A Fourth Century Advent Hymn

On this day St. Ambrose, Bishop of Milan in the fourth century, is remembered. One of thirty-six “Doctors of the Church,” among his significant contributions to the Christian faith (including being the teacher of St. Augustine) is a rich collection of hymns, some of which continue to be sung to this day. A few years ago I shared a Christmas hymn of Ambrose. Today I would like to share an Advent hymn, “O Splendor of God's glory bright.”

Since I posted on hymns in the Gospel of Luke last week, it is interesting to notice the way that some themes of the Lukan hymns are taken up in Ambrose’s hymn. Ambrose’s hymn has its primary focus on the coming of Jesus as bringing light and illumination to humanity. Jesus is “Light of light,” “true Day,” and “very Sun of heaven’s love.” And in the final stanza he ends with the notion of a new dawn arising, with Jesus as “our perfect Morn.” These ideas echo the song of Simeon with his emphasis on the coming of Jesus as “a light for revelation” (Luke 2:32). Zechariah as well strikes these notes: “By the tender mercy of our God, the dawn from on high will break upon us, to give light to those who sit in darkness and in the shadow of death” (Luke 1:78,79). One striking difference from Luke’s hymns, and from the hymns embedded in the New Testament, is the very personal dimension that can be seen in stanzas 2, 3, 4, and 5. These verses shift the focus to the congregation itself in asking for divine assistance to live lives that are reflective of those who are in the light and no longer in darkness. This more personal dimension is a trend that can be seen in the hymnody that developed in the second century and beyond. To me, such development in successive generations illustrates one way that Christians of later eras built on the earlier traditions and adapted them to the needs of their day.

1 O Splendor of God's glory bright,
from Light eternal bringing light,
O Light of light, light's living Spring,
true Day, all days illumining. 

2 Come, very Sun of heaven's love,
in lasting radiance from above,
and pour the Holy Spirit's ray
on all we think or do today. 

3 And now to Thee our pray'r ascend,
O Father, glorious without end;
we plead with sovereign grace for pow'r
to conquer in temptation's hour. 

4 Confirm our will to do the right,
and keep our hearts from envy's blight;
let faith her eager fires renew,
and hate the false, and love the true. 

5 O joyful be the passing day
with thoughts as pure as morning's ray,
with faith like noontide shining bright
our souls unshadowed by the night. 

6 Dawn's glory gilds the earth and skies,
let Him, our perfect Morn, arise,
the Word in God the Father one,
the Father imaged in the Son.

Source: Hymnary.org

While looking for this hymn, I was pleased to discover a contemporary setting of this hymn by Zac Hicks. I found it to be a very meditative piece that reflects the solemnity of the words but also the celebratory joy of being invited to live in the light.

Advent and the Hymns of Luke’s Gospel

The four songs embedded within the first two chapters of the Gospel of Luke are a rich resource for reflecting on the advent of Jesus. Individually, they are meaningful and moving prayers and exclamations of praise in response to the good news about the arrival of the long-awaited messiah. Collectively, they reinforce and complement one another creating a tapestry of praise in celebration of the birth of the savior. The season of Advent is a perfect time to reflect on these beautiful passages.

For those unfamiliar with these passages, they are commonly referred to by their Latin names: the Magnificat (1:46–55) is the song of Mary; the Benedictus (1:68–79) is the song of Zechariah; the Gloria in excelsis (2:14) is the song of the angels; and the Nunc Dimittis (2:29–32) is the song of Simeon. Reading them as the responses of praise to the announcement and arrival of the promised savior is particularly instructive.

Themes of these songs include such things as the mercy of God, which is mentioned twice in the Magnificat and twice in the Benedictus; though the term is not explicitly used in the other two songs, they clearly reflect responses to God’s favor. The notion of reversals where the proud are brought low and the humble are raised up, or those in darkness are enlightened, are prominent in the Magnificat and Benedictus. The fulfillment of God’s promises to his people to deliver them is a theme of the Magnificat, Benedictus, and Nunc Dimittis. The arrival of light, salvation, forgiveness, and guidance into the way of peace are major themes of the Benedictus. The glorifying of God and the announcement of peace and God’s favor are themes of the Gloria in excelsis. Peace, light, salvation, and glory are themes of the Nunc Dimittis, along with the notion of the Gentiles as recipients of God’s enlightening and saving work through the savior. Taken together there is a very interesting move from the individual blessing of Mary, to the fulfillment of God’s promises of deliverance to God’s people, to the praise of the angels, to the enlightening work of the savior extending to all of humanity. In this way the progression of thematic praise to God in Luke’s birth narrative aligns with the overall thrust of Luke’s two-part masterpiece of Gospel and Acts. Both Luke’s Gospel and Acts end with echoes of this notion of the inclusion of the Gentiles in the people of God (Luke 24:47; Acts 28:28).

