 

 

One of the most effective tools of persuasion has been the singing of well worn hymns.  We have done this until they have become almost inseparable from our way of life and thought.  Some of us who strongly object to the archaic theology of the old lyrics, still find ourselves resonating with the words, while singing them against our better judgement.

 

The new lyrics in this first edition of "Singing a New Song”, as well as those in this enlarged edition, at once liberate us from the reinforcing influence of those old unhelpful thought forms, and at the same time serve to develop in our minds a new and increasingly familiar vocabulary of belief and practice.  If this book of sacred songs achieves that for those who are brave enough to adventure into progressive religious thinking, it will have been well worth publishing.

 

The Centre for Progressive Religious Thought is releasing this second and enlarged edition of well-loved hymn tunes with modern words at a time when the world is being torn apart by sectarian violence.  The last thing the world needs is a claim, by whatever world religion, that it has a monopoly on the sure way to human and cosmic fulfilment. 

 

Our understanding of the historical Jesus is that he did not make such a claim.  Many of the lyrics in this song book are about him, and they will be sung with relish by progressive Christians. 

 

They will, however, be useful for people of all religious backgrounds who comprehend his universal message that God is a non-violent deity, that God’s realm is a non-violent realm, and that such a vision is worth giving one’s life for.

 

We are therefore dedicating this song book to peace.  This is not to be confused with spiritual certainty or security.  Nor will it quieten debate within traditional religious circles. It is for those who are willing to make the sometimes costly decision to walk away from unhelpful religious language and re-invent a new and relevant phraseology for worship and contemplation.

 

Eric Stevenson, Convener,

Centre for Progressive Religious Thought (Sydney)     August, 2006


Comments by the author 


Hymnbooks and books of religious songs are, in essence, books of theology.  Lyrics express the theological views of the lyricist.  If singers intentionally reflect on the ideas being sung then the theological framework or paradigm of the lyricist may  become clear.

 

Some singers claim that the words are not important. They assert “It’s the tune that I love”, and sometimes also state – “I don’t take much notice of the words, anyway.”  While this may be true, it may not counteract the cumulative, subliminal  influence of lyrics sung repeatedly over a number of years.   When the lyrics become memorized through simple repetition, the embedded ideas can become an integral part of the theological environment in which singers and listeners both think and believe.

 

Accordingly, the lyrics of well-known and often-sung hymns can become potentially more powerful influences than words of scripture.  Singing is often more engaging than listening to a sermon or prayers.     Worshippers may ‘drift off’ at times while  listening, but, when singing the mind can be actively engaged with the lyrics.

 

It can also be suggested that by participating in congregational singing, each singer is being encouraged to give tacit agreement to the words and ideas being sung.  When the lyrics use words and express ideas which singers no longer enthusiastically or wholeheartedly endorse then much personal irritation may be felt.  This feeling of unease is being experienced by a significant and growing number of people.

 

Analysis of my lyrics will reveal that I am not writing for traditional/conservative people who feel content with traditional theological words and ideas.   I write my lyrics particularly for many of the older members of congregations who have grown up in the church and love the many old tunes that they have sung over the years but who now find that the traditional words are no longer meaningful, helpful or even tolerable.


 The Theological Framework of the Lyrics

 

The aim of my lyrics is to re-present God in words and phrases that utilize concepts different from those often employed in traditional as well as in many modern lyrics.

 

Through the influence of customary tradition, God is usually presented in words and phrases as omnipotent (all-powerful) and omniscient (all-knowing).  God  resides in heaven on a judgement throne .  God is usually presented as ‘coming’ or as the One requested ‘to come’... God is often presented as the Creator and sustainer of the universe. God is presented as separate from humanity, a supernatural being who intervenes in worldly affairs from time to time, who answers prayer, whose promises are true and reliable, who feeds the hungry, gives solace to the sad and grieving and in whose presence the faithful will remain forever in heaven after death. God is also depicted as loving, forgiving, merciful and willing to sacrifice his only Son for the good of humanity.  And in their conclusion, numerous traditional hymns take the singers to ‘heaven’ in the last verse.

