SINGING WITH THE UNDERSTANDING: Ivory Palaces

Neal Pollard

A little less than a century ago, Henry Barraclough wrote one of the most unique, lyrically-rich songs in our songbook.  The musical arrangement is soothing in a way that matches the meaning of the words.  However, its poetry has caused some problems.

The first verse begins, "My Lord has garments so wondrous fine, and myrrh their texture fills; Its fragrance reached to this heart of mine, with joy my being thrills."  This and the following verses must be understood in light of the chorus, which essentially tells us that Jesus left the perfect splendor of heaven to come to this sinful earth because of His unmatched love.  With that background, we understand Barraclough's meaning to be figurative.  Jesus did not wear the clothes of a king while on earth.  Thus, the writer seems to speak of the qualities of Jesus' character, the power and influence of it.  Myrrh  is a perfume, a theme the writer uses through the various stanzas of the song.  So, this first verse speaks of the attractiveness of Jesus' character.

The second verse talks about the sorrow and pain He allowed Himself to endure.  While we think of aloe as a healing plant, the writer speaks of it in the sense of its bitter root (see the footnote at the bottom of the song in Praise For The Lord). While Jesus was a king, He was also the man of sorrows, acquainted with grief (cf. Isa. 53:3).

The third verse shifts the focus to Jesus as the Great Physician.  He's an attractive king, He's a suffering Savior, but He's also the able healer.  The word "cassia," as once again a footnote supplies, is a "medicinal herb."  The idea is that He rescues us from our sin problem.

The final verse refers to Jesus' second coming.  He will bring the faithful Christian to heaven.  Taken together, we see Jesus in the "garb" (clothes) of King, Savior, Physician, and Judge.  Driving it all is "only His great eternal love."  Understanding the underlying theme of the songwriter helps us to better worship and better appreciate the perfect Son of God. 

WE ACTUALLY SPOKE TO EACH OTHER!

Neal Pollard

Everyone who attended last night's devotional at Bear Valley seems to share the sentiment that it was tremendously uplifting.  The theme was timely, the songs, scriptures, and prayer reinforced it, and the men who led, to the man, did so with apparent passion and skill.  Each moment was "savory" and satisfying.  Everyone surely felt closer and closer to the throne of God with each successive moment.  Yet, there was one moment I want to isolate which I particularly appreciate.  Bob Turner led us in "I Want To Be A Soul-Winner" and encouraged us to do something "interactive."  He asked us to stand and face the section across from us (we cordoned off the "north side" so that we all were seated in the center and south section of pews).  Then, he told us to look at each other and sing to one another, especially since this song was a profession of intent written to be spoken to one another.

No doubt for expediency and orderliness, churches more than a century ago adopted pews for a seating arrangement.  Perhaps it facilitates an optimal arrangement for seeing the preacher as he delivers the sermon.  Yet, it has created a few circumstances in our singing that could be deemed unfortunate.  It has isolated us in our singing.  We are typically tunnel-visioned, almost as if with blinders on our faces.  Perhaps we are staring at the back of the heads in front of us and maybe looking at the song leader, but we are not in a position to see one another.  Also, we have buried our faces in the "pages."  I say that because whether a congregation uses a songbook or projects songs on a screen, we have become conditioned to fixing our gaze on that rather than each other.  That means burying our heads in a book or riveting our focus on the paperless hymnal.  Hasn't it made us uncomfortable, in many cases, with actually looking into the faces of our brothers and sisters while teaching, admonishing, and encouraging through song? 

I am grateful that Bob had this idea.  It is hard to describe the joy and encouragement felt when looking into sincere, smiling faces of fellow Christians in the midst of worshipping our God and also speaking to one another in song. I encourage God's people to consider incorporating opportunities like this into the worship, to facilitate the command of "speaking to one another" (Eph. 5:19) and "teaching and admonishing one another" (Col. 3:16) "with psalms and hymns and spiritual songs."  The effect may pleasantly surprise you!

P-O-W-E-R-F-U-L SINGING

Neal Pollard

P-articipate.  Don’t just sit there, sing!  Omitting a command is as wrong as adding to one.  Remember that being able to bring praise to the throne of God is a high honor and deserves our full participation.

O-pen your mind.  Think about what you are saying in song.  Avoid “remote control” singing.  May we never, in this “exercise,” be using our lips with hearts far from God.

W-orship.  Realize that the deliberate exercise of worship in song is as much an activity of worship as prayer, preaching, or observing the Lord’s Supper.  The Hebrews’ writer draws on the imagery of Old Testament worship, offering sacrifices, to show how singing is worship.  He exhorts, “Therefore by Him let us continually offer the sacrifice of praise ot God, that is, the fruit of our lips, giving thanks to His name” (Heb. 13:15).   

E-xpect results.  Worshipping God in song softens our spirits, sobers our mind, and fills our heart.  Singing teaches, reminds, admonishes, challenges, and comforts us.  It can produce peace, joy, hope, love, introspection, warning, and brotherly affection.  If we will invest, we will be rewarded.

R-aise your voice.  This is a lesson we often try to stress with our boys.  Mumbling, “lipping,” or whispering the words to songs will not teach or admonish or fulfill the command to “speak to one another” (cf. Col. 3:16; Eph. 5:19).  Don’t think you have a pretty voice?  I say this in love, but “so what?”  Fortunately for many of us, that’s not what’s commanded.  Don’t scream, but let your voice be heard.

F-eel what you sing.  It seems that singing, by design, strikes a chord in the human spirit (see “expect results”).  That requires deliberate investment in the activity.  If we are audibilizing “Sing And Be Happy,” “There’s Sunshine In My Soul Today,” or “I’m Happy Today,” make sure to wipe off the scowl for at least those few verses.  If the song is an admonition, be taught.  If it is praise to God, pour out your heart to Him.  If it is about appreciating God’s love or the cross, let there be a commensurate emotional response.

U-nite.  While songs of praise are directed vertically, so many of our songs also have the added, horizontal dimension to them.  Singing is a God-given way we unite in fellowship during worship.  It is perhaps the most demonstrable way and certainly the most audible. 

L-ove to sing.  Surely, some must love it better than others.  Not everyone has a burning desire to go over to friends’ homes to sing or to come early to services for “singing practice.”  Some even stay home on nights when the congregation plans a “worship in song” service.  May it be suggested that loving to worship in song may well be an insulation against apostasy and a safeguard against sin.  David was the sweet singer of Israel.  Look at Deborah.  Consider Paul and Silas at midnight over at the jail.  Moses had his song.  The more you put your heart and mind into it, overcoming any self-consciousness or insecurity, the more you will love it, too.

Yes, how P-O-W-E-R-F-U-L is worshipping God in song.  He asks for it.  He pays attention to it.  He is honored and praised by it.  He blesses us through it.  So, then, as the song leaders say, “Let us sing.”