Manuscripts

FAIREST LORD JESUS by Justin Bonnett Justin Bonnett, a native Texan, was born to Christian parents. At the age of fourteen he was baptized by his father at Dripping Springs, Texas. He is married to the former Rachel Meador. Justin received his formal education in religion from Southwest School of Bible Studies in Austin, Texas (Dipl. in Biblical Studies), and Heritage Christian University in Florence, Alabama (B.A. in Bible). He is currently pursuing a graduate degree in New Testament Studies. Justin has been involved with mission works in Oregon, Texas, and Alabama, as well as in Bangkok, Thailand. He now serves as Associate Minister for the Salem church of Christ in Florence, Alabama. Christians share one of the greatest of human joys in coming together to worship God each week. It is an opportunity to help one another bear burdens, to express encouraging words, and to provoke one another to love and good works (Heb. 10:24). It provides an opportunity to humbly exercise God-given talents in preaching, teaching, and leading in the various aspects of worship. And, it is an opportunity to come together and sing the wondrous love of the Fairest Lord Jesus! Singing – what a wonderful ability and blessing God has given to man. Through song, man is enabled to express his most heartfelt praises, his deepest distresses, and his greatest hopes. There are uplifting songs, heart-rending songs, motivating songs, praise-giving songs, and songs convincing people of their need to act and live according to the Gospel. Thus, singing songs of praise to God, and for the edification of the saints, is an integral and necessary part of Christian worship (Eph. 5:19; Col. 3:16). No doubt it was with great joy, then, that the theme was chosen for this Homecoming Lectureship – Songs of the Church. The song explored here is one of the most beautiful ever written in word and tune. It vividly expresses the spiritual beauty, majesty, and dominion of the Suffering Savior of mankind and impresses upon the singer the grandeur of his Lord. HISTORY OF THE SONG The original words of this song were written in the 17th century (possibly as early as 1662) by German Jesuits (McCann, 104). The Jesuits, or Society of Jesus, are a Roman Catholic religious order founded in 1534 with the purpose of converting the Muslims who lived in the Bible lands (Morse, 5223). Concerning the Society, historians consistently note its turbulent history, in which it has often been persecuted, even in Catholic countries, due to its intolerable and embarrassing actions (Kane, 59). Aside from the Society’s noted history, gratitude is owed it for blessing Christians with this beautiful hymn. In actuality there are two English translations of this song. The history of the first, the authorship of which has been identified above, will be further developed here. This translation first appeared for public use in the Munster Gesangbuch in 1677. It was not until 1842, when A. H. Hoffman von Fallersleben set the words to the tune now known as SCHONSTER HERR JESU, that it passed into popular use (McCann, 104). Finally, in 1873, a Lutheran preacher from Maryland named Joseph Augustus Seiss (1823-1904) translated the hymn into English and included it in his collection known as The Sunday School Book (104). The wording of Seiss’ original translation is somewhat different from that found in most modern hymnals. The text of his translation can be seen on the Internet at www.cyberhymnal.org. The second English translation is anonymous. Its use became widespread in 1850 when a music critic from Boston named Richard Storrs Willis (1819-1900) arranged it and included it in his Church Chorals and Choir Studies (104). According to the explanatory notes (which appear above or below the text of the hymns in songbooks) in some popular songbooks used by the Lord’s church, it appears that the translation found in these books has its roots in this second vein of translation (look under “see also” in the Works Cited page). In this article the two English translations will be compared and contrasted when needed, and reference will be made to each as clarity demands. From its history, then, it is apparent that the sentiments expressed in the English translation of Fairest Lord Jesus have a diverse religious background. Having been originally written by a zealous Roman Catholic religious order and passing through further generations of Catholic and other religious thought (possibly Lutheran), it may seem surprising to some that its message is so true, pure, and delightful today. However, in reading and singing the thoughts expressed therein, and examining them in the light of God’s Word, one can see the truth the song teaches about his Savior and be transported from earthly thinking into the realm of the spiritual. DIFFICULT WORDS & PHRASES, AND BIBLICAL TEACHINGS Let it first be said that this section is intended to clarify words or phrases which may be difficult to understand for some modern readers, as well as to discuss important doctrines the song contains. It may be the case that most, if not all, who read this article know the meaning of all the words and phrases in this song. A. The meaning of Fairest. In modern times, the English word “fair” is used in several ways. A brief scan of Webster’s collegiate dictionary reveals this. But, which of its meanings