By Lionel Adey
From its beginnings within the Bible, Christian hymnology has fulfilled 3 features -- compliment, recital and educating of the parable, and collective and private adoration in addition to the root and worship of the church. In Hymns and the Christian Myth, Lionel Adey demonstrates that over the centuries shifts emphasizing specific parts of the Christian religion accord with the pursuits and issues of the days during which the hymns have been composed.
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Additional resources for Hymns and the Christian "Myth"
Sample text
A Kontakion, or chanted homily, by the great sixth-century hymnographer Romanes, also a Jewish convert,3 recalls the Odes of Solomon in its distribution of roles among singers or choirs, and anticipates the oratorio or Bach passion setting in its blend of biblical typology with dramatic verisimilitude. In his Kontakion on the Passion, Peter, Christ, Pilate, and the Crowd sing paraphrases of their words in the Gospels. 4 As if to illustrate a "sacred bridge"5 linking the Hebraic with the Latin culture, via the Syriac and Byzantine, the Kontakion of Romanos on the Entry into Jerusalem harks back to the Hebraic midrash, or chanted scriptural exegesis,6 yet nevertheless anticipates the medieval mystery or modern passion play.
29 This endearing anthropomorphism suggests a psychological basis for that most inexplicable of dogmas, the Trinity. The incarnate Son bears the abstraction secreted by the Most High but rendered acceptable to the human mind and heart by the same Spirit that renews and thus transfigures them. Untold centuries later Coleridge was to conceive of the poetic imagination as "two forces of one power, the one infinite, the other struggling to apprehend or find itself," that is, to identify itself, within this infinitude.
Evidently they sang much better verses than modern hot-gospellers, but was their faith one the "mainstream" Christian of today can respect, if not exactly share? Sometimes "Solomon" does write as if the end is near. He trusts that, being united with "Him who is immortal," he will be "immortal" and thus survive the war (Ode 4). He provides no hymns to accompany the great occasions of life, the natural seasons, or the times of day. He urges a fellow Christian to love and clothe the naked in acknowledgement of the love shown him by Christ.