Hymnal Data
There are four primary categories into which practically all environmental expressions in Mennonite hymnals can be placed: material-spiritual dualism, Romanticism, agrarianism, and ethics/justice.
Material-Spiritual Dualism
Material-spiritual dualism frames earth and heaven as diametrically opposed to one another, setting up heaven as a goal and earth as its detractor. This ideology reflects 1st John 2:15's call to "Love not the world, neither the things that are in this world." [1] Positioning of heaven and earth as antithetical to one another – heaven as good, and earth as bad – lends itself easily to a devaluation of earth and all its contents.Material-spiritual dualism projects the Genesis story idea of a ‘fallen’ earth. By extending the implications of original sin beyond humanity, material-spiritual dualism contends that the entirety of creation was made sinful in the human act of undermining God’s will. The fallen earth concept fails to distinguish a fallen humanity from its surroundings, lumping all of non-human nature under the same umbrella of sin. This has unfortunate enviro-ethical consequences; one may believe it is not worth developing and maintaining a land ethic if they consider the land they are occupying to be valueless and transient.
Romanticism
The Romantic movement emerged in response to the Industrial Revolution and centered around advocating for a glorification and spiritualization of pristine nature alongside an emphasis on individualism and emotion. The Romantics believed in a “truth beneath the surface of nature,” a mystic element that runs through the non-human world and is available for interpretation by any human that chooses to pay attention.[2]Christian use of Romantic ideology usually is based in a conflation of natural beauty with the power and care of God. The spiritualization of nature through mystic interpretation of the natural elements emerges somewhat frequently in Mennonite hymnals, with God being depicted as a force that both exists above and flows through the natural world.
Agrarianism
Mennonites have long been known for their farming pedigree. Early Mennonites are credited with the introduction to European agriculture of two techniques lauded for their positive impact on soil health: crop rotation and use of natural fertilizers, namely animal manure and legumes. The farming style of early European and U.S. Mennonites rested upon fairly environmentally attuned techniques – farming was done either by hand or with animals, and the pastureland required for their work animals helped reduce erosion. Chemical use was minimal, and the raising of diverse crops and animals provided a safety net if any particular crop failed in a given year.[3]Despite their environmental attunedness, there were several major issues with the way Mennonites thought about and interacted with the environment. A The rationale behind their land ethic was to preserve the instrumental value of their soil for their children, not for its own inherent value. Mennonite farmers also tended to focus only on their land, and missed some of the complexity of their relationship to the broader environment in doing so. Loewen notes the discrepancy between the strong relation to the land – Mennonites were “the quintessential farmers [that] imbued life-on-the-land with religious meaning” – and apparent lack of interest in more abstract knowledge about the environment and environmental history.[4] A strict focus on ‘agrarian philosophy’ and ‘superior farming methods’ risked overlooking the ecological impact Mennonite farmers could have beyond the boundaries of their fields, as well as the social impacts of their methods and locations of farming.[5]Agrarianism in hymnals holds value for its representation of Mennonite tradition, reminding Mennonites of the strength of their agrarian pedigree and the environmental voice that can provide us.
Ethics & Justice
Justice and direct suggestions of environmental ethics are fairly new to Mennonite hymnody -- and the Mennonite church as a whole. Expressions of these themes are diverse; hymns appeal to social justice, or environmental stewardship, or recognition of responsibility for environmental degradation. Justice and ethics are emergent themes in Mennonite hymnals, and their expressions have been becoming increasingly clear, numerous, and potent with each hymnal released.
This page will focus on each individual official hymnal of MCUSA and its antecedents (the Mennonite Church and General Conference) from 1902 to the present. Each hymnal is provided an introduction to place it in its historical context, followed by tabs explaining the ways each hymnal impacted or updated specific environmental themes. I am only providing select examples for each sub-theme; there are often more thematic hymns than can be sensibly listed here present in a given hymnal. If a particular hymn occurred in multiple hymnals, I generally am noting its presence only in its first appearance and any other appearances that felt noteworthy, either for providing a sense of continuity of theme or for the re-emergence of themes after a period of relative neglect.
Church and Sunday School Hymnal (MC,1902/1911)
The 1902/1911 Church and Sunday School Hymnal (CSSH) was the first English-language Mennonite hymnal to see widespread use among U.S. Mennonites. The hymnal was compiled with the goal of enhancing Sunday school, as well as aiming to attract people to revival meetings.[1] For my analysis, I used the 1911 version of the book with the supplement. To my knowledge, no changes were made to the existing hymns of the 1902 edition for this updated version – the only change was the addition of 119 new hymns at the back of the book.The preface to the Church and Sunday School Hymnal lays out its philosophy of hymn selection. The compilers sought to amass old ‘heart songs’ – the long-standing favorites of the church – alongside new songs with ‘state-of-the-art’ theology, so to speak; an attempt to retain tradition without stagnating. The preface phrases this rather comically, waxing poetic about the songs of the “sainted fathers and mothers” of the Mennonite church, as well as boasting about the new hymns of “unquestionable worth secured at considerable cost.”[2] This is a value expressed in the prefaces to many Mennonite hymnals – a desire to represent the theological breadth of the church.
Material-Spiritual Dualism
The Church and Sunday School Hymnal provides a strong introduction to material-spiritual dualism, as it is filled with expressions of it. Nearly every hymn in the section from roughly hymn 135 (“Home of the Blest”) to 165 (“The Christian’s Passport”) uses dualistic imagery to paint heaven as superior to earth in all ways.
Earth depicted as morally equivalent to hell:
“Loving Kindness” (28): “Tho’ num’rous hosts of mighty foes / Tho’ earth and hell my way oppose / He safely leads my soul along / His loving kindness, oh, how strong!”
Earth associated with negative natural imagery:
“I Come to Thee” (215): Life on earth is envisioned as a “thorny maze.”
“Conquest” (388): “Dark and thorny is the desert, Thro’ which pilgrims make their way; But beyond this vale of sorrows, Lie the fields of endless day.”
Heaven associated with positive or perfect natural imagery:
“I Long to Be There” (59): “I’ve read of its [heaven’s] flowing river, That bursts from beneath the throne, And beautiful trees that ever Are found on its banks alone.”
“Varina” (142): “There gen’rous fruits that never fail, On trees immortal grow: There rocks and hills, and brooks [and] vales With milk and honey flow. All o’er those wide extended plains Shines one eternal day; There God the Sun forever reigns and scatters night away.”
“Nearing the Port” (162): “I am nearing the port, for the land is in sight, And the mountains in grandeur are seen; And the landscape of Eden I hail with delight, And the plains that are covered with green.”
Imagery of earthly decay contrasted to the everlasting nature of God:
“Enon” (293): “Swift to its close ebbs out life’s little day: Earth’s joys grow dim, its glories pass away; Change and decay in all around I see; O thou who changest not, abide with me!”
Heaven as a grand, walled city:
“Home of the Blest” (135): Heaven as a “city of light” where the “mansions are dazzling and white, And its streets are of gold.”
“Shall We Meet” (163): “Shall we meet in yonder city, Where the tow’rs of crystal shine? Where the walls are all of jasper, Built by workmanship divine?”
Christians as listless pilgrims and strangers on earth:
“Fast to Thine Arm” (139): “I’m but a stranger, Sadly I roam, Thro’ a strange country, Far from home.”
“Heaven Is My Home” (147): “I’m but a stranger here, Heav’n is my home; Earth is a desert drear, Heav’n is my home.”
“We’ll Work till Jesus Comes” (306): “No tranquil joys on earth I know, No peaceful shelt’ring dome; This world’s a wilderness of woe, This world is not my home.”
Christians are reminded not to affiliate with facets of earthly life:
“God of Love” (34): “Never let the world break in; Fix a mighty gulf between. Keep us little and unknown, Prized and loved by God alone.”
“What a Friend We Have in Jesus” (56): “Weaned from earth’s delusive pleasures, In thy love I’ll seek for mine; Placed in heav’n my nobler treasures, Earth I quietly resign. Thus the transient world despising, On the Lord my hopes rely.”
“Avon” (166): “Teach me the measure of my days, Thou Maker of my frame; I would survey life’s narrow space, And learn how frail I am. A span is all that we can boast; How short the fleeting time! Man is but vanity and dust, In all his flower and prime. What should I wish, or wait for, then, From creatures — earth and dust? They make our expectations vain, And disappoint our trust. Now I forbid my carnal hope, My fond desire recall; I give my mortal interest up, And make my God my all.”
“Love Not the World” (385): “Love not the world! Its dazzling show Conceals a snare of death; The sweetest joy earth can bestow, Dies as a wasted breath.”
Agrarianism
Agrarianism, too, is relatively well represented in the Church and Sunday School Hymnal. At the time of its publication, a significant portion of the Mennonite populace were farmers; agrarian hymns used imagery embedded in the livelihood of these farmers to portray various Christian themes.
Harvest & thanksgiving hymns:
“Prayer” (20): “For the blessings of the field, For the stores the gardens yield, For the joy which harvests brings, Grateful praises now we sing.”
“Italian Hymn” (58): “The God of harvest praise; In loud thanksgivings raise Hand, heart, and voice. The valleys smile and sing, Forests and mountains ring, The plains their tribute bring, The streams rejoice.”