is communicated in this song? Allowing for a summary of Webster’s second definition, the word “fair” here means pleasing to the mind due to fresh and flawless quality. Some commonly used synonyms for “fair” as it is used here are the words “beautiful” and “lovely.” In fact, Seiss’ translation of the song is entitled “Beautiful Savior,” and he consistently translates “fair” and “fairest” using the term “beautiful” (Cyberhymnal website [CW]). Thus, this song is expressing the fact that, in the spiritual sense, Jesus is the most lovely and most beautiful being man’s souls will ever encounter since He has appeared to bring deliverance from sins and eternal salvation to man (Acts 4:12). B. “O Thou of God and man the Son!” Oftentimes a writer will go against established rules of the language in which he is writing so that what he writes will have a desired effect on his audience. In doing so he is using a device called poetic license. The unknown translator of the second vein mentioned above uses this device in the first stanza to keep the song’s rhythm and rhyme intact. To see the effectiveness of his use of the device, first sing the song as it is in the songbook, and then try singing it this way: Fairest Lord Jesus! Ruler of all nature! Son of God and Son of Man! Thee will I cherish, Thee will I honor, Thou my soul’s glory, Joy, and crown. The rhythm and rhyme are somewhat interrupted in this version, aren’t they? And, the version in the songbook “just sounds better”! The point here is that the anonymous author’s choice of words and grammar demand that he use poetic license in this instance to “help out” with the flow and beauty of the song. (Note, for instance, that his translation is less “stilted” than the translation given above.) Another interesting note about the wording chosen by the anonymous translator is that, although his phraseology makes the song more beautiful, it also makes it harder to understand. In fact, his phraseology is somewhat backward in comparison with normal modern phraseology. Seiss’ translation of the phrase is simply “Son of God and Son of Man” (CW). Both versions mean the same thing; yet, one sounds more beautiful while the other is a little easier to understand for the modern American. C. “Robed in the blooming garb of spring.” In the second stanza, the author seeks to make vivid the comeliness of Christ by contrasting His spiritual splendor with the earthly splendor of the physical world. He paints the picture of beautiful meadows and woodlands and says that they are “Robed in the blooming garb of spring.” The poetry here is elegant, but most Americans do not normally speak this way. A more normal and easily understood way of saying this is that they are “dressed in the blossoming clothes of spring.” This calls to mind the image of hillsides and woodlands that in springtime are covered by blankets of blue, yellow, red, and orange flowers. Who can mistake their beauty? The songwriter’s point is that Jesus is even more beautiful to man in the spiritual sense than are these beautiful sights in the natural sense. D. Jesus makes the woeful heart sing. Again, most (if not all) readers of this article already understand what “woeful” means. However, some may not share that understanding. If a person is “woeful” then he is filled with deep suffering. This suffering may be caused by sickness, injury, the loss of a loved one, or any number of circumstances. However, because Jesus is the “Wonderful Counselor” (Isa. 9:6), and because He is the Great Physician (Luke 5:31-32), He is able to heal all of man’s grief from the smallest matters to the greatest (Isa. 53). E. “The twinkling starry host.” There are game-show hosts and talk-show hosts, and one who entertains others in his home is called a host. But, what is a “twinkling starry host”? As the word “host” is used in stanza three it means “multitude,” and the phrase thus signifies the entire multitude of stars in the universe. The writer is expressing the fact that Jesus’ light shines brighter than the combined light of the millions of stars in all creation (John 8:12; 9:5; 12:46)! And, seeing that He leads the obedient out of spiritual darkness, who can disagree (Luke 1:78-79; 1 Pet. 2:9)? F. Two Important Doctrines. Besides the doctrinal material contained in the song that has already been addressed here, two other important Biblical doctrines need to be discussed in greater detail. These concern the divinity and dominion of the Lord Jesus. (1) Jesus is the “Ruler of all nature.” Notice first a comparison of the two English translations. Seiss’ says that Jesus is the “King of Creation,” and the anonymous says He is the “Ruler of all nature.” These phrases are essentially the same and almost identically communicate the meaning that Jesus has dominion over all things. However, Seiss’ translation may more closely fit the Biblical description of Jesus’ authority in that His authority not only encompasses His rule over “nature” (which could be interpreted as only the physical, natural realm), but He is literally the ruler of all “Creation.” His dominion spreads over every last inch of the created order. Where does the Bible teach this doctrine? For starters, “In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by Him; and without Him was not any thing made that was made…And the Word became flesh, and dwelt