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November 1927
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nish the very best material for exercising along the line of spiritual soliloquy. Or, reader, if some day you desire to revel for a little while in real’spiritual luxury, than talk over to yourself in song that wonderful selection on Grace by Julia H Johnston, “Grace, grace; God’s grace; Grace that will pardon and cleanse within: Grace, grace; God’s grace; Grace that is greater than all our sin.” F rom t h e “ H eart ” and “T o t h e L ord ” Now as a concluding remark, note that it matters not whether it be singing to “one another,” or to “yourselves,” it must be from the “heart;” and, furthermore, it must be performed in such a manner as to be acceptable “to the Lord.” And see how conspicuously these two features stand out in the proof texts quoted under the last two general headings. In the mutual aspect when singing to “one another,” it is “singing with grace in your heart,” and it is to be “to the Lord.” And in the selfward aspect, when singing to “yourselves,” it is, “making melody in your heart,” and again it is “to the Lord.” And really, “heart” worship is the only kind that is acceptable to the “Lord.’’y. It will also be seen that in the selfward aspect there must be “melody” in the heart, and in the mutual aspect there must be “grace” in the heart. Now what do these two words—“melody” and “grace”—mean ? Well, ■ “mef- ody” suggests both unity and rhythm, and there can be no rhythm where there is no unity. And this “melody” must be in the “heart,” all of which speaks of the perfect accord that must exist between the life and affections of the singer in his relation to his Lord. But what about singing with “Grace” in the heart? Well, we all know that grace is undeserved, unmerited favor. So in singing we ought never to leave the impres sion'that we are about the “whole show” or the “only pebble on the beach,” but rather that we are nothing in ourselves, only poor unworthy sinners saved by grace. And if there is to be “Grace” in the “heart,” then it is required that the singer be a saved person. And again, “Grace” is the opposite of Legalism. And everybody knows that Legalism has no praises for the Lord.
H ym n s T ha t T each and A dmon ish Think of the admonitions, in such hymns as “Stand Up, Stand Up for Jesus,” also that of “Launch Out Into the Deep.” Then there are hymns that contain the very cream and crux of Bible teaching. We have in mind that splendid composition by the late J. Wilbùr Chapmán, “Living, He Loved Me; Dying, He Saved Me.” The several stanzas of this hymn tell not only of Christ's Vir gin birth and substitutionary death, but also of His burial and bodily resurrection, as well as His glorious return. Will our reader allow us the opportunity at this point of calling his attention to the power there is in music? It is said that David with his harp played the evil spirit out of Saul (1 Sam. 16:23). 4. And not only must the songs have in them the element of Bible knowledge, but the same must be true of the singers. The exhortation to the ones who are to dp the singing is: “ Let the mord of Christ dwell in you richly.” But think of the tragedy in the make-up of the choirs in many of the present-day congregations. They are com posed, for the most part, of giddy, gum-chewing, painted faced, bobbed-hair, bobbed-skirted worldlings, who do not know so much as the most simple rudiments of the Chris tian faith. Of the position in the choir of such a bunch it might be said as of the antichrist’s placé in the templé— standing where they ought not (Mark 13:14). THIRDLY, the Selfward Aspect. This is found in Ephesians 5 :19—-“speaking to YOURSELVES in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.” Reader, do you know anything about spiritual solilo quy ? In short, did you ever talk to yourself ?. Possibly so. But if not, then you have failed to fulfill at least one very important exhortation of the Bible. You are ex pected to speak to “ yourselves” in singing. S in g in g W ith o u t A n A ud ience This selfward aspect of sacred song will account for the joy and inspiration that so many of the saints of God find in singing the old, soul-stirring, orthodox songs of the sanctuary, even though there be no one present, except the Lord, to hear them. And there are some grand, heart searching songs of this sort. For example, “Must I go and Empty Handed?” Such a song as this would fur
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