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The first and great commandment: how are we doing?

The command, we recall from Matthew 22, etc., is about loving God.

The hymns which sometimes express this thought invite us to sing some quite diverse admissions and claims, sometimes within the course of a single service or meeting. Some focus on Christ (1 Peter 1.8) rather than on God the Father. Are these complementary truths, we wonder, or contradictory statements? I, for one, would like to know; I may not choose many hymns now, but I may still sing them. Or may I? Here are a few samples of a line or two each, following two stanzas from the master which serve as an apt introduction:

Thus saith the first, the great command,
‘Let all our inward powers unite
to love thy Maker and thy God,
with utmost vigour and delight’…
But oh! how base our passions are!
How cold our charity and zeal!
Lord, fill our souls with heav’nly fire,
or we shall ne’er perform thy will.
(I. Watts, 1707)

[O for] a heart in every thought renewed, and full of love divine. (C. Wesley, 1742)
Do I not love thee?...Come, love divine, my languid wishes raise! With heavenly zeal this faint cold heart inflame. (A. Steele, c.1760)
Kindle a flame of sacred love on the mean altar of my heart. (C. Wesley, 1762)
Lord, it is my chief complaint, that my love is weak and faint. (W. Cowper, 1765)
Weak is the effort of my heart, and cold my warmest thought. (J. Newton, 1779)
O that my soul could love and praise him more. (W. Gadsby, 1814)
Yet I may love thee too, O Lord…for thou hast stooped to ask of me the love of my poor heart. (F.W. Faber, 1849)
Jesus, my Lord, I thee adore; O make me love thee more and more. (H. Collins, 1854)
My love is oft-times low, my joy still ebbs and flows. (H. Bonar, 1861)
My empty vessel I may freely bring…O fill me, Saviour, Jesus, with thy love. (M. Shekleton, 1863)
Holy Spirit, love divine, glow within this heart of mine. (S. Longfellow, 1864)
Come down, O Love divine, seek thou this soul of mine. (R. Littledale, trans., 1867)
My love for him so faint and poor. (W.W. How, 1872)
May the love of Jesus fill me as the waters fill the sea. (K. Wilkinson, 1912)
O breath of love, come, breathe within us. (E. Head, 1914)
Set my cold heart aflame with love for you, my Saviour and my Master. (M. Saward, 1963)
Father…how we love you! Jesus…how we love you! Spirit…how we love you! (T. Coelho, 1972)
Father, we love you…Jesus, we love you…Spirit, we love you… (D. Adkins, 1976)
I love you, Lord…may it be a sweet, sweet sound in your ear. (L. Klein, 1978)
I sing out a love song to Jesus…singing, I love you, Lord (x3) (D. Graham, 1980)
Most of all I love you (x2), Jesus, most of all I love you because you’re you. (E. Espinosa, 1982)
I love you more than any other, so much more than anything. (M. Nystrom, 1983)
My heart is overflowing, my love just keeps on growing. (D. Bilbrough, 1983)
Father in heaven, how we love you. (B. Fitts, 1985)
Jesus, I love you, love you more and more each day. (T. Morgan, 1986)
Father, God, I love you (x3)…Jesus, I love you (x3)…Spirit, I love you (x3)… (J. Robinson, 1980s)
For ever I‘ll love you, for ever I’ll stand. (D. Zschech, 1993)

Confession time: I too have been guilty of a first line which I regret enough not to repeat it here. My excuse is that I was trying to paraphrase a psalm, but that is not always obvious to a congregation.

Shift of emphasis

Now it is possible to overstate this, and think of exceptions which point in the other direction. But there does seem to be a shift of emphasis and mood around, let’s say, 1970. For a few hundred years before then, our love for God or Christ is generally longing, aspiring, tentative, hopeful — humbly admitting our unworthiness, weakness, coldness and failure. For the next 30 or so and counting, it is assertive, confident, and free of self-doubt; all is well, because apparently we (or I) ‘just’ love God so much.

Another explanation

So did the church (or Christians) start to love God properly, or to express that love properly, only around 1970? So some would have it: after all those benighted centuries, ‘God is restoring worship to his church’! Or is there another explanation? Yes, there is a place for an outpouring of expressions of love as we sing to God together. Were the older writers too focused on their (and our) unworthiness, too mawkish, cringing, even self-loathing? Or are the newer ones altogether too brash, self-confident, self-advertising? Is it not possible, even desirable, to show our feelings and express our love, even our desire to love, in a way which may go beyond our immediate experience but which falls some way short of unrealistic, self-deceptive bombast? And in ways which manage to avoid the cringe-factor in either direction?

I offer a possible breakthrough, dated 1895. Here is Lucy Ann Bennett writing ‘O teach me what it meaneth’; very Victorian, and not the greatest of hymns on redemption, but one which ‘at some points…strikes a contemporary note’ (Exploring Praise, 2006, p.311). Does she get the balance right?

Yes, teach me till there gloweth
in this cold heart of mine
some feeble, pale reflection
of that pure love of thine…

Because thou dost accept me
I love and I adore;
because thy love constraineth
I’ll praise thee evermore.

And at least some of the people said, Amen!

Christopher Idle