among us” (John 1:1-3, 14). In this passage the “Word” is obviously Jesus, and He is said to have made all things. After making all things He was also given authority, or dominion, over all heavenly and earthly things according to Colossians 1:16. The same passage also says that everything was created for Jesus. Thus, Jesus created everything and has been given authority over it (Mat. 28:18). He is, therefore, “King of Creation” and “Ruler of all nature” (see Rev. 17:14; 19:16). (2) Jesus is the “Son of God and Son of Man.” The apostle Peter professed that Jesus was the “Son of God” and He gave no argument to the contrary. Instead, He blessed Peter for his faith (Mat. 16:13-19). Jesus identified Himself as the Son of God and was crucified because of it (Mat. 26:62-27:50). The Bible also states in no uncertain terms that Mary, Jesus’ mother, was a virgin when He was conceived, and that she was “found to be with child by the Holy Spirit” (Mat. 1:18-25). And, the angel Gabriel told Mary that her Son would be called “the Son of God” (Luke 1:35). His perfect life, His miracles, and His unfailing love for mankind are also evidence of His divinity (John 15:11-14; Heb. 4:14-16). At the same time that He was the “Son of God” He also frequently referred to Himself in the New Testament as the “Son of Man.” In fact, in the Gospel accounts He used this title to describe Himself far more frequently than He used the term “Son of God.” Thus, it was important to Jesus that people know Him as the “Son of Man.” If it was so important to Jesus, it should also be important to His people. What, then, is the significance of this title? The International Standard Bible Encyclopaedia (ISBE) proposes three main reasons for Jesus’ repeated use this title (2830). These three reasons are given here in adapted form. First, Jesus used the title because it expressed His Messiahship. The word Messiah (or Messias) means “anointed one” and signifies “the anticipated king and deliverer” spoken of in the Old Testament (Dickson, 143). Therefore, since Jesus knew He was the Messiah, it was fitting that He should use this title (cf. Luke 19:10; John 18:33-37). Second, Jesus used it because doing so allowed Him to keep His Messianic mission and identity somewhat private. ISBE says that He usually shied away from using more direct titles (such as Son of God or Messiah), “no doubt chiefly because His contemporaries were not prepared for an open declaration of Himself in this character” (2830). In the Gospel accounts, Jesus repeatedly commanded His apostles not to publicize His Messianic identity (cf. Mat. 16:20; 17:9). He also often told those whom He healed not to tell others what He had done (cf. Mat. 8:4). The reason for this “shyness” was not because He was ashamed of His identity, but because He wanted to protect Himself and His mission. If too many people had heard His Messianic claim too early, then His mission might not have been fulfilled. Therefore, the public proclamation of His identity had to begin at the time He appointed, and according to God’s eternal plan. Third, and most important (according to ISBE), Jesus referred to Himself as the “Son of Man” because “it gave expression to His sense of connection with all men in sympathy, fortunes, and destiny” (2830). It showed how He identified with all mankind as “brother,” “fellow-sufferer,” “representative,” and “champion” (2830). Thus, He used the title to express His intimate familial and redemptive relationships with man. CONCLUDING REMARKS Though it has been some 340 years since this song was first written, and though it has no doubt passed through the hands of various religious sects, and though its popular phraseology is at times difficult for the modern person to understand – the song Fairest Lord Jesus still contains true, beautiful, and timeless treasures for Christians to sing today. Its contents capture the essence of Jesus’ divinity, dominion, and humanity in vivid poetry. Indeed, there is no greater King, no greater Savior, and no fairer Lord than Jesus Christ. Why? If for no other reason, this one must be given: because He came not to be served by man, but to serve man, and to give His life as a ransom for all (Mat. 20:28; John 3:16). WORKS CITED Dickson, John A., ed. (1973), Dickson New Analytical Study Bible (Grand Rapids, MI: World Publishing). Kane, J. Herbert (1982), A Concise History of the Christian World Mission (Grand Rapids, MI: Baker Book House). McCann, Forrest M. (1997), An Annotated Survey of Sources (Abilene, TX: ACU Press). Morse, Joseph Laffan, ed. (1961), Funk and Wagnalls Standard Reference Encyclopedia, vol. 14 (New York: Standard Reference Works). Orr, James, ed. (1996), The International Standard Bible Encyclopaedia, Hendrickson edition, vol. 4 (Hendrickson Publishers). www.Cyberhymnal.org (CW) See also: Song #48: Church Gospel Songs & Hymns (1983), edited/compiled by V. E. Howard (Central Printers and Publishers). Song #450: Christian Hymns III (1966), edited by L. O. Sanderson (Nashville, TN: Gospel Advocate Co.). Song #514: Sacred Selections for the Church (1960), compiled/edited by Ellis J. Crum (Kendallville, IN: Sacred Selections). Song #102: Songs of the Church (1977), compiled/edited by Alton H. Howard (Howard Publishing). Song #288: Songs of Faith and Praise (1998), compiled/edited by Alton H. Howard (Howard Publishing).