However, in Church Dogmatics IV/1 (1953; ET 1956), Barth issues a retraction of sorts—or
perhaps an intensification of his critique. First of all, Barth not only affirms
that Jesus Christ stands in relation to the Christian community and to the
world more generally, but in relation to the individual Christian, too: ‘from
all eternity God has thought of me, elected me, acted for me in Him [Jesus],
called me to Himself in Him as His Word.’ (CD
IV/1, p. 753) Barth is not saying that the ‘I’ is the only person that matters,
but that God in Christ truly relates to the ‘I’ in all his or her
particularity: Jesus is my Mediator, my Saviour, my Lord. Thus Jesus is pro me—‘for
me’. But this is no abstract pro me
but the pro me that has to be seen in
relation to the pro nobis (‘for us’)
and the propter nos homines (‘for us
humans’). As far as I understand Barth here, Jesus is pro me as the particular person, Terry, who is constituted by his
relations within the Christian community (pro
nobis) and humanity more generally (propter
nos homines). So Christ not only died for humanity but—in a very real
sense—just for Terry. (And for you in all your glorious particularity, I hasten
to add.)
So how does this apparently quite extreme Christian(ised)
individualism affect the Church’s hymnody? Barth notes that his earlier
critique of ‘I-hymns’ (in CD I/2) can
only be a relative criticism; there are too many ‘I-Psalms’ in Scripture to
suggest otherwise. Moreover, the pro me
needs to be genuine lest Christian belief degenerate into an abstract theory
rather than a powerful witness to God’s action in Christ. But Barth goes
further than this; he goes to great lengths to emphasise that Christ stands in
relation to each individual Christian as though he or she were the sole
representative of Christian faith in the world. In fact, my ‘as though’ might
be misleading:
Each individual as such . . . stands in the place of many, of all, uniting and representing in himself as this man the whole race, and in himself as this Christian the community. In his existence as an individual he is not a particle or a sample or a specimen. He is the one who is and has and does and signifies the whole and everything. He is the one who is responsible for all and everything. . . . In all the work of God, in what God does and says as Creator, Reconciler and Redeemer, he is not merely envisaged in general, or together with others. . . . What God does is all of it done just for him, just for thee and me. What God wills is all expected just of him, just of thee and me. (CD IV/1, p. 756)
This is not the easiest passage to understand, at least not
for me. The thrust of the passage seems to be that, for Barth, Christ’s relation
to each individual Christian demonstrates that God is not only pro me, but that God, by virtue of being
pro me, is also pro nobis and propter nos
homines as well. And this seems to be Barth’s unpacking of the word Credo, ‘I believe’, which is in the
first person singular to express the genuine unity of those who confess it as
members of the Church. All this seems to point to a radical understanding of
humanity that moves beyond mere individualism and simple communitarianism
towards something more (shall we say) mystical. And this is what I think is the
genius of Barth’s critique here in CD
IV/1: the Church’s so-called ‘I-hymns’ don’t go far enough! In Barth’s own
words, ‘Is there any I-hymn which can express this strongly enough? Is not the
confession of faith itself necessarily the strongest I-hymn of all?’ (CD IV/1, p. 756) If my reading of Barth
here is correct, then I suggest that few current ‘I-hymns’ can express this
radical conception of humanity because the Western Church is either mired in a thoroughgoing
individualism that posits the Church merely as individuals with a common
interest, or is earnestly seeking some kind of socialist utopia that may or may
not have Christian elements. But neither angle takes humanity seriously enough.
Given all this, Barth maintains that while I-hymns have a
place in the Church’s hymnody, they can only have that place inasmuch as they
testify to Christ. The pro me cannot
be abstracted and systematised; nor can the relationship between God and the
individual be ‘the basis and measure of all things.’ (CD IV/1, p. 757) Here, Barth seems to be saying that in the process
of singing genuinely Christ-oriented ‘I-hymns’, Christ himself moves
intentionally from being the object of the pro
me to being the subject of the pro me.
Barth concludes:
It will be acknowledged that Christian faith is an “existential” happening, that it is from first to last I-faith, which can and should be sung in I-hymns. But there will take place the necessary “de-mythologisation” of the “I” which Paul carried through in Gal. 220: “I live, yet not I, but Christ liveth in me.” (CD IV/1, p. 757)
* * * * *
The danger I see in many of the songs we sing in our local churches
is that either they focus on our relationship with God (rather than on God and
what God has done), or they are an opportunity to emote—or, to put it more
pejoratively, an opportunity to burble like a baby. But do we not see both of
these things in the psalms? I confess I’d like Barth to have explained his
comment about ‘I-Psalms’ a little more.