“Bringing Home Our Sheaves” (131): “So do I gather hope and strength anew; For well I know thy patient love perceives Not what I did, but what I strove to do — And though the full ripe ears be sadly few, Thou wilt accept my sheaves, Thou wilt accept my sheaves.”
“Seymour” (438): “Praise him that he gave the rain To mature the swelling grain; And hath bid the fertile field Of its precious fruits to yield.”
Psalmic metaphors that make use of agrarian images:
“Hendon” (83): “To thy pastures fair and large, Heav’nly Shepherd, lead thy charge; And my couch with tend’rest care, Midst the springing grass prepare.”
“Sweet Day” (117): “The Lord my Shepherd is; I shall be well supplied… He leads me to the place Where heav’nly pasture grows, Where living waters gently pass, And full salvation flows… If e’er I go astray, He doth my soul reclaim.”
“He Seeks His Wandering Sheep Today” (219): “The Shepherd’s heart is saddened, His sheep have gone astray; Thro’ summer’s heat, and winter’s cold, He seeks his sheep alway. Some wand’ring sheep he’s seeking now, Say brother, is it you? Are you safe sheltered in the fold, Or are you wand’ring too?”
“Evan” (12): “O thou bleeding Lamb…”
“Evan” (13): “Worthy the Lamb that died… Worthy the Lamb.”
Agricultural images as metaphor for proselytizing:
“The Call for Reapers” (334): “Far and near the fields are teeming, With the waves of ripened grain; Far and near their gold is gleaming, O’er the sunny slope and plain. Lord of harvest, send forth reapers! Hear us, Lord, to thee we cry; Send them now the sheaves to gather, Ere the harvest time pass by.”
“Gather the Golden Grain” (337): “Go out and gather the golden grain, The world is your harvest field; Your toil for Jesus will not be vain For he will the increase yield… Go lift the soul from haunts of sin, The treasures of grace display; Your mission here is to work and win, Go show to the lost the way.”
“Little Reapers” (483): “We are little reapers, in the fields of sin, Striving for the Master precious souls to win; Pointing them to Jesus, to the Lamb of God, Following his footsteps in the path he trod.”
Potentially literal calls to agrarian livelihood:
“‘Tis the Harvest Time” (336): “Tis the harvest time, ‘tis the harvest time, To the fields I must away; For the Master now is calling me, To go and work today. Gleaning on the hillside, Gleaning on the plain, Working for the Master, ‘Mong the golden grain… ‘Tis the harvest time, ‘tis the harvest time, There is work for all today; If you cannot be a reaper, You can bear the sheaves away.”
Romanticism
Romantic expressions in the Church and Sunday School Hymnal were limited in number; the emphases on dualism and labor generally outshone the possibility of associating positive aspects with the earth. The few Romantic images presented are of Biblical origin.
God as present in natural elements:
“Give Me a Foothold” (72): “Give me a foothold on the rock; The billows round me roll; Let not their wild impetuous shock O’erwhelm my trembling soul. O thou that walkest on the wave, Thou Ruler of the sea…”
“A Shelter in the Time of Storm”(319): God is depicted as a “Rock” in our “time of storm.”
“The Solid Rock” (458): “On Christ, the solid Rock, I stand; All other ground is sinking sand, All other ground is sinking sand.”
“Dayton” (84): “God moves in a mysterious way, His wonders to perform; He plants his footsteps in the sea, And rides upon the storm.”
Appreciation for natural beauty:
“Lilies of the Field” (361): “Behold the lilies of the field, That bloom around the Master’s feet; Their drooping leaves new fragrance yield, By Hermon’s dew and grateful heat… Behold the sparrows as they fly; They come at his command and call; They seem but specks upon the sky; And yet he notes them when they fall.”
Church Hymnal (MC,1927)
The MC’s 1902/1911 Church and Sunday School Hymnal was followed by their 1927 publication of the Church Hymnal. Though holding many (well over 200) hymns in common with its predecessor, the Church Hymnal contains some notable shifts in depictions of the natural world. These differences are evident even in the ‘Music Committee’s Note’ in the preface to the hymnal; the note hints at a broader embracing of a general romanticism that covers both the natural world and music itself. The note mentions that “heaven and earth are full of His [God’s] praises,” and labels music and poetry as “the language of the soul,” sentiments that one would have been hard pressed to find in the rather grim Church and Sunday School Hymnal.[8] The preface also makes note that the hymn selections of the Church Hymnal emphasized tradition over relevancy; it states that this emphasis was explicitly for hymn tunes, and while some texts did change, generally these old hymns still used messages that were dated even for their time.
The Church Hymnal saw a handful of criticisms. It was seen by some as being a bit limited in scope – Mary K. Oyer that this was likely due to the fact that the “compilers did not quite anticipate what congregations needed.”[9] Oyer also suggests that the hymnal was weakened by the last-minute inclusion of 150 gospel songs, undermining some of the theological and musical themes the rest of the hymnal seemed to be pushing. Regardless of these criticisms, the hymnal saw widespread use in its time, remaining in print for several decades. Harold S. Bender’s 1956 article “Hymnology of the North American Mennonites” notes that, at the time of the article’s publication, the hymnal had undergone thirteen editions, with a total of more than 120,000 copies issued.[10] Its legacy lives on, as well, through the many songs it contained that have come to be ‘heart songs’ of the Mennonite church; many are still sung today.
Material-Spiritual Dualism
The Church Hymnal contains much of the same material-spiritual dualism found in its predecessor. Many of the problematic themes – even a fair number of their characteristic hymns – carried over from the Church and Sunday School Hymnal to the Church Hymnal. Because of this, the types of expression of material-spiritual dualism in this hymnal are more or less the same as in the Church and Sunday School Hymnal; some new (and sometimes more bold) expressions are included, but the tone of these dualistic hymns comes from a similar theology.
Earth depicted as morally equivalent to hell:
“Loving Kindness” (2): “Tho’ num’rous hosts of mighty foes, Tho’ earth and hell my way oppose, He safely leads my soul along, His loving kindness, oh, how strong!”
Heaven associated with positive or perfect natural imagery:
“Pleasant Are Thy Courts” (164): “Happy birds that sing and fly Round Thy altars, O Most High!”
“There Is a Land of Pure Delight” (631): “Sweet fields beyond the swelling flood Stand dressed in living green…”
Imagery of earthly decay contrasted to the everlasting nature of God:
“O God, the Rock of Ages” (358): “Our years are like the shadows On sunny hills that lie, Or grasses in the meadows That blossom but to die…”
Christians are reminded not to affiliate with facets of earthly life:
“One More Day’s Work For Jesus”(498): “One more day’s work for Jesus; One less of life for me!”
“Come, Holy Spirit, Heavenly Dove” (153): “Look how we grovel here below, Fond of these earthly toys; Our souls, how heavily they go, To reach eternal joys!”
“O Jesus, I Have Promised” (363): “O let me feel Thee near me, The world is ever near; I see the sights that dazzle, The tempting sounds I hear: My foes are ever near me, Around me and within; But, Jesus, draw Thou nearer, And shield my soul from sin.”
Agrarianism
Like its predecessor, the Church Hymnal contains a sizable collection of agrarian hymns – most of which fall into the categories I set forth in my analysis of the Church and Sunday School Hymnal.
Harvest & thanksgiving hymns:
“Praise, O Praise Our God and King” (574): “Praise him that he gave the rain To mature the swelling grain; And hath bid the fertile field Of its precious fruits to yield… Praise him for our harvest store, He hath filled the garner floor; And for richer food than this, Pledge of everlasting bliss.”
“The God of Harvest Praise” (575): “The God of harvest praise; In loud thanksgivings raise Hand, heart, and voice. The valleys smile and sing, Forests and mountains ring, The plains their tribute bring, The streams rejoice… The God of harvest praise; Hearts, hands, and voices raise. With sweet accord From field to garner throng, Bearing your sheaves along; And in your harvest song, Praise ye the Lord.”
“Sing to the Lord of Harvest” (576): “By Him the clouds drop fatness, The deserts bloom and spring, The hills leap up in gladness, The joyful valleys sing… Heap on His sacred altar The gifts His goodness gave, The golden sheaves of harvest, The souls He died to save…”
Agricultural images as metaphor for proselytizing:
“Lord, When At Thy Command” (352): “Lord, when at Thy command, The Word of life we sow, Watered by Thy almighty hand, The seed shall surely grow.”
Potentially literal calls to agrarian livelihood:
“Once More We Come Before Our God” (168): “And let the seed thy servant sows Produce abundant fruit…”
Romanticism
The Church Hymnal introduced romanticism of the natural world as an element of Mennonite hymnody; with the exception of “Lilies of the Field” (CSSH 361), the theme had been practically non-existent in the Church and Sunday School Hymnal. A considerable collection of hymns in the Church Hymnal speak with general positivity about the natural world; though a basic gesture, this still is a notable shift from the tone of the preceding hymnal.
General praise hymns:
“My God, I Thank Thee” (18): “My God, I thank Thee, who hast made The earth so bright — So full of splendor and of joy, Beauty and light — So many glorious things are here, Noble and right.”
