Chapter5

“AllThingsBrightandBeautiful”–SingingCreationthroughtheAges

C.MichaelHawn

TheologicalIntroductionbyGeoffreyC.Moore

Oursurveyoftheologicalthemesincongregationalsongbeginswithoneofthemostcrucialissuesofourday,thenatureofcreationandtheroleofhumanityintheparticipationinGod’snaturalcreatedorderandresponsibilityforsustainingit.Eveninthesmallsamplingofsongsthatfollows,onemaynotethatsungreflectionsoncreationcorrelateinparttothepoet’stimeinhistory,placeontheplanet,socialposition,andfaithtradition.HymnwritersagreethatGod’screationisgood–verygood.ReaderswillobserveagradualmovetowardamoreactiveroleforhumanityincreationandsustainedpartnershipwithGodforthegoodoftheplanet.Furthermore,ratherthandominionovertheearth,thepoetspromoteatheologyofstewardship,impliedinearliercenturiesandexplicitlyadvocatedbeginningwiththelastdecadesofthe20thcentury.Theintroductionsetsthestageforunderstandingmanyofthekeyissuesinsingingatheologyofcreation.

TheologicalIntroduction

ThetwomajorissuesatstakeinthedoctrineofcreationaretheGod-creationrelationshipandthehuman-creationrelationship.WithrespecttotheGod-creationrelationship,thekeyquestionscenterondeterminingthestatusornatureofcreationandhowandwhyGodcreates.Clearanswers,however,arecomplicatedbythefactthattheBibleprovidesmultiplecreationaccounts(Genesis1:1-2:3;Genesis2:4-24;Job38:1-41)thatdifferinsomeimportantdetails.Job’slyricalaccountofcreationincludesmusic.Theseshouldnotbereadashistoricalorscientificexplanations,butpartofabroaderbiblicalunderstandingaboutthenatureofGod,God’srelationshipwithcreation,thenatureofcreatedthings.Inotherwords,thesearenarrativesaboutGod’sgraceinwhichcreationissimplythefirstactinalarge-scaledramadepictingGod’scovenantalrelationshipwithcreation,adramainwhichtheentirecosmosservesasthestage.Whenreadfromthisperspective,ratherthanaboutthemechanicsofthecreationevent,itbecomesclearthatallcreationisgoodanddestinedforaredemptionthatGod’sintendsfortheentirecosmos.

ClearanswerscanalsobeelusivewithrespecttohowGodcreates.ThoughtheHebrewtextissomewhatambiguousastowhetherornotGodcreatesexnihilo,oroutofnothing—anambiguitymanifestinthemanydifferentEnglishtranslationsoftheopeningofGenesis1—whatisclearfromthebiblicalaccountisthatthereisnoconflictbetweenGodandGod’screativeact.ThisabsenceofconflictstandsinstarkcontrastwithotherancientNearEasterncreationmythsinwhichthecreationoftheworldresultsfromastrugglebetweentwoopposingforces.InChristiandoctrine,bycontrast,creationisthefree,uncompelled,lovingactofGodaccomplishedthroughGod’sownfacileandunimpededspeech.Thus,creationisanexternal,oradextra,

operationtoGodand,therefore,existsapartfromGod.Andbecauseithasabeginning,creationdoesnotexisteternallyalongside,orco-eternalwith,God.Nevertheless,thebiblicalaccountisclearthatallcreationiswhollyandintrinsicallygood,andinitsearlydevelopment,thedoctrineofcreationalsohadtoaddresstheclaimsofGnosticism,aphilosophymarkedbytheviewthatallmatterisevil,andPlatonism,aphilosophywhichassertsthatcreatedthingsarecopiesoftranscendentideasorforms,andthattheseideas,notcreatedthings,aretheobjectsoftrueknowledge.Bothofthesephilosophies,contrarytothebiblicalassertion,leadtoadevaluingofcreation.

FurtherconsiderationofthedoctrinelatergaverisetootherwaysofarticulatingtheGod-creationrelationship.Whilethehistoricalconceptoftheismassertsthatcreationemergesfromasinglesource,God,pantheismassertsthatGodisidenticalwitheverythingandeverythingisidenticalwithGod.DuringtheEnlightenment,theconceptofdeismemerged,assertingthatGodceasedtobedirectlyinvolvedintheuniverseaftercreatingit,whilethelaterconceptofpanentheismassertsthatGodisineverything,thoughstilldistinctfromit,whichoftenleadstotheadditionalclaimthatGodandcreationshareamutualdependency.Intheend,onemustdecidewhethertheBibleseekstoprovideanaccountofthemechanicsofGod’screativeact,orwhetheritseekstoprovideanaccountoftheoriginofcreationintheverybeingandactofGodself.Inotherwords,doestheBibleattempttoprovideamapoftheuniverseoradescriptionofwhatanimatesandgiveslifetotheuniverse?Ithasbeensuggestedbysomethat,ratherthanadoctrineofcreation,theBibleoffersadoctrineoftheCreator.

HowoneunderstandstheGod-creationrelationshipwilllargelydeterminehowoneanswersthecentralquestioninthehuman-creationrelationship,namely,whatisourrelationshiptoandresponsibilityforcreation?CloselyrelatedtoandbehindthisquestionisthequestionofGod’spurposeforcreation:IsthegoalofthestorythecreationofhumanityortheSabbathdayofrest?Stateddifferently,iscreationforthebenefitofhumanityorforthegloryofGod?Answerstothesequestionstendtobeshapedbyone’sunderstandingofthebiblicalclaimthathumanityiscreatedintheimageofGod,orimagoDei,(Genesis1:26-27)which,inturn,isinfluencedbythetwomajorworld-viewsthathaveshapedChristianthoughtfromtheverybeginning:theHebraicandtheHellenistic.TheHebraicworld-view,concernedlargelywiththeconceptsofroleandrelationship,tendstoconceiveoftheimagoDeiintermsofhumanity’sroleasGod’srepresentative.Thisview,largelyorientedbytheGenesis2account,seesthegoalofcreationasSabbathrest—understoodbothoriginallyandeschatologically—andthusGod’sglory.Thisviewthereforeunderstandsthehuman-creationrelationshipasoneofcovenantalstewardshipwherehumanityistoexercisecarefulandresponsiblemanagementofcreationonbehalfofGodasGod’srepresentative.TheHellenisticworld-view,concernedlargelywiththeconceptsofnatureandsubstance(e.g.,animmortalsoul,freedom,reason,etc.),tendstoconceiveoftheimagoDeiintermsofhumanity’scharacteristicsandpowers.Thisview,largelyorientedbytheGenesis1account,seeshumanityasthegoalandcrowningachievementofcreationandthusasthecenterofGod’screated

order.Thisviewthereforetendstobemoreanthropocentricandunderstandsthehuman-creationrelationshipasoneofdominionwherehumanityistoexercisesovereigntyandcontrolovercreation.

Givenourparticularcontext,awordshouldbeaddedaboutthemusic-creationrelationship,fortheBiblestates,amongotherthings,thatthestars,desert,mountainsandhillsdidorshallsingandthatthefloodsandtreesshallclaptheirhands(Job38:7;Psalm98:8;Isaiah35:2,55:12).Thoughoftentakenasmetaphorical,onemustaskwhetherthesestatementsshouldbeanylesstruth-bearingthanbiblicalassertionssuchasGod“called”(“amar”inHebrewmeaning“tobearforth”or“utter”)creationintobeing,createdhumanity“outofthedustoftheearth,”or“breathed”lifeintoit.