I hope Matt Redman wants to take me back to a plate of warm chips...
ReplyDeleteI was poised to comment on your previous post but I think you've covered most of what I was going to say - particularly the point about the many I-Psalms (or is that an Apple product for OT Prophets?).
Barth's critique goes a little over my head in places, and I'm not entirely convinced that each of us is the representative of everyone else, though I can see *something* in it, in a mystical incarnational kind of a way.
I'm also not convinced that there is a clear Scriptural precedent or blueprint for what congregational hymns and worship/praise songs should be like - and even if there were I'm not sure that should be the sole arbiter.
I take the point about the danger of separating Christ and the Spirit, but I'm not sure that is going on in most contemporary hymns and worship songs.
From my perspective as conflicted worship leader and songwriter, I think there's a place in our worship for I-hymns, or hymns that contain an I-perspective. But a near-exclusive diet of entirely subjective and overly-emotionally-based content probably isn't all that healthy.
So would 'Shine Jesus Shine' work for you as a Trinitarian, mainly God-focused song, leaving aside its musical merits?
To be honest, I've no idea what works for me any more. I likes what I knows, and I knows what I likes - and most of the time, I don't likes what I knows. A common complaint issuing forth from mine lips is the lack of coherence I perceive in many songs - too many just seem to be random words or phrases plucked from the Bible or the songwriter's head and strung together. 'The Splendour of the King' is one of those songs; 'Sovereign Over Us' is another. It might be unfair for me to think of these songs as incoherent, but well . . . I definitely detect a tacit but real difference between, say, 'Praise is Rising' and 'Come, you thankful people, come'.
DeleteI had hoped that someone with more skill in interpreting Barth would have seen these two posts to comment on my own skills of interpreting Barth!
Your skill in interpreting Barth is second to none Terry. Barth himself says so.
ReplyDeleteHowever, your taste in contemporary worship songs is right up the creek. Not liking 'The Splendour of the King'? You baffle me.
Joking aside, I do actually rate that song and would have used it as an example of a good contemporary worship number, so there you go - no accounting for taste.
What's almost certainly true is that the lyrical quality of most modern praise/worship songs is significantly lower than that of most older hymns. However, that's not an entirely fair - the hymns that have survived and been passed down to us will mostly be the higher-quality, more enduring ones, and I suspect hundreds of second-raters have happily fallen by the wayside.
Perhaps the inherent lyrical problem with contemporary worship songs is that they are almost exclusively written in the pop/rock song genre, which isn't best designed for high-quality verse. And the best pop/rock songs are generally ones where the lyrics are obscure or bizarre enough to sound deeply meaningful, which doesn't work too well in worship.
I think there are some good modern Christian songwriters whose work will endure a bit longer - much as I hate to say it, Graham Kendrick at his best may be one of those, and Stuart Townend has produced some good songs even if I personally don't like them (or disagree with their conservative theology!). And even Matt Redman has his moments...
Yeah, 'The Splendour of the King' just seems to attach pious phrase to pious phrase. I've no objection to singing it, but . . . well, given your comment about high-quality songs lasting the test of time, I'd be interested to see how many are still singing this in, say, a century's time. And if James K. A. Smith's stance is anything to go by, a lot of these songs will pass away quite quickly because many Christians equate novelty with authentic expression in worship. I remember singing 'He is the Lord and he reigns on high' quite a lot back in the 90s, but it seems to have fallen by the wayside. At least, I haven't mimed along to it since then. . . ;)
DeleteAlthough there's always the phenomenon that once something gets old enough, someone may rediscover it and it will be novel again for a while... like the current resurrections of 'Ben Hur' and 'Pokemon'.
ReplyDeleteSome more conservative churches are just catching up with 80s/90s worship songs now and are experimenting with them as daringly progressive... the church I take my parents to once a month majors on 80s classics and new Stuart Townend / Keith Getty songs.
By '80s classics', are you meaning stuff like Duran Duran and Wham? I've never been to a church that sings 'Girls on Film' . . .
DeleteYes, it's all 'Club Tropicana' and 'Her name is Rio' at my parents' church. Hallelujah!
ReplyDeleteChurch Anglicana, spats are free,
DeleteStrife and conflict, there's enough for everyone.
This reminds me of one of the Adrian Plass diaries, where the organist gets carried away and starts playing 'Home on the Range' and one of the more enthusiastic participants cries out, "We want to be the antelopes for you, Lord!"
ReplyDeleteThis is a theological approach I can relate to - poking affectionate fun ;-)
My husband's vague claim to fame is that he was taught by someone who was himself taught by Karl Barth.
That's an impressive claim to fame, all the same . . .
Delete