An April Evening

The first genuinely spring day (as against day in Spring) moves toward its close.  The sun looks like it has forgotten to go down - or at least is staying up late - perhaps to make up for its relative disappearance over several weeks.

It brings to mind something that can only be associated with such an April evening:

Maybe it's down to my male council estate barbarism but this bit of Victorian-Edwardian sacred choral doggerel did nasty things to me.  This has evoked guilt over the years when elderly people have expressed their devotion to it - one wanted me to play it on the organ so they could sing it and some imagination was required to avoid this.

This April I've decided to try to understand myself on this issue.

My initial excuse to myself was the paucity of the performance of a Sunday evening Free Church choir in the 1960s when its finest days would have been its former days.  But listening to this chorally excellent rendition on YouTube convinces me that the problem lies elsewhere.

I like sheep and lambs.  I like the countryside and especially the hills.  I have given my life to the Lamb of God who sacrificed his life for me. So the themes in the song can hardly be the problem.

I have concluded that the problem with Tynan's poem, a problem reinforced by Robertson's mood music, is that it evokes pity for the crucified Christ.  And this is not at all what should happen.

Yes, lambs are pitiful, but the Lamb of God who died was not to be pitied.  Did he not quell the women of Jerusalem's tears and tell them to weep for themselves and their children?  The pity in the Passion is all ours, his is the pain, the sacrifice, the slaughter.  

And the salvation.  It is not of any note that He died between two crosses on a hill: he died between two condemned sinners who were on crosses.  In the end the song takes away the power of the cross and replaces it with pity.  Perhaps that is what I find, pitiful lamb that I am, so pitiful about it.