SelectedHymns“OStrengthandStayUpholdingAllCreation”(“RerumDeustenaxvigor”)(c.4thcent.,c.1871)OurunderstandingofthenarrativeofcreationtheologythroughoutChristianhymnodybeginswiththis4th-centuryLatinhymnofuncertainauthorship,thoughsometimesassociatedwithAmbroseofMilan(c.339-397),thefounderofLatinhymnody.ThehymnwasusedinmonasticcommunitiesforNone,theninthhour(3PM),thehourofChrist’sdeath.Thetwostanzasanddoxologyweretranslatedinthe19thcenturybyChurchofEnglandpriestJohnEllerton(1826-1893)andhisfellowTrinityCollege,Cambridge,classmateF.J.A.Hort(1828-1892),whojointlytranslatedthefirsttwostanzaswithEllertonprovidingthethird.WhilecreationwascelebratedintheearlymonastictraditioninselectedpsalmssuchasPsalms8,19,148,hymnsonthecreationoftheworldpersearealateroccurrence.Thecyclesofcreation,boththedaysandtheseasons,providedaframeworkforunderstandingtherelationshipbetweenGodandhumanity.Inthiscase,thefadinglight“induegradation/fromhourtohour”correlateswiththefadingafternoonlightatthetimeofChrist’sdeath.Stanzatwoassociatesthenaturalcycleofeveningfollowedbymorningwithdeaththatgiveswaytothe“dawninggloriesofeternalday”oreternallife.“NowPraisetheProtectorofHeaven”(“nuscylunherganhefaenricaesuard”)(c.750,1987)ThisshortOldEnglishhymnforeshadowsthespiritofSt.Francis’13thcenturypoemandistheearliestknownhymnintheEnglishvernacular.KnownasCædmon’sHymn,manuscriptsbetweenthe8thandthe12thcenturiesincludeitasatranscriptionoforaltradition.WhatisknownofCædmon(b.7thcent.;d.c.670-680)comestousthroughHistoriaecclesiasticagentisAngelorum(731)bytheVenerable

Bede(c.673–735),whoprovidesaLatintranslation,“Nunclaudaredebemusuctoremregnicælestis”ofthehymn.ChristopherIdle(b.1938),aleaderoftheJubilateGroup*,providesathree-stanzaversificationofthetextin“NowPraisetheProtectorofHeaven”(1987).The“ProtectorofHeaven”isalsoour“GuideandDefenderandGuard.”TheAlmighty“appointedthemiddleearth[forthe]landsofmen”–anamefortheinhabitedearth,oikoumene,fromGermanicorigins.Idletranslatesthisas“fashionedtheearthforourhome.”Cædmoncapturestheparadox*oftheomnipotentOneoftheheavenswhodemonstratescareandprotectionforhumanitybyprovidingtheearthasaplacedesignedforus.“AllCreaturesofOurGodandKing”(“CanticodiFratreSole”)(c.1225,1919)The13th-centuryasceticSt.FrancisofAssisi(c.1182-1226)wasbornintoawealthyItalianmerchantfamilyandlivedatthetimeofchivalry,knights,andtheCrusades.Afterriotousyouthfulyears,herenouncedhisinheritanceandfamily,andfollowedLadyPoverty,pursuinganitinerantministryofpreachingfromvillagetovillagetoanyonewhowouldlisten.YethisinfluenceextendedtotheseatofpoliticalandspiritualpowerinRomeandeventoJerusalemwhereheproclaimedpeacetoaMuslimleaderatgreatpersonalperil.Formuchofhislife,helivedanaustereexistenceamongtheelementsofnature,seekingrefugeincaveswherepossible.Thislifestylemayhaveledtothecompositionofhislaudespirituale*,apopularItalianspiritualsongusedoutsidetheliturgy,entitled“CanticodiFratreSole”(“SongofBrotherSun”)or“CanticodellaCreature”(“CanticleoftheCreatures”)writtenneartheendofhislifec.1225.SeveralEnglishlanguagetranslationsareavailable,butWilliamHenryDraper(1885-1933),arectorinAdel,nearLeeds,England,providesafreeversificationwrittenfortheprocessiononachildren’sWhitsuntideFestival,publishedinthePublicSchoolHymnBook(1919).DraperpreservesthefamilialrelationshipthatFrancisexpresseswithnaturethoughsomealterationsofDraper’stexteliminatethevariousbrother,sister,andmotherimages.Arecentfreeversification“AllCreaturesWorshipGodonHigh,”preparedforEvangelicalLutheranWorship(2006),maintainsfamilialrelationshipsbutavoidsmonarchialimages.Thehymncanbeviewedinmanyways,butforthepurposesofthischapter,wewillhighlighttheaspectsthatprovideaglimpseintoFrancis’stheologyofcreation.Thepoemappropriatelybeginsbyaddressingthe“mosthigh,mostpowerful,andgoodLord”(Altissimu,onnipotente,bonSignore).HowardChandlerRobbins(1876-1952)lessfamiliartranslationcapturestheItalianincipit*,“MostHigh,Omnipotent,GoodLord.”Indeed,humanityjoinsallcreaturesinpraise(“Laudatosi’,mi’Signore,/cumtutteleTuecreature”),perhapsanaturalexpressionofonewho,accordingtotradition,preachedtobirdsandcalmedwildbeasts.

DrawinguponPsalm148andGenesis1,Francisaddressesthefournaturalelementsthatprovidedthebasisforscienceuntilthe17thcentury:Earth(nostramatreTerra)–ourmotherearthFire(frateFocu)–brotherfireAir(frateVento)–brotherwind(air)Water(sor’Acqua)–sisterwaterFurthermore,reflectingthecreationnarrativeinGenesis1,Francisincorporatesthefirmamentoftheheavensintohisfamily:Sun(frateSole)–brotherSunMoonandstars(soraLunaelestele)–sisterMoonandstarsHecompletesthelifecyclewithareferenceto“soranostraMortecorporale”or“oursister(bodily)death,”perhapsreflectingthepoet’simpendingdeath.ItwouldbeanerrortorefertoFrancisasa13thcenturyecologistorevenaproto-ecologist.Evenso,theinterrelationshipofthenaturalcreatedorderandallcreaturesisapparentinhispoem.ForFrancis,God(“Signore”orLord)issurelythesourceofcreation,andtheimpliedroleforhumanityincreationisstewardship,aHebraicperspective,ratherthandomination,aHellenisticunderstanding.Theinclusivitydemonstratedinthisthepoemextendstoaperfectgenderbalance–brotherandLordversussisterandmotherThereisnomentionof“King”intheItalianthoughtheSignoreisindeedmosthighandmostpowerful.WhilethevariedgenderreferencesfortheconstituentpartsofnaturemayhavebeencommoninFrancis’time,forthe21stcenturysinger,genderinclusivitysignifiesaclosefamilialrelationshipbetweentheCreatorandcreatedaswellashumanityandthenaturalcreatedorder.Theresultisabio-centeredunderstandingofcreationratherthanthemorestandardanthropocentricmodel.Regardlessoftheoriginalintentofthepoet,we,with21stcenturysensibilitiesandperspectives,mayaskcertainquestionsuponsingingthishymn:Whatwouldourearthbeliketodayifwecaredfortheelementsofthecreatedorderaswewouldourfamily?Wouldthepollutionofwaterandair,increasingscarcityofresources,andtheimpendingextinctionofmanyspeciesofplantsandanimalsbeascriticalifwetrulysawallcreaturesaspartofthefamilyofcreationgeneratedbyGod?Doweseeourselvesasthecrownofcreationorasanintegralpart?HowdoweseeourselvesaandtherestofcreationinrelationtoGod?HowdoweseedeathasapartofGod’screatedorder?“ISingtheAlmightyPowerofGod”(1715)