In stark contrast my lyrics present God as ‘mystery’ … the mystery that permeates all that is … the mystery that surrounds all that is; mystery that enables and facilitates all relationships between all that is and everything else; the ‘mystery’ that gives rise to interdependence.   In my lyrics God is not a supernatural being.  Instead, I present God as love, harmony.  God is the source of life. God is the invitation to life.   It is God in whom we live and move and have our being.   In my lyrics the cosmos and nature are not suggested as being the ‘work’ of God but rather as an incarnation of God – one of the ways in which we have a concrete, as it were a ‘fleshly’ expression of God.

 

The aim of my lyrics is to re-present Jesus in words and phrases, that utilise concepts different from those often employed in traditional as well as in many modern lyrics.

 

In traditional and many modern lyrics, the divinity of Jesus is emphasized.  He is usually presented as the second person of the Trinity … the unique Son of God; the one promised in the Old Testament; the one who is to be worshipped and adored; the one sent by God from heaven and was ‘humbled for a season’ or ‘laid his glory by’; the one to whom we pray; the one who now sits at the right hand of God and intercedes for us.   His birth is presented as being other than normal;  his death as being sacrificial and redemptive for human sin; his resurrection as conquering the power of death, and his ascension as being a raising to heaven and to God’s side.  In traditional lyrics Jesus is often referred to as Saviour, Prince or King of Glory, Redeemer, Lord and God, the Lamb who in dying retrieved Adam’s fallen race, Deliverer, Messiah, Shepherd, Friend.   He is very seldom referred to as human, as a man.

 

In stark contrast my lyrics emphasize the ‘humanity’ of  Jesus.  My lyrics continually refer to Jesus as a man, a Jewish Rabbi.   They paint the picture of a man who was on the side of the poor and disadvantaged … a man whose life was full of integrity, courage and love … a man who fought against wrong and the   illegitimate use of power … a man, who in the exercise of his personal freedom and in acting out his own integrity, went to the cross.  

 

In my lyrics Jesus is sometimes depicted as one who was ‘broken’ by life. The cross is presented as a matter of tremendous tragedy, brought about by injustice and corruption.   They try to display the courage of Jesus and the ultimate futility of violence when challenged by love.  The resurrection of Jesus is a defining  example of the profound process of life from death – God’s renewing way.   The second coming of Christ occurs when love is expressed.

 

The aim of my lyrics is to re-present humanity in words and phrases that utilise concepts different from  those often employed in traditional as well as in many modern lyrics.

 

In many modern and traditional lyrics (at least those in the Australian Hymnbook – first printed in 1977), humans are depicted as sinners.   In the AHB of just over 575 hymns, more than 20% make reference to human beings as: lost, weak, blind, helpless, wretched, ‘Adam’s fallen or helpless race’, sinners, as having a huge debt; people who need forgiveness, deliverance, redemption, saving/salvation.  Being found guilty is the principal judgement pronounced on people.  Nevertheless humanity is still loved by God.  Occasionally, saints are mentioned but these usually refer to those who are  deceased and who were faithful believers in Jesus. 

 

In stark contrast my lyrics picture humans as being a mixture of failed attempts at discipleship and good and successful  intentions.   Human life is seen as a mixture of joy and sadness, grief and happiness. Humans have a divine dimension - the ‘God within’ – and God is exposed when they act lovingly and responsibly.   Humans, not God, must feed the poor, comfort the sick and sad as well as right the wrongs of this world.   As humans do these things, God is involved, not because God intervenes but because the ‘God within’ is uncovered.


In my lyrics singers will discover a number of other themes   including: 

 

I hope you find the contents of this collection of new lyrics to well-loved traditional tunes both helpful and useful.  As you sing, I hope the words encourage you think a bit more about your faith.

 


Grace and Peace  George Stuart     August 2006