It is instructive to compare the contents and emphases of these four songs with the christological hymns embedded within other writings of the New Testament (e.g., Phil 2:5-11; Col 1:15-20). If we were to do so, we might immediately be struck by a few significant differences. Luke’s songs do not have a primary focus on Jesus, as much as the saving work of God, and they do not mention some important themes of the other NT hymns. Missing from Luke’s hymns are references to such concepts as the preexistence of Jesus, the incarnation of Jesus, the death of Jesus, the resurrection of Jesus, and the ascension of Jesus. The Magnificat does not even mention Jesus! While this sounds like a lot of significant christological content that is absent from these songs, the context of these songs is important to consider. These are included at the beginning of Luke’s narrative, a narrative which itself will unfold the significance of Jesus, detailing the death on the cross and the resurrection and ascension. For the author of the gospel, it was not necessary to spell out all of these specific christological ideas in each song or even in the opening chapters. Instead, the songs of the infancy narrative set the stage for what will follow. Here is how I’ve explained it: “Rather than recount the salient contents of the life, death, and resurrection of Christ, these four psalms portray the responses of a range of devout characters to the news that the time of redemption has begun.” (New Testament Christological Hymns, 207)

In this regard I find the work of Kindalee De Long at Pepperdine University especially instructive. She explains how the narrative of Luke unfolds in such a way that these songs demonstrate the responses of joy that would be expected in the arrival of the promised new age of divine deliverance. This idea can be found throughout the prophetic writings including Joel 2:26-27, Zephaniah 3:14-15, Zechariah 9:9-10, and Isaiah 66:7-11. So it is not just in the words of the songs that the meaning is found, but in the actual act of joyous singing in response to the news of the arrival of the savior.

Also, in spite of the differences from the other early hymns, there are significant shared themes:

“In common with the christological hymns, however, is an emphasis on the birth of Christ as signaling the initiation of the new age in which God fulfills the expectations of the prophets. Specific touch points with the early Christian hymns are the idea that Christ brings about peace, that his advent enlightens humanity, and that Gentiles and Jews alike are included as beneficiaries of God’s actions in Christ. One final point of connection is the idea that God’s redemptive activities in and through Christ result in glory to God.” (New Testament Christological Hymns, 207-208)

All of those elements of Luke's hymns are the central themes of the christological hymns found throughout the New Testament.

For Luke as an author it seems that he not only “tells” the reader about the messiah but also “shows” the reader that the birth of Jesus inaugurates a new age. And for Luke, the scripturesque language of the hymns does not simply “tell” but also “shows” that this new work of God is the work that the Jewish scriptures and prophets had foretold. Like the other hymns in the New Testament, these passages show a rich and deep engagement with the Jewish Scriptures. Apart from a careful reading of the scriptural grounding of these hymns in their early Jewish context, it is difficult to appreciate the full meaning of these passages.

Not only Luke the author but the characters in the narrative themselves invite us to understand that this was good news for “all the people.” And as Zechariah exclaimed it was “by the tender mercy of our God” that the dawn from on high was breaking upon them. Further, these characters model an appropriate response to the divine visitation: joyous praise to God.

In our world that is still longing for peace, the praises of Mary, Zechariah, the angels, and Simeon, are as timely as they were in the first-century context. And they can still enlighten us today as we contemplate with them the mystery of God’s mercy revealed in the advent of Jesus.

The Unique Contributions of Luke's Gospel

Today is the feast day of St. Luke and thus a fitting day to recognize some of the remarkable contributions of Luke’s Gospel to our understanding of Jesus and his message.

First, as is well known, the Gospel of Luke has a clear emphasis on the good news being for the poor, the sick, and those on the margins of society: the gospel is “good news” for all people, not just those who outwardly appear to be favored by God. (See Luke 4:16-21)

Second, Luke alone includes some of the best known parables of Jesus. Without Luke we would not know of the Good Samaritan (Luke 10:25-37) or the Prodigal Son (Luke 15:11-32). The parable of the Good Samaritan is itself a powerful illustration of mercy and compassion for those in need, and a reminder that all people are our neighbors. It thus ties in directly with the first point above about Luke’s emphasis on the good news being for all people.