IsaacWatts(1674-1748)providesoneofthestandardEnglish-languagehymnsonthethemeofcreation.Aptlytitled“PraiseforCreationandProvidence”inDivineSongsAttemptedinEasyLanguageoftheUseofChildren(1715),thishymn,theonlyonestillincommonusefromthiscollection,expressesasolidCalvinistdoctrineofcreation.WhilenotspecificallyahymnbasedontheApostles’Creedaccordingtothepreface,achildinWatts’daywhosangthehymnwouldlikelythinkofthishymnasatheologicalamplificationofthefirstarticleoftheCreed:“IbelieveinGodtheFather,Almighty,Makerofheavenandearth.”Eventheopeninglineofthehymn,“almightypowerofGod,”echoesthebeginningoftheCreed.TheopeningstanzasoffermanyimagesfromGenesis1and2thatwouldstirthevisualimaginationofchildren(hypotyposis*):“mountains,”“flowingseas,”“loftyskies,”aswellasthesun,rulingbyday,andthemoonbynight.”God“filledtheearthwithfood”and“formedthecreatureswithHisword”suggestingananthropomorphicrepresentationoftheCreatorconsistentwiththebiblicalwitness.Consistentwiththebiblicalaccount,God“pronounced[creation]good.”ThisaffirmationofcreatedmattercertainlyfliesinthefaceofanyGnostictendencies.Originallyineightfour-linestanzas,thestrongCalvinisttheologyofcreationcharacterizedbythetotalsovereigntyofGodisapparentthroughout.Furthermore,conceptsofomniscience,omnipotence,andomnipresenceindicatethatGodcontinuestobeactivelyinvolvedincreationbeyondtheinitialcreativeimpulse,thusindicatingnotraceofdeisticphilosophy.God’somniscienceisevidentinthisstanza:IsingthewisdomthatordainedThesuntoruletheday;ThemoonshinesfullatHiscommand,Andallthestarsobey.ThefollowingstanzaspeaksofGod’somnipotence:There’snotaplantorflowerbelowButmakesThygloriesknown;AndcloudsariseandtempestsblowByorderfromThythrone.God’somnipresenceroundsouttheCalvinistunderstandingofthetotalsovereigntyofGod:Creatures(asnum’rousastheybe)Aresubjecttothycare;There’snotaplacewherewecanflee,ButGodispresentthere.

Onfirstglance,onemightthinkthatthisstanzaindicatespantheistictendencies.However,God’spresenceisoneofcareandWattsdoesnotindicatethatGodresidesinthenaturalcreatedorder,butthattheelementsofnaturebearwitnesstotheCreator–“makeThygloriesknown.”AnomnipresentGodcouldseemoppressivetoachildofanyage.Watts’sfinalstanza,however,concludesthehymnwitharhetoricalquestion*thatstressesthebenevolentsideofthisalmightyGod,aGodwhoalsoguards,guides,andlovesus:God’shandismyperpetualguard,HeguidesmewithHiseye;WhyshouldIthenforgettheLord,Whoseloveisevernigh?ThoughplayinganimportantroleinthebroaderunderstandingoftheChristiannarrativeoncreationtheology,thishymnraisessomeinterestingquestionsforthe21stcenturysinger:1)WhatistheroleofhumanityinWatts’screationtheology?Itistoobserve,admire,andenjoyitasthefollowingstanzaexpresses:Lord,howthywondersaredisplayedWhere’erIturnmineeye,IfIsurveythegroundItread,Orgazeupontheysky!Wattspaintsagrandpainting,orperhapsaseriesofpaintings,throughwhichwemayviewsomewhatobjectivelythegrandeurofcreationinallitsmagnificence.Wearevisitorsinthegrandgalleryormuseumofthegalaxy.GodhaspaintedthisresplendentcosmiclandscapeandwearethebeneficiariesofGod’sbeneficencetowardus.2)God’spowerisexpressedinanexamplethatmaybetroublingforthe21stcenturysinger:...AndcloudsariseandtempestsblowByorderfromThythrone.Thismaymaketheologicalsensetoanearly18thcenturycitizenofGreatBritain,aseafaringpowerthatruledthewaves.Howelsemightoneexplainthedisappearanceofships,withoutatraceoranapparentreason?Many21stcenturysingers,however,willnotbewillingtoascribepresent-daydevastationswroughtbytsunamis,typhoons,earthquakes,hurricanes,andothernaturaldisasterstoGodasadestructiveforce.Wattscertainlyallowedforthisviewinanearlyuniversallyomittedstanza:InHeavenheshineswithBeamsofLove,WithWrathinHellbeneath:

‘TisonhisEarthIstandormove,And‘tishisAirIbreath[e].Watts’hymnexpressesthesovereigntyofGodasanactiveandpervasiveforceinnature.ComparethishymnwithonebyhiscontemporaryJosephAddison(1672-1719),“TheSpaciousFirmamentonHigh”(1712).Addison’stextreflectsmorecloselythephilosophyofdeism,aGodwho,followingthecreativeimpulse,letsthecreativeordercontinueonitsown.God’sdivinityisacknowledgedinthefinalline–“Thehandthatmadeusisdivine.”–butdoesnotclaimanyfurtherinvolvementinthenaturalcreatedorder.Whilethereismuchdiscussionabouttheforcesofnatureandtheroleofhumanityineffectingchangesinclimateinthe21stcentury,currentscientificthoughtandtheologicaldiscoursecertainlyindicatesthatthishymn,evenititshighlyeditedformasitappearsinmosthymnals,cannotexpressacompletetheologyfortoday.Nevertheless,thishymnraisesthequestion:howdowerelateGodasCreatortoGodasSustainer,Governor,andSovereign?“AllThingsBrightandBeautiful”(1848)CecilFrancesAlexander(1818-1895),aDublinnative,wroteaseriesofhymnsontheApostles’CreedpublishedinHymnsforLittleChildren(1848).Thishighlyeducatedpoet,bornintoanIrishfamilyoffinancialmeans,wasalsoknownforhercharityanddevotiontothepoorandsick.Thehymn,anelucidationofthesecondphraseoftheApostles’Creed,“MakerofHeavenandEarth,”beginswithoneofthemostrecognizedstanzasinallofChristianhymnody,astanzathathasbecometherefrainwhensungtothetuneROYALOAK:Allthingsbrightandbeautiful,Allcreaturesgreatandsmall,Allthingswiseandwonderful,TheLordGodmadethemall.AuthorJamesHerriot(1916-1995),aBritishveterinarysurgeon,wroteaseriesofsemi-autobiographicalworksbasedoneachlineofthisstanzabeginningwithAllCreaturesGreatandSmall(1972),followedbyAllThingsBrightandBeautiful(1974),AllThingsWiseandWonderful(1977),andTheLordGodMadeThemAll(1981).WonderandbeautyareascribedtothephysicalaspectsofGod’screation,theantithesisofaPlatonicidealthattruebeautyresidesonlyinformsandideasandnotinthings.WrittenduringtheRomanticperiod*ofpoetry,theauthorengagesoursensesasweexperiencenature.Stanzatwofocusesoncreationinminiature–“little