“Might God, While Angels Bless Thee” (34): “For the grandeur of Thy nature, — Grand beyond a seraph’s tho’t; For created works of power, — Works with skill and kindness wrought.”
“O God, I thank Thee For Each Sight” (198): “O God, I thank Thee for each sight Of beauty that Thy hand doth give; For sunny skies and air and light; O God, I thank Thee that I live.”
Calls for all creation to praise God:
“Around the Throne of God” (17): “O holy, holy Lord, Creation’s sov’reign King! Thy majesty adored, Let all creation sing.”
“Great God, How Infinite: (21): “Great God, how infinite art Thou! How poor and weak are we! Let the whole race of creatures bow, And pay their praise to Thee.”
“Come, Let Us Join Our Cheerful Song” (62): “The whole creation join in one, To bless the sacred name Of Him that sits upon the throne, And to adore the Lamb, And to adore the Lamb.”
“Awake, O Earth” (125): “Awake, awake, O earth! Thy many voices raise, And let the echoing hills Repeat the note of praise. Let all the isles rejoice, Let seas take up the strain, Christ from the dead hath come, He lives, he lives again.”
The existence/beauty of nature as itself a form of simultaneous praise to, and gift from, God:
“Thine is the Kingdom” (20): “Thy Word is law divine, In Thee all laws combine, For Thee, the barren fields grow green, The skies with sunlight shine; Thy wish is nature’s will, Thy plan she must fulfill, Creation proves the marvels of her Maker’s skill.”
“Welcome, Happy Morning” (132): “Earth her joy confesses, clothing her for spring, All fresh gifts returned with her returning King; Bloom in ev’ry meadow, leaves on ev’ry bough, Speak his sorrow ended, hail His triumph now.”
God as present in natural elements:
“Jehovah, God, Thy Gracious Power” (48): “Jehovah, God, Thy gracious pow’r On ev’ry hand we see;… Thy pow’r is in the ocean deeps, And reaches to the skies; Thine eye of mercy never sleeps; Thy goodness never dies.”
“Hail, Holy Light” (173): “Hail, holy Light, the world rejoices As morning breaks and shadows fly; All nature blends her myriad voices To greet the Dayspring from on high.”
“Still, Still With Thee” (197): “Still, still with Thee, when purple morning breaketh, When the bird waketh, and the shadows flee; Fairer that morning, lovelier than daylight, Dawns the sweet consciousness, I am with Thee.”
“Fresh From the Throne of Glory” (449): “Fresh from the throne of glory, Bright in its crystal gleam, Bursts out the living fountain, Swells on the living stream: Blessed river, Let me ever Feast my eyes on thee… Streams full of life and gladness, Spring of all health and peace, No harps by thee hang silent, Nor happy voices cease: Tranquil river, Let me ever Sit and sing by thee… River of God, I greet, thee, Not now afar, but near, My soul to thy still waters Hastes in its thirstings here: Holy river, Let me ever Drink of only thee…”
“Thou, Lord of Life” (521): “As on the river’s rising tide Flow strength and coolness from the sea, So through the ways our hands provide, May quick’ning life flow in from Thee.”
Mennonite Hymn Book (GC, 1927)
The GC’s Mennonite Hymn Book was released in 1927 – the same year as the Church Hymnal. The Hymn Book stated its “chief aim” as being “to preserve those hymns that have endeared themselves to the Church through generations of use, and to make available the best of those hymns that have been inspired by changing conditions and the modern demands of worship.”[11] Other than the inclusion of an index, this hymnal seems to be philosophically similar to the Church and Sunday School Hymnal – the goal mentioned above is quite reminiscent of the preface statements of the CSSH that alluded to the inclusion of a mix of ‘heart songs’ and theologically fresh compositions. Considering that it was released alongside another Mennonite hymnal that proved to be quite successful, and that it did not provide much in the way of new directions, the Mennonite Hymn Book did not see widespread use, selling less than five thousand copies between its three editions.[12] In light of the lesser impact of this hymnal, I will list fewer examples.The environmental expressions of the Mennonite Hymn Book, like the two other hymnals I have analyzed so far, largely can be categorized into the three distinctions of material-spiritual dualism, romanticism, and agrarian imagery. There is very little content in this hymnal that pushes the bounds of any of these categories in comparison to the Church and Sunday School Hymnal.
Material-Spiritual Dualism
Very little in the way of new dualistic expressions occurs in the Mennonite Hymn Book; nearly all of its notably dualistic hymns occur in either the Church and Sunday School Hymnal or the Church Hymnal.
Earth associated with negative natural imagery:
“Magdalena” (185): God’s Word “shineth like a beacon Above the darkling world; It is the chart and compass, That, o’er life’s surging sea, ‘Mid mists, and rocks, and quicksands, Still guides, O Christ, to Thee.”
Christians as listless pilgrims and strangers on earth:
“Heaven Is My Home” (344): “I’m but a stranger here, Heaven is my home…”
Christians are reminded not to affiliate with facets of earthly life:
“Belmont” (175): “Look, how we grovel here below, Fond of these earthly toys; Our souls, how heavily they go To reach eternal joys!”
“Angel’s Story” (216): “O let me feel Thee near me, The world is ever near; I see the sights that dazzle, The tempting sounds I hear: My foes are ever near me, Around me and within; But, Jesus, draw Thou nearer, And shield my soul from sin.”
“Ernan” (267): “Thine earthly loss is heavenly gain.”
Agrarianism
Agrarian hymns seem less prominent in this hymnal than in the Church and Sunday School Hymnal and Church Hymnal; this likely reflects the beginning of the movement of Mennonites towards urban areas.
Harvest & thanksgiving hymns:
“Bullinger” (285): Depicts a good harvest and reminds of the importance of graciousness, stating “When the harvest sheaves in-gathered, Fill thy barns with store, To thy God and to thy brother Give the more.”
General calls to good work:
“Work Song” (270): “Work, for the night is coming: Work under the morning hours; Work while the dew is sparkling, Work ‘mid springing flow’rs; Work while the day grows brighter, Under the glowing sun; Work, for the night is coming, When man’s work is done… Work, for the night is coming: Work through the sunny noon; Fill brightest hours with labor, Rest comes sure and soon; Give ev’ry flying minute Something to keep in store; Work, for the night is coming, When man works no more… Work, for the night is coming, Under the sunset skies; While their bright tints are glowing, Work, for daylight flies; Work till the last beam fadeth, Fadeth to shine no more; Work while the night is dark’ning, When man’s work is o’er…”
Romanticism
Romantic expressions are present in the Mennonite Hymn Book, but are not particularly notable in quantity or wording.
General praise hymns:
“Hanover” (31): “Thy bountiful care, what tongue can recite? It breathes in the air, it shines in the light, It streams from the hills, it descends to the plain, And sweetly distills in the dew and the rain.”
“Crucifer” (64): “For the grandeur of Thy nature, Grand beyond a seraph’s thought; For the wonders of creation, Works with skill and kindness wrought; For Thy providence, that governs Through Thine empire’s wide domain, Wings an angel, guides a sparrow, Blessed by Thy gentle reign.”
The existence/beauty of nature as itself a form of simultaneous praise to, and gift from, God:
“Creation” (54): “The spacious firmament on high, With all the blue ethereal sky, And spangled heav’ns a shining frame, Their great Original proclaim. Th’unwearied sun, from day to day, Does his Creator’s power display, And publishes, to ev’ry land, The work of an Almighty hand.”
God as present in natural elements:
“Brecon” (183): “Come as the light; To waiting minds… Come as the fire; enkindle now… Come as the dew; on hearts that pine Descend in this still hour, Till every barren place shall own With joy Thy quickening power… Come as the wind; sweep clean away…”
Mennonite Hymnary (GC, 1940)
The 1940 Mennonite Hymnary, published by the GC, was received more favorably than the Mennonite Hymn Book. Initially planned as a revised edition of the Hymn Book, the Hymnary eventually morphed into its own compilation as it took on a significant number of new hymns and developed its own themes. However, its lineage is still evident in its hymn selection: 41 percent of the hymns it contains were lifted from its predecessor, a portion equivalent to roughly two thirds of the total hymns in the Hymn Book.[13]My analysis will focus primarily on the first two books, and “Hymns” and “Hymns for Children,” as the first comprises the majority of the hymnal and the second is notable for its suggestion of what the hymnal compilers saw as valuable content for children. The following books, while not devoid of environmental content, contain significantly fewer noteworthy statements about the natural world. The Hymnary is also accompanied by a handbook containing background information on the hymns contained in the hymnal, which offers an interesting lens into the intent behind the inclusion of various hymns.
Material-Spiritual Dualism
Though the Mennonite Hymnary contained more positive framings of the natural world than previous Mennonite hymnals had, it was by no means free of material-spiritual dualism; many previously present dualistic themes persisted, with numerous dualistic hymns carrying over from older hymnals.
Heaven associated with positive or perfect natural imagery:
“O Have You Not Heard of That Beautiful Stream” (232): Romantically depicts a stream flowing through the landscape of heaven.
