IX. The Hymns of Praise
When one goes through the book of Revelation one finds a number of what one could call hymns of praise.
Indeed, it was when I was reading through these in Revelation in The Message last year that I was impressed with the place of these hymns here, their function. They helped me gain a new understanding of this letter to first century Christian churches. It seemed to me they were pointing to the ultimate aim of the writer, which is often lost in the startling pictures of so much of the book. I believe John’s real purpose, indeed, shall we say Christ’s purpose, as he is described as giving this all to John, was to bring some real joy into the hearts of Christians suffering in the dire circumstances of the persecution they were enduring in the Roman Empire at the time. This inspired me to look at give Revelation with fresh eyes, and lead to this writing.
Now, if we go through the book to single out the hymns of praise, I believe one can single out – again - seven of them, found in the following passages (There are three pieces of hymn-like writing in 19:1-3, 5 and 6-8, but these are not described as being sung, rather cried out, although the words are similar to the other hymns and could be sung):
1. 4:8
2. 4:11
3. 5:9-10
4. 5:12-13
5. 7:12
6. 11:17-18
7. 15:3-4
Some of these songs are sung, sometimes with the accompaniment of harps. Others seem to be recitations. It would be fascinating to speculate what those that are described as being sung might have sounded like musically. However, other than some general terms referring to their volume, the nature of the sound, sometimes compared to features of the created world, like rushing waters, we have no idea of this. Our finite minds are curious about this as it could give us another taste of what might be in store in heaven, in the ‘afterlife.’ However, there was probably no system to write down music as we know it, even if John had been musically knowledgeable. Furthermore, in the grand scheme of things, there is much in Revelation that is beyond description, and the musical elements of these songs are but one portion of that. It is possible that what John heard was original. It could also be that, in attempting to give voice to that which is of the beyond, he resorted, at least in part, to incorporating features from songs he knew from his Jewish or early Christian background. Certainly, some of the lyrics are similar to songs we do find in The Bible. We also know that some of these songs have been incorporated into the Church’s music subsequently. Who has not heard or even participated in singing in George Frederick’s Handel’s Messiah with its “Worthy is the Lamb that was slain to receive power and riches, and wisdom, and strength, and honour, and glory, and blessing,” leading up to the crescendo “forever and ever.” That comes right from Revelation ch. 5:12-13.
These psalms reflect the triumphant joy of those already in heaven. They are sung by those who have been victorious over all the challenges of life and stayed true till death. Now they are reaping the reward of their faithfulness. Now, in some cases, John is probably even looking into the future and seeing what is going on in eternity, with all the saints in heaven by that time. Regardless, the overflowingly enthusiastic renditions of these praises was meant to encourage and inspire the listeners, the readers, to rest assured. If they stayed true through death, they too would someday joyfully and victoriously participate in these celebrations. Knowing that could bring them joy in the midst of what they were going through in their present situation. This is the joy Revelation can bring.
Some of these songs come in combination with others, and so all will not be dealt with as separate entities. I will also refer to some of the hymns we know that are based on some of these hymns from heaven.
1. 4:8
In the middle of the throne and around the throne were four living creatures full of eyes in front and in back. 4:7 The first living creature was like a lion, the second creature like an ox, the third creature had a face like a man’s, and the fourth creature looked like an eagle flying. 4:8 Each one of the four living creatures had six wings and was full of eyes all around and inside. They never rest day or night, singing:
“Holy Holy Holy is the Lord God, the All-Powerful, Who was and who is, and who is still to come!”
This is obviously reflected in the well-known hymn, “Holy, Holy, Holy, Lord God Almighty,” which has the line from the verse (other translations have almighty instead of All-Powerful) as its first line. The last part of the verse is echoed in the end of stanza two of this hymn, “Which wert, and art, and evermore shalt be.”
One other church hymn that points to this hymn, which comes from the German, is “Lord Jesus Christ, Be Present Now (Herr Jesu Christ, Dich Zu Uns Wend),” stanza 3: “Till we with saints in glad accord, Sing “holy, holy is the Lord.”
The four living creatures singing this are thought by some to represent all of nature. The lion represented wild animals with it being thought of as having the most power, the ox, the most powerful among domestic animals. The creature with the human face symbolized humanity and the eagle, often seen as the most majestic of birds, stood for everything that flies. There are passages even in the Old Testament that speak of the never-ending praise given God even by his non-human creation.
This is the first hymn John hears from his first vision of heaven, so it is fitting that it is nature that is first featured in praising God, as nature was made before man. John describes what he sees in terms of what he knows. What else can one do? We are always limited by our language, by our experience. Prior to such visions, the creatures most often identified with heaven were winged, the angels, so it would not be surprising John sees these beasts in heaven as having wings. But what about the eyes? If these beasts represent all of creation that has a voice, as least as mankind understood things then, their sum vision would be what every living thing sees on the earth.
As for the words of this song, some commentators believe that, to begin with, the triple ‘holy, holy, holy’ is meant to reflect the triune nature of God that was being developed in Christianity at the time. The transcendent holy otherness is the first phrase of praise that comes forth. These creatures then praise God as Lord, as opposed to Caesar and other earthly lords and kings of whatever age. This is emphasized by naming God all-powerful. Finally, they praise our Creator’s eternal nature, again unlike temporal rulers, with the last phrase of the song. God is present in every age – past, present and future. Truly a joyful chorus of earth, heard in heaven!
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