flower”,“eachlittlebird”with“tinywings.”Stanzafourtakesinthegrandeurofthenaturalworld–seethe“purple-headedmountain”,hearthe“riverrunningby”,andwonderatthe“sunset,andthemorning.”Instanzafivewefeelthe“coldwindinthewinter”andthe“pleasantmorningsun.”StanzasixdescribesalovelyIrishmeadow(orperhapstheLakeDistrictinEngland).Wecanseethe“talltreesinthegreenwood”andthe“rushesbythewater.”Thesceneispaintedsoeffectivelythatweseemtobeapartofit.WhereasIsaacWatts,nearly150yearsearlier,paintedacosmiclandscapeforustoview,Mrs.Alexanderseemstoinviteusintothemeadowforawalk.WhatisthetheologyofcreationproposedbyAlexander?Godreignsovertheentirecreatedorder.HumanityparticipatesfullywithallsensesinGod’screation,andwearethebeneficiariesoftheAlmighty’screativebeneficence.ThefinalstanzaindicatesthatthroughGod’screation,ourroleistobearwitnessoftheOnewho“madeallthingswell”–aparaphraseofGenesis1:“...Godsawthatitwasgood”(KJV):Hegaveuseyestoseethem,Andlipsthatwemighttell,HowgreatisGodAlmighty,Whohasmadeallthingswell.Fromtheperspectiveofthe21stcentury,itmayalsobenotedthatthetopographydescribedinthishymngenerallysituatesitinthenorthernworld,especiallyinEuropeandpartsofNorthAmerica.TogetherinSong:AustralianHymnBookII(1999)experimentswithseveralstanzas,somesayquestionably,thatdescribethiscontinent,oneofwhichfollowshere:Themanycolouredcorals,thecreaturesofthesea,ofbushland,fieldordesert,onfarms,orroamingfree.Whiletherearethosewhosaythatitisadvisabletocomposeanewtextratherthanadaptanexistinghymn,especiallyalong-timefavorite,singersinthe21stcenturyareincreasinglyawarethattheearthhasdiverseecosystemsthatareinterdependentandthatnoonetopographicalperspective,especiallywhentheplanetisviewedfromspace,isdominant.Howdoesourphysicallocationontheplanetaffectourperspectiveofcreation?“ManyandGreat,OGod,AreThyWorks”(“Wakantankatakunitawa”)(1846,1930)

ThishymnbyJosephRenville(1779-1846),thesonofaFrenchCanadiantraderandaDakotaNativeAmericanmother,isarguablythemostfamiliarNativeAmericanhymntoappearinmanyhymnals.Itappearsin“Dakotadownanpikin”(1846),asupplementtothefirstDakotanhymnal,DakotaOdowan(“DakotaHymns”),awords-onlycollection(1842),withthedesignationfollowingstanzaseven,“Mr.R”.Jeremiah10:12-13:“Hehathmadetheearthbyhispower,hehathestablishedtheworldbyhiswisdom,andhathstretchedouttheheavensbyhisdiscretion.Whenheutterethhisvoice,thereisamultitudeofwatersintheheavens,andhecauseththevapourstoascendfromtheendsoftheearth;hemakethlightningswithrain,andbringethforththewindoutofhistreasures.”(KJV)

PhilipFrazier(1892-1964),whoseparentswerefull-bloodSiouxIndians,paraphrasedthefirstandlaststanzasandpresenteditfortheNationalConventionoftheYWCAin1930inDetroit,Michigan.ThetuneLACQUIPARLE(Lakethatspeaks),namedaftertheDakotaLacquiParleMissioninChippewaCounty,Minnesota,waslistedintheoriginalpublicationasa“DakotaNativeAir.”

Theincipit*ofthehymnbeginswith“GreatSpiritGod,thethingswhichareThine.”AliteraltranslationbySydneyH.ByrdofallsevenstanzasfoundinTheHymnal1982Companion(1990)resonateswiththeDakotabeliefin“Wakan,”aPowergreaterthanpeople.

ThefirststanzaparaphrasestheideasofJeremiah10:12-13.Comingfromapeoplewhosewellbeingdependedonanintimateunderstandingtheseasonsandmaintainingabalancebetweentheresourcesofferedbynatureandtheirneedsforsurvival,therelationshipwithGodisbothoneofawe(“thoughyoutranscendthestars”)andintimacy(“closetousandstaybyourside”).Thisantithesis*isfoundinseveralplacesintheOldTestament.ThefirstcreationaccountinGenesis1stressesthecosmicGodwherethesecondaccountinGenesis2istheintimateGodwhowalkswithhumanbeingsinthegarden.StanzatwoparallelsanunderstandingofGodfoundthepsalterwhereGod’spresencerangesfromthecosmicmajestyofPsalm8:1(“OLord,ourLord,howexcellentisthynameinalltheearth!Whohastsetthygloryabovetheheavens.”)totheintimateunderstandingoftheOnewhorespondstousmoreintimatelyfoundinPsalm139:13(“Foryoucreatedmyinmostbeing;youknitmetogetherinmymother'swomb.”).

AparaphraseofadditionalstanzabyFraziernotfoundinhymnalsemphasizeshumanity’sutterdependenceupontheCreator:

Yourwill,mysteriousandsostrong,Bringsgrowthtoalltheearth.FoodforoursoulsandclothingtowearArelikeyourcupthatblessesandfills.ProvideforuseachdayofourlivesSufficientforourneeds.

SpiritualandphysicalneedsareinperfectbalanceandunityindicatingnotraceofPlatonic,docetic,orGnosticphilosophies.Plentifulnatureandpersonalrequirementsforsustaininglifeareinterdependent.ThishymnexpressesarelationshipwithWakanthatextendsbeyondthenaturalcreatedorderonearthtoaseamlesstransitiontothenextlife–“lifethatnevershallend,eternallifewithyou.”“ManyandGreat”contributesacreationtheologythatexpressesthespiritualandphysicalonenessoftheentirecreatedorder.Thecreatedbeingandthenaturalcreatedorderareinseparablebothinearthlyandeternallife.Howmayurbandwellersrelatetothishymn?

“RisetoGreettheSun”(清晨歌)(1931,1946)ThecollaborationbetweenaChinesetheologianandanAmericanmissionarycoupleandledtothecompositionofthehymn“Risetogreetthesun.”ChaoTzu-chen(1888-1979)wasawellknowntheologian,educator,poet,andauthor.HewasborninZhejiangProvince,China.

Anecumenist,ChaoattendedtheinterdenominationalMissionaryCouncilthreetimes–1929inJerusalem,1939inMadras,India,and1947inWhitby,Canada.[HewaselectedasoneofsixpresidentsoftheWorldCouncilofChurchesin1948,thefoundingyearoftheCouncil.