Christians are reminded not to affiliate with facets of earthly life:
“God Is the Refuge of His Saints” (257): Depicts the destruction of the natural world, noting that such events would have no impact on the faith of believers. “Let mountains from their seats be hurled Down to the deep, and buried there, Convulsions shake the solid world, Our faith shall never yield to fear.”
Agrarianism
Continuing the trend found in the Mennonite Hymn Book, agrarian hymns are notably fewer in number and less varied in expression than in earlier Mennonite hymnals.
Harvest & thanksgiving hymns:
“We Plow the Fields, and Scatter” (375): General hymn of praise; notes that a good harvest is ultimately a gift from God.
“Thank the Lord” (376): Same as previous.
“Come, Ye Thankful People, Come” (377): Same as previous.
“To Thee, O Lord, Our Hearts We Raise” (378): Same as previous.
Agricultural images as metaphor for proselytizing:
“A Little Seed Lay Fast Asleep” (436): Deeply connects God to nature and agricultural success; the growing of plants and agricultural success stand as metaphor for Christian children. “A little seed lay fast asleep Beneath the earth’s brown sod, But woke to life and hope when came The wondrous touch of God… A sunbeam kissed the hidden spot, And warmed its earthy bed, The rain and dew gave kindly drink, Till soon it raised its head… Up, up it pressed its way above, Up till the light was seen; Then came the sun, and decked it all In dainty garb of green… It grew so straight, and tall, and fair, Each day it would unfold; The smiling sun placed on its head A shining crown of gold… At last it stood, with thousands more, A golden ear of corn, God’s gift to man, our daily food, From little seedlings born… So children are the seeds God plants Within His garden fair: He loves and guards them every day; They have His constant care…
Romanticism
The Mennonite Hymnary is perhaps primarily romantic in its environmental content. Romanticism occurs more frequently, and more strongly, than it had in previous hymnals; earlier Romantic hymns re-appeared in the Hymnary, and multiple new hymns that would become de facto environmental anthems made an appearance. It is clear that Romanticism was an element that was intentionally focused on to some degree in the compilation of the hymnal: the handbook describes “Joyful, Joyful, We Adore Thee” (10) as “[a] nature hymn of the first order, written by one who himself had a profound appreciation and love of the out-of-doors. The words from beginning to end are an expression of the beauty in nature and the resulting joy and spirit of praise it brings to the worshipper.” Such open praise for the beauty of nature pervades the hymnal.
General praise hymns:
“This Is My Father’s World” (48): “This is my Father’s world, And to my listening ears, All nature sings, and round me rings The music of the spheres. This is my father’s world: I rest me in the thought Of rocks and trees, of skies and seas, His hand the wonders wrought… This is my Father’s world, The birds their carols raise, The morning light, the lily white, Declare their Maker’s praise. This is my Father’s world: He shines in all that’s fair; In the rustling grass I hear Him pass, He speaks to me everywhere.”
“For the Beauty of the Earth” (51): “For the beauty of the earth, For the glory of the skies, For the love which from our birth Over and around us lies: Lord of all, to Thee we raise This our hymn of grateful praise.”
“My God, I Thank Thee, Who Hast Made” (177): “My God, I thank Thee, who hast made The earth so bright, So full of splendor and of joy, Beauty and light; So many glorious things are here, Noble and right.”
Calls for creation to praise God:
“Let the Whole Creation Cry” (49): “Let the whole creation cry, Glory to the Lord on high! Heaven and earth, awake and sing, “God is good, and therefore King.” Praise Him, all ye hosts above, Ever bright and fair in love! Sun and moon, uplift your voice, Night and stars in God rejoice.”
The existence/beauty of nature as itself a form of simultaneous praise to, and gift from, God:
“See the Shining Dewdrops” (407): “See the shining dewdrops On the flowers strewed, Proving, as they sparkle, God is ever good… See the morning sunbeams Lighting up the wood, Silently proclaiming, God is ever good.”
God as present in natural elements:
“God of the Earth, the Sky, the Sea” (52): In the words of the handbook, “A hymn which finds God in every aspect of nature.”
“God Moves in a Mysterious Way” (60): God as present in/interacting with the sublime parts of the natural world.
The Mennonite Hymnal (MC & GC, 1969)
The 1969 Mennonite Hymnal marked the first official collaborative musical publication of the MC and GC. This was no small move, as the two conferences had held significantly different philosophies of music in worship; the MC had traditionally emphasized functional value and textual/musical simplicity (a capella folk tunes and gospel songs), whereas the GC had placed priority on artistic quality (chorales and organs). Following the footsteps of the Mennonite Hymnary, the Mennonite Hymnal attempted to honor these disparate musical traditions by including distinct sections for both gospel songs and chorales alongside the rest of its contents.
The preface to the Mennonite Hymnal provides a thorough explication of the philosophy of music held by the compilers of the hymnal. It speaks of music in markedly mystical and romantic language, describing it as a “constant and vital force in the life and faith of the church” and musing on the idea of music as a sort of living thing capable of adapting to fit diverse circumstances.[14] The preface also notes the inclusion of six “non-Western hymns,” stating that they “express, at least in token, the committee’s interest in being a part of the worldwide church.”[15] While perhaps lackluster in number, this intentional choice to include, as they call them, ‘non-Western hymns,’ is an important marker of a shift to come in the following Mennonite hymnals towards broader adoption of hymns not originally from the European and U.S. Mennonite traditions, representative of the significant growth of the Mennonite church in the global South.
Material-Spiritual Dualism
Material-spiritual dualism still persists in The Mennonite Hymnal. Though fewer in number than in previous hymnals, and countered in more hymns than before, many familiar dualistic expressions make an appearance.
Heaven associated with positive or perfect natural imagery:
“O Have You Not Heard (556): “O have you not heard of that beautiful stream That flows through our Father’s land? Its waters gleam bright in the heavenly light And ripple o’er golden sand. O seek that beautiful stream, O seek that beautiful stream; Its waters, so free, are flowing for thee, O seek that beautiful stream.”
Christians are reminded not to affiliate with facets of earthly life:
“The God of Abraham Praise” (11): “I all on earth forsake, Its wisdom, fame, and power; And Him my only portion make, My shield and tower.”
“Let All Mortal Flesh Keep Silence” (117): “Let all mortal flesh keep silence, And with fear and trembling stand; Ponder nothing earthly minded, For with blessing in His hand, Christ our God to earth descendeth, Our full homage to demand.”
“I Am the Lord, O Hear” (329): “I am the Lord, O hear My voice, Arise, ye Christians, follow! Deny yourself, forsake the world, My name alone to hallow. Take up your cross, your burdens bear And follow Me, My life to share.”
Agrarianism
The Mennonite Hymnal seems to have held a renewed focus on agrarian hymns, with notably more hymns of this type present than in the hymnals that immediately preceded it. Agrarian hymns in the Mennonite Hymnal are primarily praise-oriented. Notably, a few hymns in this hymnal begin to point to the importance of intentional land ethics.
Harvest & thanksgiving hymns:
“God of the Fertile Fields” (360): “God of the fertile fields, Lord of the earth that yields Our daily bread; Forth from Thy bounteous hand Come gifts Thy love has planned, That men through all the land Be clothed and fed… We would Thy stewards be, Holding in trust from Thee All Thou dost give; Help us in love to share, Teach us like Thee to care, That earth may all be fair, And men may live.”
“Praise, O Praise Our God and King” (518): “Praise Him that He made the sun Day by day his course to run…Praise Him that He gave the rain To mature the swelling grain… And hath bid the fruitful field Crops of precious increase yield…”“Come Ye Thankful People, Come” (519): An offering of thanks to God for the harvest.
“Sing to the Lord of Harvest” (520): An offering of thanks to God for the harvest.“We Plow The Fields, And Scatter” (521): Notes that a good harvest is thanks to God, not human efforts.
“The God of Harvest Praise” (522): An offering of thanks to God for the harvest.“Praise to God, Immortal Praise” (524): An offering of thanks to God for the harvest.“
Lord, Should Rising Whirlwinds” (525): Reminds people to praise God even in the event of a lackluster harvest.
Romanticism
The Mennonite Hymnal perhaps marks the widest embrace of romanticism in a Mennonite hymnal. It contains many of the classic romantic hymns that are first to come to mind for many Mennonites when considering ‘environmental’ hymns, as well as numerous lesser-known paeans reflecting on the beauty of creation. Many of these hymns had made prior appearances in Mennonite hymnals, but were compiled strongly in The Mennonite Hymnal.
General praise hymns:
“Joyful, Joyful, We Adore Thee” (13): “All Thy works with joy surround Thee, Earth and heav’n reflect Thy rays, Stars and angels sing around Thee, Center of unbroken praise; Field and forest, vale and mountain, Blooming meadow, flashing sea, Chanting bird and flowing fountain, Call us to rejoice in Thee.”
“Give To Our God Immortal Praise: (34): “He built the earth, He spread the sky, And fixed the starry lights on high: Wonders of grace to God belong; Repeat His mercies in your song.”
