LORD OF LIFE LUTHERAN CHURCH
29 April, 2015
Psalm 23 Good Shepherd Sunday holds special significance for the writer of music notes, for it was on this Sunday in 1988 that he made his arguably successful “debut” as a church musician, playing “The Lord’s My Shepherd” on the violin for the offertory. The older, more deaf members of the congregation supportively compared his playing to that of “angels in the high heavens playing wondrous odes to God’s glory.” The more hearing-capable among the congregation, including his peers from Lutheran grade school, likened the performance to “a chicken scratching on a cardboard box.” He shortly thereafter began organ study. . .
Today’s service, then, is organized around the readings from John 10 and Psalm 23 in particular. The handbell ensemble’s prelude to the service, “Savior Like a Shepherd Lead Us,” can only rightfully be said to derive inspiration from Psalm 23 or John 10—the majority of the thoughts belong to the nineteenth-century author, Dorothy Thrupp. In addition to Christianizing the Hebrew thoughts (she adds the concepts of the atonement, sin, imploring for mercy and grace as well as “cleansing”), Thrupp sets this entire hymn as a prayer, addressed to the Savior. One of the refrains implores, “Hear, O hear us when we pray.” This hymn fits into the gospel song genre popularized by the revival/evangelism movements of the nineteenth and twentieth centuries. When singing this hymn, we are meant to feel conviction for sin so as to change our sinful ways. No allusion is made to baptism, communion, or even to any specific scripture. This is why we in the Lutheran Church do not consume a steady diet of gospel songs—they are relatively weak in content. But, in the context of the faithful renderings of Psalm 23 sung previously, this hymn allows the singer to engage in a more personal response of faith.
The sermon hymn, “The King of Love My Shepherd Is,” by Henry Baker (first published in 1868) does not attempt to remain literally faithful to the words of the psalm. Firstly, it can be noted that Baker is much more free with the translation. His opening lines, “The King of love my shepherd is, whose goodness faileth never; I nothing lack if I am His and He is mine forever” contrast with the psalm’s first verse, “The Lord is my shepherd, I shall not want.” The concepts of “King,” “love,” “goodness” and the use of His/mine are not original to the psalm. The second stanza (“Where streams of living water flow, my ransomed soul He leadeth. And where the verdant pastures grow, with food celestial feedeth”) contrasts with the second and third verses of the psalm in the same manner (“He leads me beside quiet waters, He restores my soul.”) In this case, Baker alludes to the eucharist by “food celestial,” and introduces the concept of the atonement with the phrase “my ransomed soul.” The fourth stanza is even more explicitly Christian, “In death’s dark vale I fear no ill with Thee, dear Lord, beside me, Thy rod and staff my comfort still, Thy cross before to guide me.” Here Baker theologically extracts the wooden cross from the wood of the shepherd’s rod, clearly delineating the connection between the religion of the ancient Hebrews to its fulfillment in Christ’s atonement. The final stanza even address Christ as the “Good Shepherd,” completing the Christianizing of the psalm by blending the theological concepts found in John 10. Here would our Hebrew friend take umbrage.