Bliss(1895-1975)andMildred(1898-2001)WiantwereAmericanmusicmissionariesfromtheMethodistEpiscopalChurch.TheyservedinPeking(nowBeijing),China,whereBlissasheadofthemusicdepartmentatYenchingUniversityandlaterasaprofessoratChungChiCollege,ChineseUniversity,HongKong.HewasmusicaleditorofthefirsteditionofHymnsofUniversalPraise(1936),aunionhymnalprojectofseveraldenominationsand,alongwithMildred,translatedmanyChinesehymnsintoEnglish.Thiswatershedhymnal,nowinitsthirdedition,containednotonly400westernhymnsintranslationbutalsoincluded62hymntextsbyChineseChristiansand72tunesofChineseoriginorbyChinesecomposers.“RisetoGreettheSun,”withitspentatonic(five-tone)tuneLEP’ING(“peacefuljoy”)byHuTe-ai(b.c.1900),amusicstudentatUniversityofPeking,firstappearedinHymnsofUniversalPraise.

AnothertranslationbyFrancis(Frank)W.Price(1895-1974),“GoldenBreakstheDawn”(1953),isalsoinuse.TheWiants’translation,however,preservesmoreoftheoriginalimagesofthehymn.Thefirststanzapaintsabeautifulpictureoftherisingsun,ascribingtoitanthropomorphiccharacteristics:“warrior-likeandstrong,comelyasagroom.”ThisimageisdrawndirectlyfromPsalm19:4-5:“Theirlineisgoneoutthroughalltheearth,andtheirwordstotheendoftheworld.Inthemhathhesetatabernacleforthesun,whichisasabridegroomcomingoutofhischamber,andrejoicethasastrongmantorunarace.”(KJV)Itisunderthispowerfullight

thatbirdsfly,flowersthrive,andhumanstoil.Asthedaybegins,thesingerpraysforsafetyandfaithfulandgood“conduct,actionscalmandmild”instanzatwo.TheAsianculturalperspectiveisapparentasthesingerpraysbothto“venerat[e]ageandteach...youth”asappropriateservice.AfocusonrightconductmayindicatetheunderlyingethicsofConfucianphilosophy.ThefinalstanzaasksforGodtoblesstheday.BytrustingJesus,thesingerwillbe“freedfromill[under]fairbluesk[ies].”Godwillsupplythesimplethings–a“cottoncoat”and“plainfood”—satisfying“allmycountlessneeds.”Inthissurveyofcreationtheology,thishymnremindsusoftheinterrelationshipbetweentheCreatorwhoshapestheseasonsandthefarmerwhoworkstheland,amodelofstewardshipratherthandominion.Thegiftsofcreationarereceivedwiththankfulnessandresponsibility.Godisactivelysupportingthefarmerandhisfamily,thusnodeistictendencies.JustasGodsustainsthefarmerthroughcreation,thefarmerhonorshisneighborsandfamily.Humilityandasimplelifestylesustainthefarmerinbothhisphysicalneedsandhisrelationships.Doesthisperspectivestillhavemeaningintheworldofcorporatefarmingandgraincommodities?Whatisourethicalresponsibilitytoeachotheraswellastotheland?

“MorningHasBroken”(1931)

Sometimesamelodyprovidestheimpetusforahymntext.PercyDearmer(1867-1936),editorofSongsofPraise(1931),requestedathanksgivingtextfromthepoetEleanorFarjeontotheliltingGaelictuneBUNESSAN.Indeed,themelodycannotbeseparatedfromthispoem.EleanorFarjeon(1881-1965)wasborninWestminster,London,England.Shewasthedaughterofanovelistandhadaround80workstohercreditincludingNurseryRhymesofLondonTownandTheGlassSlipper.“MorningHasBroken”appearedfirstintheUnitedStatesinTheHymnbook(1955)ofthePresbyterianChurch,butitwasnotuntilCatStevens(nowYusufIslam)sangitonhistripleplatinumalbumTeaserandtheFirecatin1971thatthesongbecamewellknownand,asaresult,hasbeenincludedinmosthymnalssincethattime.Thisisarare,thoughnotunique,exampleofaChristianhymnreceivingacclaimthroughthepopularmedia.ThetuneBUNESSANdemandsalesser-useddactylic*poeticmetergroupedinthrees.Theresult,accordingtoBritishhymnologistJ.R.Watson,isa“springyrhythm…[anda]beautifullysustained…poem[that]makesadelightfulandcharmingmorninghymn.”ItwasfirstprintedinLachlanMacBean’sSongsandHymnsoftheGael(1888).AproductoftheRomantic*periodofpoetry,theauthorengagesvirtuallyallthe

senses.Instanzaone,wehearthesoundsoftheblackbird,anechoofthe“Word”thatcalledforthcreationinGenesis1andthevoiceoftheIncarnationitselfinJohn1.Inthesecondstanza,thepoetappealstooursenseofsmell–“Sweettherainsnewfall”–thetouchofthewarmsun,and“thefirstdewfallonthefirstgrass.”ThestanzacloseswithareferencetoGodwalkinginEdenthroughthegarden–“wherehisfeetpass,”anallusion*ofGenesis3:8:“AndtheyheardthesoundoftheLORDGodwalkinginthegardeninthecooloftheday.”Thereis,however,nohintinthisidyllicaccountofthefallofhumanitythatfollows,perhapsanindicationthatallwaswellbeforehumanity“pollutedtheenvironment.”Thefinalstanzafillsoursightwiththebrightnessofthemorningsunlight.Thepoetpersonalizesthisexperience:“Mineisthesunlight!Mineisthemorning.”Theauthorshiftsbackandforthintimebetweenthegardenofcreation,Eden,andtheunspoiled,picturesquegardenthatweimaginetoday.Weshareinthefreshnessandpossibilityofthe“onelightEdensawplay.”Ourresponseisunbridled“elation”for“God’sre-creation(orisitrecreation?)ofthenewday.”Atfirstglance,this“Morninghasbroken”mayseemnaïveinourcurrentpollutedenvironmentofwaningfreshwatersupplies,greenhousegases,andsmog.Surely,shewasawareofthefilthyconditionsofurbanLondonandtheindustrialdistrictofEnglandinherday.Bethatasitmay,unliketheearly20thcenturywhenFarjeonpennedthispoem,wenowknowthattheearth’sresourcesarelimitedanditsbeautyisourstopreserveandfoster.Yet,wealldreamforadaywhenthebeautyoftheearthmayberestoredandthattherisingofthemorningsunwillbeasymbolofhopewhereallwillshareintheearth’sabundance.Canwesingthishymnwiththeologicalintegrityinthe21stcenturyormightitbeseenasecologicalescapism?

“HowGreatThouArt”(“OStoreGud”)(c.1885,1939)

ThecomplicatedoriginsofthishymnbeginwithSwedishpastorCarlBobergaround1885.Boberg(1859-1940)wasaleadingevangelistofhisdayandtheeditorofaninfluentialperiodicalSanningsvittnet(“WitnessoftheTruth”).HeservedintheSwedishparliamentandpublishedseveralvolumesofpoetry,includinghymns,helpingcompilethefirsttwohymnalsfortheEvangelicalLutheranChurchofSweden.

Boberg'sinspirationissaidtohavecomeonedaywhenhewascaughtinathunderstorminthesoutheasterncoastofSweden.Theviolenceofthestormfollowedbythereturnofthesunandthesingingofbirdslefthimfallingtohiskneesinawe.SoonhepennedtheninestanzasoftheoriginalversioninSwedishbeginningwith“OStoreGud,narjagdenvarldbeskader.”Itwasseveralyearslater

whenBobergunexpectedlyheardhispoemsungbyacongregationtoanoldSwedishfolkmelody.