“This Is My Father’s World” (49): “This is my Father’s world, And to my list’ning ears, All nature sings, and round me rings The music of the spheres. This is my Father’s world: I rest me in the thought Of rocks and trees, of skies and seas; His hand the wonders wrought… This is my Father’s world, The birds their carols raise, The morning light, the lily white, Declare their Maker’s praise. This is my Father’s world: He shines in all that’s fair; In the rustling grass I hear Him pass, He speaks to me everywhere.”
“I Sing the Mighty Power of God” (50): “I sing the mighty power of God, That made the mountains rise; That spread the flowing seas abroad, And built the lofty skies. I sing the wisdom that ordained The sun to rule the day; The moon shines full at His command, And all the stars obey… I sing the goodness of the Lord, That filled the earth with food; He formed the creatures with His word, And then pronounced them good. Lord, how Thy wonders are displayed, Where’er I turn my eye: If I survey the ground I tread, Or gaze upon the sky… There’s not a plant or flower below, But makes Thy glories known; And clouds arise, and tempests blow, By order from Thy throne; While all that borrows life from Thee Is ever in Thy care, And everywhere that man can be, Thou, God, art present there.”
“For the Beauty of the Earth” (58): “For the beauty of the earth, For the beauty of the skies, For the love which from our birth Over and around us lies: Lord of all, to Thee we raise This our hymn of grateful praise… For the beauty of each hour Of the day and of the night, Hill and vale, and tree and flower, Sun and moon, and stars of light… For the joy of human love, Brother, sister, parent, child, Friends on earth, and friends above; For all gentle thoughts and mild…”
“My God, I Thank Thee” (267): “My God, I thank Thee, who hast made The earth so bright, So full of splendor and of joy, Beauty and light, So many glorious things are here, Noble and right.”
“O Lord of Heaven and Earth” (523): Makes note of the harvest, but largely thanksgiving simply for the beauty of nature.
“How Great Thou Art” (535): “O Lord my God! When I in awesome wonder Consider all the worlds thy hands have made, I see the stars, I hear the rolling thunder, Thy pow’r throughout the universe displayed… When through the woods and forest glades I wander And hear the birds sing sweetly in the trees; When I look down from lofty mountain grandeur And hear the brook and feel the gentle breeze, Then sings my soul, my Savior, God, to Thee…”
Calls for creation to praise God:
“Praise Thou the Lord, O My Soul” (20): Calls for “all that hath life and breath” to praise God.
“Angels Holy, High and Lowly” (30): Calls for “Earth and sky, all living nature,” as well as “Man, the stamp of thy Creator,” to praise God.
“All Creatures of Our God and King” (51): “All creatures of our God and King… Thou burning sun with golden beam, Thou silver moon with softer gleam… Thou rushing wind that art so strong, Ye clouds that sail in heav’n along… Thou rising morn in praise rejoice, Ye lights of evening, find a voice… Let all things their Creator bless, And worship Him in humbleness…”
“The Spacious Firmament on High” (56): Depicts various elements of nature praising God.
“Joy To the World” (122): “And heaven and nature sing…”
“Day Is Dying in the West” (493): “Holy, holy, holy, Lord God of hosts! Heav’n and earth are full of Thee; Heav’n and earth are praising Thee, O Lord most high!”
“Great Is Thy Faithfulness” (534): “Summer and winter, and springtime and harvest, Sun, moon, and stars in their courses above, Join with all nature in manifold witness To Thy great faithfulness, mercy, and love.”“Holy, Holy, Holy Is the Lord” (536): “…Let the mountains tremble at His Word, Let the hills be joyful before Him…”
The existence/beauty of nature as itself a form of simultaneous praise to, and gift from, God:
“O That I Had a Thousand Voices” (10): “Ye forest leaves, so green and tender, That dance for joy in summer air; Ye meadow grasses, bright and slender, Ye flowers, so wondrous sweet and fair, That live to show His praise alone, Help me to make His glory known.”
“I Sing the Mighty Power of God” (50): “There’s not a plant or flower below, But makes Thy glories known; And clouds arise, and tempests blow, By order from Thy throne; While all that borrows life from Thee Is ever in Thy care, And everywhere that man can be, Thou, God, art present there.”
God as present in natural elements:
“O Love That Casts Out Fear” (287): God as “sunlight of the soul” and “living water.”
Justice & Ethics
The Mennonite Hymnal also introduced the topic of ‘justice’ into Mennonite hymnody, with a small section dedicated specifically to hymns on social justice, seemingly geared towards addressing Civil Rights. Some other justice-oriented sentiments are dotted throughout the rest of the hymnal.
Stewardship:
“God of the Fertile Fields” (360): “We would thy stewards be, holding in trust from thee all thou dost give. Help us in love to share, teach us like thee to care, that earth may all be fair, and all may live… As grows the hidden seed to fruit that serves our need, thy kingdom grows. So let our toil be used, no gift of thine abused, no humblest task refused, thy love bestows.”
Hymnal: A Worship Book (MC & GC, 1992)
The Mennonite Hymnal was followed by the 1992 publication of Hymnal: A Worship Book (HWB), another joint publication between the MC and GC. The hymnal clearly aimed to capture some of the currents of the unofficial song books of the seventies and eighties, pushing a stronger focus on justice and acceptance of new, more accessible musical forms. Ken Nafziger, music editor for the Hymnal: A Worship Book project, believes that “the gift of [Hymnal: A Worship Book] was variety” – variety of musical form, theology, and traditions of origin for songs. The preface to the hymnal also notes this desire to broaden the influences represented in Mennonite hymnody, stating that the hymnal was “prepared with the goal of continuing and expanding our singing tradition,” as well as proclaiming that the presence of hymns from diverse cultures and traditions “deepens our sense of unity in Christ through the Spirit.”[16]
The classic typologies of environmental imagery found in previous hymnals continue their appearance in Hymnal: A Worship Book. The hymnal also contains a continuation of the emergence of panentheistic and ecological themes that were growing more apparent in The Mennonite Hymnal.
Material-Spiritual Dualism
Though continuing to lessen, particularly due to the increasing emphasis on justice in Mennonite thought around this time, material-spiritual dualism is present in its usual forms in Hymnal: A Worship Book.
Heaven associated with positive or perfect natural imagery:
“Oh, Have You Not Heard” (606): “Oh, have you not heard of that beautiful stream that flows through the promised land? Its waters gleam bright in the heavenly light, and ripple o’er golden sand. O seek that beautiful stream, O seek that beautiful stream. Its waters, so free, are flowing for thee, O seek that beautiful stream.”
“On Jordan’s Storm Banks I Stand” (610): “There gen’rous fruits that never fail, on trees immortal grow. There rocks and hills and brooks and vales with milk and honey flow… All o’er those wide extended plains shines one eternal day. There God the sun forever reigns, and scatters night away.”
“In Heavenly Love Abiding” (613): “Green pastures are before me, which yet I have not seen. Bright skies will soon be o’er me, where darkest clouds have been. My hope I cannot measure, my path to life is free, my Savior has my treasure, and he will walk with me. My Savior has my treasure, and he will walk with me.”
Imagery of earthly decay contrasted to the everlasting nature of God:
“Abide With Me” (653): “Change and decay in all around I see. O thou who changest not, abide with me.”
Christians are reminded not to affiliate with facets of earthly life:
“God is Here Among Us” (16): “Gladly we surrender earth’s deceitful treasures, pride of life, and sinful pleasures…”
“Spirit of God! Descend” (502): “Spirit of God! descend upon my heart. Wean it from earth, through all its pulses move. Stoop to my weakness, mighty as thou art, and make me love thee as I ought to love.”
“Lord I Am Fondly, Earnestly” (514): “Dead to the world would I be, O Father, dead unto sin, alive unto thee. Crucify all the earthly within me, emptied of sin and self may I be.”
Agrarianism
While still present in Hymnal: A Worship Book, agrarian hymns are lesser in number and diversity of expression than ever before. Essentially all of the agrarian hymns contained in the hymnal are repeats from previous hymnals, and generally of the harvest/thanksgiving cast.
Harvest & thanksgiving hymns:
“For the Fruit of All Creation” (90): “For the fruit of all creation, thanks be to God. For the gifts to ev’ry nation, thanks be to God. For the plowing, sowing, reaping, silent growth while we are sleeping, future needs in earth’s safekeeping, thanks be to God.”
“Praise to God, Immortal Praise” (91): “For the blessings of the field, for the stores the gardens yield, for the joy which harvests bring, grateful praises now we sing… Clouds that drop refreshing dews, suns that genial heat diffuse, flocks that whiten all the plain, yellow sheaves of ripened grain, all that spring, with bounteous hand, scatters o’er the smiling land; all that lib’ral autumn pours from her overflowing stores; these, great God, to thee we owe, Source whence all our blessings flow; and for these our souls shall raise grateful vows and solemn praise.”
“Come, Ye Thankful People” (94): Standard harvest hymn.
“We Plow the Fields and Scatter” (96): Standard harvest hymn.
“Sing to the Lord of Harvest” (98): Standard harvest hymn.
“God of the Fertile Fields” (390): “God of the fertile fields, Lord of the earth that yields our daily bread, forth from thy bounteous hand comes gifts thy love has planned, that all, in ev’ry land, be clothed and fed… We would thy stewards be, holding in trust from thee all thou dost give. Help us in love to share, teach us like thee to care, that earth may all be fair, and all may live… As grows the hidden seed to fruit that serves our need, thy kingdom grows. So let our toil be used, no gift of thine abused, no humblest task refused, thy love bestows.”