Third, Luke preserves some very early songs from the first century. These are particularly to be found in the birth narrative. In the first two chapters of the Gospel of Luke, four different characters respond to news of God’s salvation with joyful song that sounds very much like the psalmody of the Jewish Scriptures and the words of the prophets. Like characters in biblical narratives and other Jewish texts, they respond to good news with a psalm of praise. These four psalms are commonly referred to by their Latin names. Mary’s song is the Magnificat (1:46–55), Zechariah’s is the Benedictus (1:68–79), the angels’ song of praise is the Gloria in excelsis (2:14), and Simeon’s is the Nunc Dimittis (2:29–32). By quoting these four songs or parts of songs, Luke has preserved for us a rich treasure and gives us a glimpse into some of the earliest ways in which the advent of Jesus was celebrated through song and poetry in the early church.

For our vision of Jesus and the events and significance of his life, we owe much to Luke and his careful historical and literary work. We also can be thankful today that he had an ear for songs and hymns, and that he chose to include them in his Gospel for the benefit of all of his readers.

For more on Luke, see this reflection from the FaithND website.

For more specifically on the hymns in Luke's Gospel, see chapter six of my latest book.

Mercy Themes in the Song of Zechariah

Being at a Sisters of Mercy university means that the concept of mercy, and what it means for our educational context, our pedagogy, and our institution, is often part of the conversation.  Today I was struck by the way in which mercy is explicitly invoked in the infancy narrative of Luke’s Gospel in the Song of Zechariah (Luke 1:68-79) Though not necessarily a psalm sung by the early Christians, this passage does seem to reflect the Jewish milieu of the early church and also probably reflects themes and expressions prominent in early Christian worship, particularly with its psalm-like style. For a detailed treatment of the psalm as a kind of didactic hymn, see pp. 311-314 in my book Teaching through Song in Antiquity. There I argue that hymns, psalms, and prayers included in other genres (such as narratives and epistles) often have a didactic function: while ostensibly directed in praise of God, they serve to instruct the reader by promoting a particular view of reality that the reader is urged to embrace. The power and impact of using a hymn in this way is that the author can move out of the normal expression of writing history or a letter, and can engage the reader or hearer with language, imagery, and expressions that have a greater affective impact. Thus, the ways in which hymns and psalms convey their instruction is somewhat different than the direct instruction of someone simply saying, “This is how it is.” The didactic impact of a hymn or song is in some ways more "caught" than directly taught.

In the case of the Song of Zechariah (commonly referred to as the Benedictus), by including it in the narrative Luke is able to highlight a number of themes important to his overall Gospel. In particular, through the psalm style and allusions to key events of deliverance in the history of Israel, Luke is able to show that Jesus and John are both to be understood as part of that history of God’s mercy. The reader learns this without Luke ever having to say it explicitly. The portions of the passage that explicitly invoke the theme of mercy are:

Thus he has shown the mercy promised to our ancestors (v. 72a)

And

By the tender mercy of our God,
the dawn from on high will break upon us,
to give light to those who sit in darkness and in the shadow of death,
to guide our feet into the way of peace. (vv. 78-79)

It is thus the mercy of God which is the originating impetus behind a number of favorable results for humanity. Following the logic of the psalm, we might note that this divine mercy results in: incarnation (faithful presence of the promised savior); illumination (light for those in darkness); guidance; progress along a good path; and peace (shalom; well-being). These are the kinds of values and practices that Luke promotes by including this hymnic passage within his narrative. In singing this song, Zechariah serves as a model of someone who recognizes and experiences God’s mercy and responds with praise. He has also become a teacher, instructing the reader in the way in which the story of Jesus is to be understood, and holding up the values to be put into practice within the Christian community. The story of Jesus is thus a story of God’s mercy resulting in the sending of the savior (v. 68) and the resulting illumination of those living in darkness.

Those seeking to embody and practice this kind of mercy today can consider ways in which they can participate in the same kinds of redemptive tasks: embodying faithful presence to those in need; offering illumination and instruction that can change lives; offering guidance and mentoring to the next generation; and working for the well-being of humanity and of our world. To participate in these kinds of redemptive tasks today, even on the smallest scale, would seem to be ways of bringing the mercy of God to those who need it: all of us.