Thesubsequenthistoryofthepoemissomewhatunclear,butnonethelessinteresting.AnearlierliteralEnglishtranslationoffourofthestanzasbyE.GustavJohnson(1893-1974)in1925began“OmightyGod,whenIbeholdthewonder.”Thisversionnevercaughton,however,thoughitmaybefoundinsomehymnals.

In1907,ManfredvonGlehn(1967-1924)translatedthetextfromSwedishintoGerman.Itbecamethehymn,"Wiegrossbistdu."In1927,aRussianversionbytheevangelicalleaderIvanS.Prokhanoff(1896-1935)appearedinKimvali(“Cymbals”),acollectionpublishedbytheBaptistPressinPoland.EnglishmissionaryStuartK.Hine(1899-1989)andhiswifeheardtheRussianversionsungasavocalduetintheUkraine.

AstheHines’crossedintoSub-CarpathianRussia,themountainscenerybroughtbackthememoryofthissong.ThefirstthreestanzaswerecomposedwhileintheCarpathianMountains.Whenwarbrokeout,HinesandhiswifewereforcedtoreturntoEnglandin1939.Theyusedthefirstthreestanzasinevangelisticendeavorsduringthe"Blitzyears."Thefourthstanzawasaddedafterthewar.

BaptisthymnologistWilliamReynoldscitescommentsbyGeorgeBeverlyShea(1909-2013)onthehymn'sintroductionintheUnitedStatesthroughtheBillyGrahamCrusades:"Wefirstsang[it]intheToronto,Canada,Crusadeof1955.CliffBarrows[1923-2016]andhislargevolunteerchoirassistedinthemajesticrefrains.Soonafter,weuseditinthe'HourofDecision'[radiobroadcasts]andinAmericancrusades.IntheNewYorkmeetingsof1957thechoirjoinedmeinsingingitninety-threetimes!"

ThefirsttwostanzasestablishthegrandeurofGod’screationwhiletherefrainestablishesourresponse,“Howgreatthouart!”Instanzathree,theGodofthenaturalcreatedordercontinuesthecreativeactbysendingGod’sSontoredeemalosthumanity.Withthisstanza,theprimarytheologicalperspectiveshiftsfromcreationtoatonement.Whilethefirsttwostanzasexpresshumanity’saweatthenaturalcreatedorder,thisisnottheultimategoalofthishymn.HumansinhasmarredthegiftoftheCreator.Thevividdescriptionofnatureinthefirsttwostanzasfindsitsfulfillmentinheavenorwhenweescapetheearth.Thefinalstanza,however,maybeseenasthecompletionofthestoryofcreationandhumanredemptiononaneschatologicalnote;thefulfillmentofcreationtakesplaceinheaven.Thus,thishymnembodiesthesweepoftheredemptionstoryfromGenesistoRevelation.Giventhesweepingandshiftingtheologicalterritorycoveredinthishymn,therefraintiesallofthethemestogetherwiththereiterationofthehymn’scentralpremisefourtimes,“Howgreatthouart!”

“FortheFruitsofThis/AllCreation”(1970)

With“FortheFruitsofThisCreation”(originally,“Forthefruitsofhiscreation”)ourdiscussionofcreationtheologytakesasignificantturn.Writtenin1970,FredPrattGreen(1903-2000)shiftstheperspectivefromtheadmirationofthenaturalcreatedorder,tothesustainabilityofcreation,theinterdependenceofallnations,andthepartnershipbetweentheCreatorandhumanityincaringfortheearthandforeachother.Publishedas“HarvestHymn”intheBritishMethodistRecorderinAugust1970,thishymncombinesourgratitudetoGodforthebountiesoftheearthwithourresponsibilitytocareforourneighborthrough“theharvestswearesharing”(stanzatwo).Green’sconcernforjusticeandasocialgospelisoftenevidentinhishymns.Theformofthishymnisasunglitany*witharecurringresponse,“ThanksbetoGod”(stanzasoneandthree)and“God’swillisdone”(stanzatwo).Eachstanzaalludestoourresponsibilitytocareforalltheearthanditspeople:StanzaonecitesGod’s“goodgiftstoeverynation.”Stanzatwomentions“ourworldwidetaskofcaringforthehungryanddespairing.”Stanzathreecontinuesthisthought:“thegoodweallinherit.”Appropriately,thisharvesthymnspeakswiththehopeeverytableatThanksgivingwillreflectthebountyofseveralpartsoftheearth,notjustlocalfood.Thisalsoimpliesourecologicalinterdependenceasweusetheearth’sresourceswisely,considering“futureneedsinearth’ssafe-keeping.”Creationisanongoingeventinthetheologyofthishymn.Godcontinuestobeactivelyinvolvedinthefutureoftheplanetthroughthesustainableactivitiesofhumansandthenaturalresourcesstoredforour“futureneeds.”Thepoetreplacesthenearlyubiquitoususeofpasttensepresentinearlierhymns–“Godmade”–withpresentparticiplesinthefirststanzaimplyingthatcreationisindeedstillhappeningonthelivingorganismthatwecallearth:Fortheplowing,sowing,reaping,Silentgrowthwhilewearesleeping,Futureneedsinearth’ssafe-keeping...Whilemostoftheearlierhymnsimplystewardshipoftheenvironment,stewardshipisanexplicitlyexploredbyPrattGreen.TheHellenisticdominionphilosophyfindsnoroleinthishymn.Stanzatwo,beginning,“Inthejustrewardoflabor...”fostersanunderstandingofdignityinhumanwork(“plowing,sowing,reaping”)ratherviewingthetillingofthesoilasacurseorpunishmentofhumanityafterthefall.

Thoughnotstatedexplicitly,thishymnisshapedbyaTrinitariantheology.StanzaonespeakstotheGodofcreation;stanzatworeferencesChrist’stwincommandmentsinMatthew22:38-39including,“Loveyourneighborasyourself.”Stanzathreealludestothe“harvestsoftheSpirit”–areferencenotonlytotheHolySpiritatPentecost,butalsototheJewishseasonofPentecost,theclosingfestivalofthePassoverseasonandatimeofharvest.Perhapsthemoststirringpartofthehymnisthelasthalfofthefinalstanza:Forthewondersthatastoundus,Forthetruthsthatstillconfoundus,Mostofallthatlovehasfoundus,ThanksbetoGod.

Thisamazingtercet*notonlydisplaysapoetictourdeforce,butalsosuggestshomagetooneofthegreathymnsbyCharlesWesley.Notethetranscendentmysterythatcharacterizesbothpoets.Wesleyconcludes“LoveDivine,AllLovesExcelling”withthesefamiliarlines:Changedfromgloryintoglory,Tillinheavenwetakeourplace,Tillwecastourcrownsbeforethee,Lostinwonder,loveandpraise.