Romanticism
The Romantic hymns in Hymnal: A Worship Book seem born of an effort to collect the favorite expressions of the Romantic train of thought across Mennonite hymnody; though slightly less numerous than in The Mennonite Hymnal, Romantic hymns pervade Hymnal: A Worship Book. New images emerge in this hymnal, too: mystic expressions of God as present in nature blossom, and numerous hymns make mention of a ‘mother earth’ type of entity, or refer to God with feminine language when speaking of creation.
General praise hymns:
“All Things Bright and Beautiful” (156): “All things bright and beautiful, all creatures great and small, all things wise and wonderful, the Lord God made them all… Each little flow’r that opens, each little bird that sings, God made their glowing colors, God made their tiny wings… The purple-headed mountain, the river running by, the sunset, and the morning that brightens up the sky… The cold wind in the winter, the pleasant summer sun, the ripe fruits in the garden, God made them ev’ry one.”
Calls for creation to praise God:
“All Creatures of Our God and King” (48): “All creatures of our God and King, lift up your voice and with us sing… Dear mother earth, who day by day, unfoldest blessings on our way… The flow’rs and fruits that in the grow, let them God’s glory also show…”
“Praise God from Whom” (118): “Praise Him all creatures here below…”
The existence/beauty of nature as itself a form of simultaneous praise to, and gift from, God:
“Earth and All Stars” (47): “Earth and all stars! Loud rushing planets sing to the Lord a new song… Hail, wind, and rain! Loud blowing snowstorm sing to the Lord a new song! Flowers and trees! Loud rustling dry leaves sing to the Lord a new song!”
God as present in natural elements:
“Wind Who Makes All Winds” (31): “Wind who makes all winds that blow — gusts that bend the saplings low, gales that heave the sea in waves, stirring in the mind’s deep caves — aim your breath with steady pow’r on your church, this day, this hour. Raise, renew the life we’ve lost, Spirit God of Pentecost… Fire who fuels all fires that burn — suns around which planets turn, beacons marking reefs and shoals, shining truth to guide our souls — come to us as once you came; burst in tongues of sacred flame! Light and Power, Might and Strength, fill your church, its breadth and length.”
“With Happy Voices Singing” (83): “For though no eye beholds thee, no hand thy touch may feel, thy universe unfolds thee, thy starry heav’ns reveal. The earth and all its glory, our homes and all we love, tell forth the wondrous story of One who reigns above.”
“From the Hands” (97): “From the hands of your earth and the lap of your sky, your gifts are poured on us each day. Your arms surround us with your care; accept our love and thanks, we pray.”
“Of the Father’s Love Begotten” (104): “By his word was all created. He commanded and ‘twas done. Earth and sky and boundless ocean, universe of Three-in-One.”“Veni Sancte Spiritus” (298): “Come from the four winds, O Spirit, come breath of God; disperse the shadows over us, renew and strengthen your people.”
Justice & Ethics
The inklings of justice present in The Mennonite Hymnal grew in Hymnal: A Worship Book. Though still not a major theme, it is clear that the theme of justice was given some intentional thought by the hymnal committee. Its justice statements, however, generally make no (or very limited) mentions of environment.
Stewardship:
“Come and Give Thanks to the Giver” (57): “Come and give thanks to the Giver of life; all that we have is from God. Gather the flowers and fruits of the land, lift up their fragrance in song. All life, all love flows from Creator-God. Earth is one holy gift; life is one holy breath.”
“For the Fruit of All Creation” (90): “For the fruit of all creation, thanks be to God. For the gifts to ev’ry nation, thanks be to God. For the plowing, sowing, reaping, silent growth while we are sleeping, future needs in earth’s safekeeping, thanks be to God.”
“God of the Fertile Fields” (390): “We would thy stewards be, holding in trust from thee all thou dost give. Help us in love to share, teach us like thee to care, that earth may all be fair, and all may live… As grows the hidden seed to fruit that serves our need, thy kingdom grows. So let our toil be used, no gift of thine abused, no humblest task refused, thy love bestows.”
Responsibility taken for environmental degradation:
“Brothers and Sisters of Mine” (142): “Lord of all living, we make our confession: Too long we have wasted the wealth of our lands. Lord of all loving, renew our compassion, and open our hearts while we reach out our hands.”
Environmental degradation noted in calls against humanitarian injustice:
“O Healing River” (372): “O healing river, send down your waters, send down your waters upon this land. O healing river, send down your waters, and wash the blood from off the sand… This land is parching, this land is burning, no seed is growing in the barren ground. O healing river, send down your waters, O healing river, send your waters down.”
Sing the Journey (MCUSA, 2005) & Sing the Story (MCUSA, 2007)
Sing the Journey (2005) and its subsequent sibling hymnal, Sing the Story (2007), were the first hymnals published by the newly formed MCUSA. These hymnals were supplements to Hymnal: A Worship Book, and were created to provide a home for the materials that arose from the “significant flood of creative activity in Mennonite churches, in the form of new tunes and texts” that emerged in the wake of Hymnal: A Worship Book. The supplements were organized around the life of Jesus, with each supplement representing a half of the Christian calendar. Sing the Journey represents the season between Pentecost and Advent, while Sing the Story represents Advent through Easter. These books were both justice-oriented (as was Jesus). This is reflected in the preface of Sing the Story, which calls out “nationalism, high-tech warfare, terrorism, apathy toward environmental concerns, genocide, racism, sexism, over-consumption, and greed” as standing in opposition to the voice of Christ.[17]
Material-Spiritual Dualism
Material-spiritual dualism shows up, much as usual, in Sing the Journey and Sing the Story.
Christians are reminded not to affiliate with facets of earthly life:
“Unless a Grain of Wheat” (STS 56): “The one who loves the worldly life loses the life so lived, while the one who hates the life in this world preserves it to life eternal. For the grain of wheat produces much fruit, but only if it dies. Unless a grain of wheat falls to the earth, never the blade shall rise.”
“I’m Pressing On the Upward Way” (STJ 96): “I want to live above the world…”
Agrarianism
Agrarianism is nearly non-existent in Sing the Journey and Sing the Story. A few hymns with agricultural imagery are still present, but are not organized into a distinct theme of any sort.
Agricultural iamges as metaphor for proselytizing:
“As Rain From the Clouds” (STJ 40): “As rain from the clouds will your word come to earth, as snow from the heavens refreshing the land. Then soften our soil that the good seed may grow and ripen rich fruit to return to your hand. We praise you, our God, for the dew of your word; we thank you, good gard’ner, for your tender toil. We bless you, best farmer, for hundredfold yield, for harvest of grace in our once-barren soil… As grain that is scattered your word has been sown on rocks and on roadways, in good earth and sand. Make fertile our soil that the good seed may grow and ripen rich fruit to return to your hand. We praise you, our God, for the seed of your word… As rays of the sun shall your word light the world, awaking and warming and healing our land. Then shine in our hearts that the good seed may grow and ripen rich fruit to return to your hand. We praise you, our God, for the light of your word…”
Romanticism
The Romantic hymns contained in the Hymnal: A Worship Book supplements feel to be from a different generation than much of the classic iterations of the theme from earlier hymnals. Mystic framings of God as present in the natural elements are prominent.
General praise hymns:
“Creation Is a Song” (STJ 24): “The rolling of the oceans, the bubbling of a spring, night sky filled with jewels, a flock of beating wings… Dancing prairie meadow, fruit swaying on the vine, boiling storm clouds rising, lightning ‘cross the sky… Majestic sleeping mountain, forest green and deep, every living creature in our care to keep… Every glowing sunset, every outstretched leaf is witness to the glory of the One who sits as Chief… Creation is a song, a song that we can see, a sacred gift from God, let’s join the harmony.”
Calls for creation to praise God:
“Lord Jesus, You Shall Be My Song” (STJ 14): “Lord Jesus, I’ll praise you as long as I journey. May all of my joy be a faithful reflection of you. May the earth and the sea and the sky join my song. Lord Jesus, I’ll praise you as long as I journey.”
“Erfreue Dich (Be Joyful) (STS 18): “You depths of the ocean, all fish and sea creatures, snow, hailstones, and raindrops, you storms with your raging: On earth here below us… You deserts and meadows, all mountains and valleys, all animals grazing, birds singing and winging: On earth here below us… Earth, water, air, fire, you bright, flaming heavens, all people and angels, sing harmony ever: On earth here below us… Be joyful, oh heavens, be joyful, oh earth. Be joyful, all nature that joyful can be. On earth here below us, in heaven above us, Creator, all gracious, we honor and praise you.”
God as present in natural elements:
“We Worship God the Rock” (STJ 28): “We worship God the Rock, unmoved, secure, like mountains which from ages past endure… We worship God the River, flowing fast, with life-renewing waters sweeping past, a stream creating good to bless the earth, and bringing beauty in new forms to birth. We worship God the River, flowing fast… We worship God the Rock and River, one; without the water, life had not begun; without the rock, the river could not flow; we find both true, when God we fully know. We worship God the Rock and River, one.”
