Something for the weekend. A powerful rendition of O Holy Night by Tennessee Ernie Ford and Gordon MacRae. The poem on which the hymn is based was written in 1847 by Placide Chappeau de Roquemaure at the request of his parish priest. Chappeau asked his friend Adolphe Adam, a French composer, to set it to music. In 1855 Unitarian minister John Sullivan Dwight created an English version of the carol which has been immensely popular in America ever since. In 1906 the carol was the second piece of music to be broadcast on radio. →']);" class="more-link">Continue reading
His epitaph is Athanasius contra mundum, “Athanasius against the world.” We are proud that our own country has more than once stood against the world. Athanasius did the same. He stood for the Trinitarian doctrine, “whole and undefiled,” when it looked as if all the civilised world was slipping back from Christianity into the religion of Arius—into one of those “sensible” synthetic religions which are so strongly recommended today and which, then as now, included among their devotees many highly cultivated clergymen. It is his glory that he did not move with the times; it is his reward that he now remains when those times, as all times do, have moved away.
Something for the weekend. O Holy Night sung by Celtic Woman. I can think of nothing more appropriate for Christmas Eve than this passage from On the Incarnation by Saint Athanasius:
For this purpose, then, the incorporeal and incorruptible and immaterial Word of God entered our world. In one sense, indeed, He was not far from it before, for no part of creation had ever been without Him Who, while ever abiding in union with the Father, yet fills all things that are. But now He entered the world in a new way, stooping to our level in His love and Self-revealing to us. He saw the reasonable race, the race of men that, like Himself, expressed the Father’s Mind, wasting out of existence, and death reigning over all in corruption. He saw that corruption held us all the closer, because it was the penalty for the Transgression; He saw, too, how unthinkable it would be for the law to be repealed before it was fulfilled. He saw how unseemly it was that the very things of which He Himself was the Artificer should be disappearing. He saw how the surpassing wickedness of men was mounting up against them; He saw also their universal liability to death. All this He saw and, pitying our race, moved with compassion for our limitation, unable to endure that death should have the mastery, rather than that His creatures should perish and the work of His Father for us men come to nought, He took to Himself a body, a human body even as our own. Nor did He will merely to become embodied or merely to appear; had that been so, He could have revealed His divine majesty in some other and better way. No, He took our body, and not only so, but He took it directly from a spotless, stainless virgin, without the agency of human father—a pure body, untainted by intercourse with man. He, the Mighty One, the Artificer of all, Himself prepared this body in the virgin as a temple for Himself, and took it for His very own, as the instrument through which He was known and in which He dwelt. Thus, taking a body like our own, because all our bodies were liable to the corruption of death, He surrendered His body to death instead of all, and offered it to the Father. This He did out of sheer love for us, so that in His death all might die, and the law of death thereby be abolished because, having fulfilled in His body that for which it was appointed, it was thereafter voided of its power for men. This He did that He might turn again to incorruption men who had turned back to corruption, and make them alive through death by the appropriation of His body and by the grace of His resurrection. Thus He would make death to disappear from them as utterly as straw from fire.
Something for the weekend. The haunting American folk song Shenandoah. The above version is by Tennessee Ernie Ford.
Here is a fine violin version by the Irish group Celtic Woman:
Little Drummer Boy is one of my favorite Christmas songs of all time and I surprisingly stumbled across the Celtic Woman version of this song. Celtic Woman is an all-female musical ensemble which I came across on YouTube earlier this year and they are delightfully good!
This version of the popular Christmas song has Gregorian chant in it, I’m not sure who scored this, but it works very well with Celtic Woman’s version of Little Drummer Boy.
Here is the original music by the Harry Simeone Chorale:
And finally here is the Vienna Boys Choir rendition of this song:
My favorite line of the song is “then He smiled at me“.
Gets me every time.
Long live Christ the King!
Have a blessed Christmas.