BothpoetsdisplayaWesleyanwonderattheloveofGodmanifestincreation(Green)andintheIncarnationofChrist(Wesley)usingalanguagethatgoesbeyondtheliteraltotheawe-inspiring.Lookingmorecloselyatthishymn,howdoesitreflectcurrentecologicalthinkinginwaysthatprevioushymnshavenot?Though“FortheFruitofThisCreation”waswrittenforthewell-constructedtuneEASTACKLAM,composedin1957byBritishcomposerFrancisAlanJackson(b.1917)inthegrandEnglishcathedralstyle,somehymnalspreferthemorefamiliarWelshtuneARHYDYNOS.“IAmYourMother”(“EarthPrayer”)(1993)NewZealanderShirleyErenaMurray(b.1931)engagesthesingerdirectlyinthestruggleforthesurvivaloftheearthand,asaresult,theveryexistenceofhumanity.Originallytitled“EarthPrayer,”thesingersencounterstheearthasamotherwhogiveslifetoherchildren,butreceivesinreturnonly“neglect”(stanzaone),destruction(stanzatwo),“abuse”(stanzathree),anddenial(stanzafour).Whilethelanguageisrawandthemessagedesperate,thetuneEARTHPRAYERcomposedbySwedishLutheranpastorandmusicianPerHarling(b.1948)contrastsandcomplementsthetextbysuggestingalullabytocomfortasicklyearth.

Shebegantowritehymnsinthe1970stoundergirdherhusband’sprogressivetheologyandtheworkofAmnestyInternational.ThefirstindependentpublicationofherhymnswasInEveryCorner,Sing(1987),acollectionthatfeaturedmanythemesthatshewouldcontinuetodevelop.FellowNewZealanderandhymnwriter,ColinGibson(b.1933)highlightsthesethemes:“thesearchforpeace,justiceandhumanrights,inclusiveness,thehonoringofwomenandthefeminineelementinspirituality,celebrationofthenaturalworldandtheNewZealandenvironment,acalltosocialresponsibilityandalifeoffaithlivedoutwithcompassionandhopefulness.”Alamentonhumanity’sabuseoftheearth,thishymnreflectsthegrowingawarenessofmutualinterdependenceofallhumanityandrelianceonGod’screationforoursurvival.Thescientificcommunityisvirtuallyunanimousinitsassertionthattheearthhasadiminishingwindowinwhichtomakesignificantchangesinordertoavoidglobalcatastrophesthatwillaffectallofitsinhabitants.Oneofthemostunusualaspectsofthetextisthepointofview*ofthehymn;itiswrittenfromthefirstpersonsingularperspectiveoftheearththatsuffersbecauseofhumanity’sabuseofherresources.Yet,itisnotentirelycleartowhomthepronoun“I”refersinthefirstthreestanzas.Incorrespondencewiththeauthor,Murrayexplains,“Iwroteitinthefirstpersonoutofasenseofdesperationthateco-theologywasnotbeingregardedseriouslyin1993.Maybethat’schanged.”

TheauthorstressesourmutualinterdependenceonGod’screationforoursurvivalthroughoutthehymn.Stanzaonestates“mybreathisyourbreath,/mydeathisyourdeath...“Successivestanzascontinuethisapproach:“mygoodisyourgood,/myfoodisyourfood”(stanzatwo);“myhealthisyourhealth,/mywealthisyourwealth”(stanzathree).Thefinalstanzarevealsthereferentforthepronoun“I”–“DonotdenyGod.”Thisclarifiesthat“I”isnotMotherEarthorGaia–aGreekpersonificationoftheearth,butthatour“neglect,”destruction,and“abuse,”isdirectedtowardourCreator.BypostponingthereferencetoGoduntilthefinalstanza,sheincreasesthedramaticpoignancy.

ShirleyMurraygivesmuchattentionthestructureofherhymns.Thisisevidentintheurgencyinlinetwoofeachstanza–“neglect,”“destroy,”“abuse,”“deny.”Furthermore,thelastlineofthefirstthreestanzassuggestsaprogressionofthought,graduallyandliterallyliftingoureyes:

...ashestoashes,dustintodust.(stanzaone)

...waterandflower,branchesandfruit.(stanzatwo)

...shiningwithpromise,setamongstars.(stanzathree)

Thusshemovesusfromhumuswiththewordsspokenatgravesideservices,tothegreeningoftheearththroughitswaterandflora,tothehopeofhumanityintheheavens.Asscientiststellus,weareliterallymadeofthestuffofthestars.

Itisthefinalline,however,thatsetsthishymnapartfromearlierhymnsonthistheme.Classicstrophic*hymnsusuallywrapupthethemeofthehymninsomefairlyconclusiveway.ShirleyMurrayredefinestraditionalhymnstructurestomakeherpoint.Reprisingthefirstlineofthehymn,shethenconcludeswithanellipsis(...)ratherthantheexpectedfinalpunctuationmarkthatsignifiesclosure.

Iamyourmother,tearsonmyface...

Regretfully,hymnalsdonotpreservethisfeatureofheroriginalpoem,analterationthatweakenstheeffectofthehymn.Theuseofellipsissuggeststhatasabusiveashumanityistoeachotherandtotheearththatcradlesus,weliterallystillhavetheopportunitytowriteanotherstanza.Whatwillournextstanzalooklike?

Perhaps,thishymnapproachespanentheismasnearlyasanyreviewedinthischapter.Thesurvivalof“mother”andthehumanityaremutuallydependent.TodenyourmotheristodenyGodaccordingtothefinalstanza.Thisisnotpantheism.Godisapartofcreationbutstilldistinctfromit.Godisworkingforourgoodintheworld,butrequiresthestewardshipofhumanstosustaintheearthcreatedforus.

“GodofWonders”(2000)

Ourjourneytakesustothe21stcenturywith“GodofWonders”(2000)composedbysongwritersSteveJ.HindalongandMarcByrd,andperformedbycontemporaryChristianartistChrisTomlin(b.1972).ReminiscentofSt.Francis’hymn800yearsearlier,thissongpraisesthe“Lordofallcreation/ofwater,earth,andsky”–areferencestothreeofthefourelementsofmedievalearthscience.Thefinallineofthefirststanza,“GlorytotheLordonhigh,”parallelsthe“mosthigh”(“Altissimu”)LordofFrancis’paeanandechoesLuke2:14.

Atfirstglance,itmightappearthattextuallythissongaddsnothingnewtoourdiscussionofcreationtheology.Thekeydifferenceisthecomposers’referencetothe“Godofwondersbeyondourgalaxy...theuniversedeclaresyourmajesty.”The21st-centurysingerhasseenimagesoftheearthrise.YouTubeinterpretationsofthissongdisplayimagesavailablefromtheHubbletelescopethatprobethedepthsoftheknownuniverse.Ourunderstandingoftheheavenlyrealmhasmovedbeyondthesun,moon,andstarsof18thcan19thcenturyhymnstotheincomprehensibleuniverse.ThefiniteroleandlimiteddimensionsofhumanunderstandingcontrastsinverselywithourexponentiallyincreasedawarenessofthevastsizeandscopeoftheinfiniteholyGod,madepossiblethroughscientificexplorationoftheuniverse.

Thissongdoesnotdealtheologicallywiththeoriginsoftheuniverse,refertothecreationnarrativesinGenesis1and2,theroleofhumanityinsustainingittheresourcesofearth,orwithanyunderstandingofGod’scontinuingroleincreationsuchasthatposedbydeists.Theresponseissimplyoneofawe,“Youareholy,holy.”

“HowMinisculeThisPlanet”(2011)

ThomasH.Troeger(b.1945),J.EdwardandRuthCoxLantzProfessorofChristianCommunicationEmeritus,YaleDivinitySchoolandYaleInstituteofSacredMusic,oftenfocusesontheintegrationofscientificthoughtandfaith.Reflectingrelativelyrecentcomputer-enhancedimagesofuntoldgalaxiesinthevastuniversefromtheHubbleTelescope,thepoetchoosestheword“miniscule”todescribeearth.Employingtautology*tomakehispoint,hefurtherdescribestheminutenatureofourplanetwiththreefurtherimages:...amotethatfloatsinvastness,meredustthatcatcheslight...thistiny,mite-sizedearth.