“Rain Down” (STJ49): “God of creation, we long for your truth; you are the water of life that we thirst…”
“Lie a Mother Who Has Borne Us” (STJ91): God depicted metaphorically as a mother who has “fed us freely from her body.”
Justice & Ethics
As stated above, Sing the Journey and Sing the Story were both intentionally justice-oriented, and were largely published out of a desire to house hymns that had emerged from a wave of justice-based materials that had been created shortly after the publication of Hymnal: A Worship Book. These hymns still tended to shy away from explicit environmental commentary, but some note human responsibility for environmental degradation at least in passing.
Stewardship:
“Mayenziwe (Your Will Be Done)”(STJ57): Simply repeats the line “Your will (Your will) be done on earth, O Lord. Your will (Your will) be done on earth, O Lord…”
Environmental degradation noted in calls against humanitarian injustice:
“If the War Goes On” (STJ 66): “If the war goes on, and the rich increase their fortunes, and the arms sales soar as new weapons are displayed; when a fertile field turns to no man’s land tomorrow, who’ll approve such trade?”
Emphasis on frugality:
“Had God Brought Us Out” (STS 96): Refrain is the Hebrew word for “enough” repeated extensively.
“Beauty for Brokenness” (STS 115): “Rest for the ravaged earth, oceans and streams, plundered and poisoned, our future, our dreams. Lord, end our madness, carelessness, greed; make us content with the things that we need.”
General calls to ecological awareness:
“Put Peace Into Each Other’s Hands” (STJ 87): “Put peace into each other’s hands with loving expectation; be gentle in your words and ways, in touch with God’s creation.”
Voices Together (MCUSA, 2020)
2020 marked the release of a new Mennonite hymnal: Voices Together. Voices Together (VT) was developed out of a desire to bring Mennonite hymnody into harmony with a new generation of Mennonites. The Voices Together website notes that, at the time of the publication of Voices Together, twenty-eight years had passed since the release of Hymnal: A Worship Book. It also states that “as worship rhythms develop new currents, the language of a recent generation needs to expand too.”[18] As culture changes, so must hymnody. Facilitating this generational shift was a primary goal of the hymnal committee in the development of the hymnal – allowing new ideas to percolate into Mennonite hymnody, providing a fresh melding of new and old in a way that hopefully can become established in the subconscious of a new generation of Mennonites.
Like many Mennonite hymnals, Voices Together strives to appeal to all varieties of Mennonites. The ‘FAQ’ page on the VT website remarks on this broad approach: after posing the question of whether people will see their personal theology reflected in each hymn, the page remarks “likely not, as that is not the intent of a hymnal. Rather than a book for personal piety, a denominational hymnal represents the theological breadth of the church.”[19] A broad theological approach allows a hymnal to explore new ideological territory without alienating more traditionally-minded church members.
The FAQ also emphasizes the creedal quality of hymnals. It states that “there is no reason to make a new hymnal if it will be exactly the same as the current one. Part of the purpose of making a new hymnal is to reflect and amplify shifts happening in the church, in the lives of people, and in society.”[20] Voices Together, like other Mennonite hymnals, is not wholly revolutionary in its content. Roughly half of the material contained in Voices Together was drawn from preceding Mennonite hymnals. This being said, it is still significant that half of the materials for the hymnal are new. Also worth noting is that this hymnal contains more work by Mennonite creators than any previous hymnal.
Voices Together continues the push made by Hymnal: A Worship Book to use inclusive language. The committee adopted a moderate path on this issue, stating that they “tried to maintain balance—around topics including ability, geography, race, economic status, and gender—while also respecting the place of lived memory.”[21] This hymnal is distinct in its performance of inclusivity, offering alternate texts under hymns that have been altered, and thus allowing for congregations to choose whether or not to use the inclusive texts.
Though not explicitly mentioned on the website, there was a concerted effort by the committee to focus on the ways that Voices Together would depict the natural world. The preface to the hymnal alludes to this, commenting that “together in worship we are called and sent to live into God’s vision of healing and hope not just for ourselves, but for our communities and all of creation.”[22] Adam Tice, text editor for the hymnal, has written numerous environmentally-focused hymns, and noted that Voices Together aimed to submit environmental concern to the same emphasis on variety it applied to other themes, both in location in the hymnal and in types of expression. Environmental hymns, rather than being sequestered exclusively into their own section, are scattered throughout the hymnal, suggesting environment as a theme underwriting all Mennonite experience. Environmental hymns were organized into three categories: in conversation, Tice labeled these categories as “a call to celebration, something to lament, and a call to action.” This categorization is pretty progressive by the standards of Mennonite hymnody: it recognizes human and non-human nature as something simultaneously beautiful, degraded, and worthy of consideration in our ethics.
Material-Spiritual Dualism
Despite the intentional effort by the committee to assess the environmental valuation within the hymns chosen for Voices Together, material-spiritual dualism still makes an appearance in the book. Most of the hymns that present this ideology are old favorites of the Mennonite church.
Christians are reminded not to affiliate with facets of earthly life:
“When I Survey the Wondrous Cross (La crus excelsa al contemplar)”(323): “Were the whole realm of nature mine, that were an off’ring far too small. Love so amazing, so divine, demands my soul, my life, my all.”
“Just a Closer Walk with Thee” (743): Earth is described as a “world of toil and snares.”
Agrarianism
Agrarian hymns make a notable comeback in Voices Together. All but nonexistent in the HWB supplements, Voices Together contains a significant number of harvest hymns. This uptick is likely representative of the emergent interest in food justice and exploration of food systems within U.S. culture. Other subtypes of agrarian hymns also make an appearance in Voices Together.
Harvest & thanksgiving hymns:
“Sing to the God of Harvest” (122): “Sing to the God of harvest a song of love and praise; with joyful hearts and voices your alleluias raise. By God’s command the seasons in fruitful order move; so thank the God of harvest with hymns of heartfelt love… God gives the rain and sunshine; the deserts bloom and spring; all creatures leap in gladness; the children laugh and sing. God fills them with abundance; all living things increase; the year is crowned with kindness, with plenty and with peace… Bring to the holy table gifts God in goodness gave: the wheat of gospel planting, the world Christ died to save; and bring the cup of blessing, the fruit of field and vine, and thank the God of harvest who calls us now to dine.”
“Come, Ye Thankful People” (123): Another harvest hymn. Includes the common connection between agriculture and the church; we are the crops of God’s field.
“For the Fruit of All Creation” (124): Another hymn of thanksgiving for the harvest.
“Sometimes a Light Surprises” (618): “Though vine and fig tree neither their yearly fruit should bear, though all the fields should wither, nor flocks nor herds be there, yet God, the same abiding, through praise shall tune my voice, for while in love confiding I cannot but rejoice.”
“We Plow the Fields and Scatter” (747): “We plow the fields and scatter the good seed on the land, but it is fed and watered by God’s almighty hand. God sends the snow in winter, the warmth to swell the grain, the breezes and the sunshine, and soft refreshing rain. All good gifts around us are sent from heav’n above. We thank you, God, we thank you, God for all your love.”
“God of the Fertile Fields” (750): Another classic harvest hymn.
Agricultural images as metaphor for proselytizing:
“Be a Sower” (789): “Be a sower, plant a seed, let it grow into a tree. Give it water, watch it grow, and give it the love that it needs. Be humble, and gentle, and always keep looking for peace. God makes the sunrise on the good and the evil, rain fall on the rocks and the weeds. Let’s be loving to one another. Join in God’s circle of peace.”
General calls to good work:
“En medio de la vida (You Are the God within Life)”(526): “There with us in the office; there when we’re tilling soil; city, or town, or country, God joins us in our toil. Hear how the ringing hammer joins with the keyboard’s clack — echoes of God’s good labor, giving our answer back! O God of earth and heaven, we serve you where we are. We love you in all people, we praise you in your world!”RomanticismThe expressions of Romanticism (Tice’s “call to celebration,” perhaps) in Voices Together are a mix of the classic Romantic ‘anthems’ of Mennonite hymnody alongside novel interpretations of a Romantic natural world.
Classic Romantic anthems:
“For the Beauty of the Earth” (120): “For the beauty of the earth, for the glory of the skies…”
“All Things Bright and Beautiful” (177): “All things bright and beautiful, all creatures great and small, all things wise and wonderful, the Lord God made them all… Each little flow’r that opens, each little bird that sings, God made their glowing colors, God made their tiny wings… The purple-headed mountain, the river running by, the sunset, and the morning that brightens up the sky… The cold wind in the winter, the pleasant summer sun, the ripe fruits in the garden, God made them ev’ry one.”
“This Is God’s Wondrous World” (180): Re-wording of “This Is my Father’s World.” Little has been changed other than gendered titles for God. The natural romanticism of the original remains.
“I Sing the Mighty Power of God” (182): “I sing the mighty pow’r of God, that made the mountains rise, that spreads the flowing seas abroad and built the lofty skies… I sing the goodness of the Lord, that filled the earth with food. God formed the creatures with a word, and then pronounced them good. Lord, how thy wonders are displayed, where’er I turn my eye, if I survey the ground I tread, or gaze upon the sky… There’s not a plant or flow’r below, but makes thy glories known, and clouds arise, and tempests blow, by order from thy throne…”
“How Great Thou Art” (436): “When through the woods and forest glades I wander and hear the birds sing sweetly in the trees; when I look down from lofty mountain grandeur and hear the brook and feel the gentle breeze: Then sings my soul, my Savior God, to thee: How great thou art, how great thou art! Then sings my soul, my Savior God, to thee: How great thou art, how great thou art!”
“In the Bulb There Is a Flower” (670): Beautiful romantic imagery of God’s knowing role in the beauty of creation. “In the bulb, there is a flower, in the seed, an apple tree… unrevealed until its season, something God alone can see.”
Non-Euro-centric Romantic/mystic hymns:
“Nyanyikanlah Nanyian Baru (Sing to God a New Song)” (93): Calls for Christians to “sing with all creation” in praise of God.“Hacia Belen (Mary Journeyed)” (224): Natural Romanticism in imagery of animals praising Christ. “From the forests, at their passing, all the birds came swiftly winging as they watched this loving couple and burst into happy singing.”
“Qing zao qi lai kan (Golden Breaks the Dawn)” (498): Romantic natural imagery.
God as present in natural elements:
“Immortal, Invisible, God Only Wise”(98): God’s attributes likened to mountains and clouds.
“Wind Who Makes All Winds” (372): “Wind who makes all winds that blow — gusts that bend the saplings low, gales that heave the sea in waves, stirrings in the mind’s deep caves — aim your breath with steady pow’r on your church, this day, this hour. Raise, renew the life we’ve lost, Spirit God of Pentecost…”
“As the Wind Song Through the Trees” (373): “As the wind song through the trees, as the stirring of the breeze, so it is with the Spirit of God; as the heart made strangely warm, as the voice within the storm, so it is with the Spirit of God. Never seen, ever known where this wind has blown, bringing life, bringing pow’r to the world, as the dancing tongues of fire, as the soul’s most deep desire, so it is with the Spirit of God… As the rainbow after rain, as the hope that’s born again, so it is with the Spirit of God; as the green in the spring, as a kite on a string, so it is with the Spirit of God, making worlds that are new, making peace come true, bringing gifts, bringing love to the world; as the rising of the yeast, as the wine at the feast, so it is with the Spirit of God…”
“Joys are Flowing Like a River” (375): “Like the rain that falls from heaven, like the sunlight from the sky, so the Holy Ghost is given, coming on us from on high… See, a fruitful field is growing, blessed fruit of righteousness, and the streams of life are flowing in the lonely wilderness…”
“We Worship God the Rock” (424): “We worship God the Rock, unmoved, secure, like mountains which from ages past endure, a armstrong foundation for our faith and life, our rock of confidence in storm and strife… We worship God the River, flowing fast, with life-renewing waters sweeping past, a stream creating good to bless the earth, and bringing beauty in new forms to birth… We worship God the Rock and River, one; without the water, life had not begun; without the rock, the river could not flow; we find both true, when God we fully know…”
“God Speaks to Us in Bird and Song” (539): “God speaks to us in bird and song, in winds that drift the clouds along, above the din and toil of wrong, a melody of love.”
“I Am That Great and Fiery Force” (663): “I am that great and fiery force sparkling in ev’ry thing that lives; in shining of the river’s course, in greening grass that glory gives… I shine and glitter on the seas, in burning sun, in moon and stars. In unseen wind, in verdant trees I breathe within, both near and far… And where I breathe there is no death, and meadows glow with beauties rife. I am in all, the spirit’s breath, the thundered word, for I am Life.”
“There’s a Wild Hope in the Wind” (828): “There’s a wild hope in the wind: her whisper is heard on the breeze. The gale is her shout that is calling us out. There’s a wild hope in the wind. O God in the wind, come gather us in, be our courage and promise. The future is dim, but we want to live into a wild, wild hope… There’s a wild hope in the skies: her gown is the blue of forever. The purple of night is her heart’s pure delight. There’s a wild hope in the skies. O God in the skies, come open our eyes… There’s a wild hope in the earth: her body provides us with nurture. The dark underground is where life can abound. There’s a wild hope in the earth. O God in the earth, [come] aid our rebirth…”
Justice & Ethics
Environmental justice is well represented in Voices Together. The hymnal combines the emergent theme of justice apparent in previous Mennonite hymnals with an intentional environmental focus, finally allowing for hymns to specifically focus upon environmental ethics. Looking to Tice’s three types of environmental hymns, many hymns in Voices Together use Romantic ‘celebratory’ lyrics to set up the natural ideal to which a suggested ethic can work towards.
Stewardship:
“The Garden Needs Our Tending Now” (788): “The garden needs our tending now — the water, soil, and air. The very rocks and stones cry out for stewardship and care. Creation groans, awaiting still the consummation of God’s will: Earth shall be green and new, Eden restored. Terra viridissima… Where air and waters, crystal bright, have now grown choked and foul, the sparrow’s Maker mourns the loss of eagle, falcon, owl. Creation groans, its creatures yearn for wilderness and peace returned…”
Environmental degradation noted in calls against humanitarian injustice:
“Touch the Earth Lightly” (145): “We who endanger, who create hunger, agents of death for all creatures that live, we who still foster clouds of disaster, God of our planet, forestall and forgive!”
“The Garden Needs Our Tending Now” (788): “When human tribes and nations vie to own its fertile yield, the Psalmist knows the earth is God’s its fullness, grace revealed. Creation groans, and pleads for hands to bring God’s healing to its lands… While people die in poverty, some lives are thick with waste. The Prophets warn us: “simplify!” Their challenge must be faced. Creation groans, awaiting still a Church responsive to God’s will…“
“If the War Goes On” (794): Calls out war as a significant contributor to environmental degradation.
Emphasis on frugality:
“Touch the Earth Lightly” (145): “Touch the earth lightly, use the earth gently, nourish the life of the world in our care: gift of great wonder, ours to surrender, trust for the children tomorrow will bear.”
General calls to ecological awareness:
“We Dream of a Turning” (209): Emphasizes the need for an ethic to minimize environmental destruction.
Non-conformity:
“God, Give Me Time” (144): “God, give me time to deal with words that threaten and destroy: the easy words of politics that kill creation’s joy; the speeches that proliferate economies of greed; the thieves of children’s heritage, the poison of the seed.”
“Hear the Turmoil of the Nations” (201): Pushes for non-conformity.“How Can We Worship Caesar’s Cross” (308): Calls out the emptiness of consumption and consumer culture. “How can we take up fashion’s cross worn bold in burnished gold, yet borne in empty apathy, style swiftly bought and sold?”
“Who Will Speak a Word of Warning” (758): Critiques greed. “Who will speak a word of warning to a world whose wealth expands, as the growing wealth is gathered into ever fewer hands? Christ, you speak a word of warning for the church to know and tell: greed is death and life is giving; hands that give receive as well.”
Footnotes
[1] KJV
[2] "Notable Books in Brief Review: John Muir's Account of His Historic Thousand-Mile Walk to the Gulf, and Other Recent Publications," New York Times (January 21,1917), BR4, quoted in Jedediah Purdy, After Nature: A Politics for the Anthropocene (Cambridge, MA: Harvard University Press, 2015), 131.
[3] Redekop, Calvin W. Creation and the Environment: An Anabaptist Perspective on a Sustainable World (Johns Hopkins University Press, 2000), 72.
[4] Loewen, Royden. "The Quiet on the Land: The Environment in Mennonite Historiography." Journal of Mennonite Studies: 151.
[5] Loewen, Royden and Nolt, Steven M. Seeking Places of Peace: A Global Mennonite History (Simon and Schuster, 2012), 91.
[6] Martin E Ressler, An annotated bibliography of Mennonite hymnals and songbooks: 1742-1986, (1987): 36.
[7] Church and Sunday School Hymnal with Supplement (Scottdale, PA: Mennonite Publishing House, 1911).
[8] Church Hymnal. (Scottdale, PA: Mennonite Publishing House, 1927), v.
[9] Epp, Sound in the Land: Essays on Mennonite Music, 24.
[10] Harold S. Bender, Hymnology of the North American Mennonites, 2020 (Global Anabaptist Mennonite Encyclopedia Online 1956).
[11] Mennonite Hymn Book. (Berne, IN: Mennonite Book Concern, 1927), iii.
[12] Bender, Hymnology of the North American Mennonites.
[13] Bender, Hymnology of the North American Mennonites.
[14] The Mennonite Hymnal. (Scottdale, PA: Herald Press, 1969).
[15] The Mennonite Hymnal.
[16] Hymnal: A Worship Book. (Scottdale, PA: Mennonite Publishing House, 1992), iii.
[17] Sing the Story. (Scottdale, PA: Faith & Life Resources, 2007), iii.
[18] "History of the Project," Voices Together, 2021.
[19] “FAQ,” Voices Together, 2020.
[20] "FAQ," Voices Together, 2020.
[21] "FAQ."
[22] Voices Together. (Harrisonburg, VA: MennoMedia, 2020), iii. Emphasis mine.