Inspiteofthesizeofearthinthegrandschemeoftheuniverse,Godcounts“allcreatureswhoinhabit”thisplanettobeof“boundless,preciousworth.”

Notcontenttofosteradividebetweenfaithandscientificadvances,Troegerseesthemworkingtogetherto“extendwhatwecansee/andamplifyourwonder....“Heemploysscientificterminologyinhymnsintegratingthelanguageofsciencewiththeologicalconcepts:

...energyandmatterhavecoalescedinspaceasconsciousnessandmeaning,andheartsthatyearnforgrace...

Inthefollowingstanza,Troegerrepeatskeywordsofstanzatwo–“matter”and“energies”withthedeepertheologicalsignificanceoftheincarnation:

...theChristinwhomallmatter,andenergiescohere,isbornuponthisplanetanddwellingwithushere.

Reiteratingathemefoundinotherhymnsonthisthemesuchas“EachBreathIsBorrowedAir,”thepoetstressestheinner-connectivityofallmatterintheuniverseinthefinalstanza,resultinginultimatevaluesofexistence,“lightandlifeandlove”:

ByChristweareconnectedtoeveryshiningstar,toeveryatomspinning,toallthethingsthatare,andtoyourverybeing,around,below,above,suffusingeachdimensionwithlightandlifeandlove.ThomasH.Troegercopyright©2011OxfordUniversityPress

Conclusion

Generally,hymnsonthethemeofcreationdonotdirectlyaddressthenatureofGod’screativeact,eitherexnihilo(fromnothing)oradextra(apartfromGod).AsindicatedinWatts’s“ISingtheAlmightyPowerofGod”andRenville’s“ManyandGreat,OGod,thesovereign,allpowerfulGodspeaksandworldscomeintobeing.ThehymnsselectedforthisstudydonotentertainanyGnosticmisgivingsabouttheevilofthematerialworld.NeitherarePlatonicordoceticperspectivesapparent.Thematerialworldisgood–verygood.Fromthemiddleofthe19thcenturyforward,hymnssuchasFarjeon’s“MorningHasBroken”andHine’s“HowGreatThouArt”offerafullerempiricalexperience,callingustoembraceGod’screationwithalloursenses.Thehymnschosenforthischaptergenerallyavoidanytracesofdeism,assertingtovaryingdegrees,God’scontinuingworkintheworldrangingfromtotalsovereigntytomoregeneralgratitudeforthechangingseasons.WhileGodisthesinglesourceofcreation,therecognitionthatGodisstillatworkintheworldisuniversallyimpliedandincreasinglyexplicitasweapproachthelasthalfofthe20thcentury.Hymnaleditorsaregenerallycarefultoavoidpantheisminhymns.Tracesofpanentheismareapparentinearlierhymns,especiallyinthosebyChaoandRenville,indicatingthatthenaturalcreatedorderistheresultofGod’sdirectactionandanextensionofGod’slove,butnotidenticalwithGod.“ManyandGreat,OGod”and“RisetoGreettheSun”assertaninterdependencebetweentheCreatorandthosewhosesurvivaliscontingentuponhardworkandagooduseoftheland.Itisnotuntillaterinthe20thcenturythathymnssuchasthosebyFredPrattGreenandShirleyMurrayexplicitlyaffirmamodernecologicalperspectivethatclearlyeschewshumanity’sdominionovertheearthandadvocatesforacovenantalpartnershipbetweenGodandhumanity.Thesehymnwritersaswellasagrowingnumberofothersareawarethathumansurvivaliscontingentupontheinterdependenceofallnationsandglobalstewardshipoftheearthanditsresources.“GodofWonders”and“HowMinisculeThisPlanet”returnustothewonderoftheuniverse,eachreflectingthespiritofPsalm8butindifferentways.Indoingsotheymayreflectpanentheism,distinguishingbetweentheuniverseandGod,butclearlyreflectingtheeternalloveandlightoftheCreatorfromwhomalllifeoriginates.

IndexofhymnscitedinselectedcurrenthymnalsandPanorama.

Additionalhymnsonthistheme(provisional)

Thespaciousfirmamentonhigh,JosephAddison,1712OworshiptheKing,RobertGrant,1833Forthebeautyoftheearth,FolliottSandfordPeirpoint,1864ThisismyFather’sworld,MaltbieBabcock,1915Greatisthyfaithfulness,ThomasChisholm,1923PraiseourGodabove,ChaoTze-chen,1931God,whosefarmisallcreation,JohnArlott,1950OLordofeveryshiningconstellation,AlbertBayly,1950God,whogivestolifeitsgoodness,WalterFarquharson,1970Theearthisyours,MichaelSaward,1971CreatingGod,yourfingerstrace,JeffreyRowthorn,1979CantemosalSeñor,CarlosRosas,1983OGodwhoshapedcreation,WilliamWatkinsReid,1987Wearenotourown.Earthformsus,BrianWren,1987Touchtheearthlightly,ShirleyErenaMurray,1991Starsandplanetsflunginorbit(NCH)Abovethemoonearthrises,ThomasTroeger,20??Eachbreathisborrowedair,ThomasTroeger,2002TheearthbelongstoGodalone,AdamTice,2006Forthedawningofcreation,DeloresDufner,20??

Sourcesforfurtherreading.

CitationsfromTheCanterburyDictionaryofHymnologyareavailablebysubscriptionandoftencontainadditionalsourcesattheconclusionofeacharticle.Gaunt,Alan."IsaacWatts."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/i/isaac-watts._____."IsingthealmightypowerofGod."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/i/i-sing-the-almighty-power-of-god.Andrews,JohnS."OLordmyGod,whenIinawesomewonder."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/o/o-lord-my-god,-when-i-in-awesome-wonder._____."StuartKeeneHine."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/s/stuart-keene-hine.

Gibson,Colin."ShirleyErenaMurray."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/s/shirley-erena-murray.Harris,Maureen."Forthefruitsofhiscreation."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/f/for-the-fruits-of-his-creation._____."FredPrattGreen."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/f/fred-pratt-green.Hsieh,Fang-Lan."ChineseChristianhymnody."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/c/chinese-christian-hymnody.Kimbrough,ST,Jr.."IvanStepanovichProkhanoff."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/i/ivan-stepanovich-prokhanoff.Watson,J.R."Allthingsbrightandbeautiful."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/a/all-things-bright-and-beautiful._____."Canticodifratesole."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/c/cantico-di-frate-sole._____."CarlGustavBoberg."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/c/carl-gustav-boberg._____."CecilFrancesAlexander."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/c/cecil-frances-alexander._____."EleanorFarjeon."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/e/eleanor-farjeon._____."Goldenbreaksthedawn."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/g/golden-breaks-the-dawn._____.“Morninghasbroken."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/m/morning-has-broken.

_____."ThomasTroeger."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/t/thomas-troeger.Young,CarltonR.andJ.R.Watson."JosephRenville."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/j/joseph-renville._____."Manyandgreat,OGod,arethyworks."TheCanterburyDictionaryofHymnology.CanterburyPress,accessedMarch16,2016,http://www.hymnology.co.uk/m/many-and-great,-o-god,-are-thy-works.