“The Battle Hymn of the Republic”: Its Origin and Meaning

Julia Ward HoweOne of the most popular patriotic anthems of all time, this song is often performed at the funerals of American soldiers and statesmen, presidential nominating conventions and inaugurations (both Republican and Democrat), and at Independence Day church services and festivities.  It was played during the Boston fireworks show on Wednesday, only a mile or so away from where its lyricist, Julia Ward Howe, is buried.

“The Battle Hymn of the Republic” originated during the Civil War.  On November 17, 1861, Howe traveled with her husband, Samuel, then director of the Army’s Sanitary Commission, to inspect a Union camp outside Washington, DC.  While there, she took notice of a particularly catchy marching song that the troops were fond of singing, called “John Brown’s Body (Lies A-Mouldering in the Grave).”  The song memorializes John Brown, the radical abolitionist who was executed in 1859 after leading an unsuccessful raid on the federal armory in Harpers Ferry, Virginia (now West Virginia), that killed fourteen men.  Brown became a Union hero, praised by the pens of famous writers like Ralph Waldo Emerson and Henry David Thoreau, and even the French novelist Victor Hugo, whose open letter requesting a pardon for Brown was published by newspapers in both the U.S. and Europe.  “His soul’s marching on!” the Union soldiers sung in refrain—until Howe rewrote the lyrics, that is.

John Brown treason poster

She did so at the urging of a friend, the Reverend James Freeman Clarke, who was part of the traveling party that winter.  “Why do you not write some good words for that stirring tune?” he suggested—something higher-minded, something grander and more poetic, not so coarse.

Howe’s solution was “The Battle Hymn of the Republic.”  It carries the same rah-rah sentiment as the old song, with the added weight of biblical references to Christ’s judgment of the wicked.  She penned the new lyrics overnight, and they were published two and a half months later, on the front page of the February 1862 edition of the Atlantic Monthly.  Notice the conflation of Christian apocalyptic imagery with the Union military campaign of the 1860s.  Continue reading

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Tee Time: Use Christ Truthpaste

Brushing up on the WordFound at christianshirts.net.

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‘Disturb us, Lord’

“Disturb us, Lord, when we are too well pleased with ourselves, when our dreams have come true because we dreamed too little; when we arrive safely because we sailed too close to the shore.

Disturb us, Lord, when with the abundance of things we possess, we have lost our thirst for the waters of life; having fallen in love with life, we have ceased to dream of eternity, and in our efforts to build a new earth, we have allowed our vision of the new heaven to dim.

Disturb us, Lord, to dare more boldly, to venture on wider seas, where storms will show your mastery; where losing sight of land, we shall find the stars.  We ask you to push back the horizons of our hopes, and to guide us into the future in strength, courage, hope and love.”

—Attributed to Sir Francis Drake (1540-96) (qtd. in The Art of Worship: Paintings, Prayers, and Readings for Meditation, p. 88)

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Tee Time: Sonkissed

SonkissedFound at shopgreatproducts.com.

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Tap-Tap Art in Haiti

Last month a friend of mine, Rachel, told me about how when she visited Port-au-Prince, Haiti, in 2010, she found Jesus’s name and face painted all over the city’s public transportation vehicles, known as “tap-taps.”  Tap-taps are privately owned and elaborately painted buses or pickup trucks that serve as shared taxis; they follow fixed routes, and riders can disembark at any time—simply by tapping the wall or ceiling.  A ride across town costs only ten to twenty-five cents, depending on what the driver chooses to charge.

According to Google Translate, the French (or Haitian Creole?) inscriptions translate as: “Trust in God” (windshield), “In memory of my brother” (top side), “The throne of God” (middle side), and “Nothing but God” (bottom side). (Photo by Rachel Hastings)

Jesus tap-tap

“I love you, Jesus.” (Photo by Rachel Hastings)

In the four-and-a-half-minute news segment below, Adam Davidson of NPR’s Planet Money reports that tap-tap owners pay artists upwards of $1200 to paint their buses—more than most Haitians make in a year.  Why?  Because competition is steep, Davidson says, and owners feel that the prettier and more colorful their bus is, the more passengers will be attracted to it.  Also, in general passengers feel that if tap-tap owners can afford to pay for such high-quality art, they can also afford to keep the vehicle in good working condition, guaranteeing a safer ride.  Continue reading

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Tee Time: Jesus Is My Rockstar

Found at funkyurban.net.

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Questions about the Atonement

I’m an inquisitive person.  I like to understand things.  Never content with answering just the what’s of any given topic, I like to get to the root of all the how’s and why’s as well.  Recently I realized that despite being a Christian for over half my life, I still do not understand the doctrine of atonement.  I understand all the “what’s” just fine; I was an AWANA kid, so I can quote all the Bible verses that deal with atonement, and I can even define related terms like “redemption,” “propitiation,” and “penal substitution”—but I have more difficulty explaining their logic.

At first I was embarrassed to admit this, seeing as the atonement is one of the major defining doctrines of Christianity.  Then I wondered whether seeking answers to such questions is even a legitimate pursuit, since God’s actions so often transcend human understanding.  (I have always struggled with admitting mystery into my belief structure; I cling to reason much too tightly, and this is a fault which I confess often.)  But ultimately, I’ve decided to make myself vulnerable and bring my questions before you, the online public, so that I can grow in knowledge and, hopefully, praise.  My goal is to refine the way I think about Christ’s work on the cross and how I explain it to others.  Continue reading

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Tee Time: Astro Jesus

Found at redbubble.com.

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Book Review: On a Friday Noon

(Book reviews are typically the most useful if they’re published the month the book comes out. Unfortunately, I’m thirty-three years late on this one, and the book has since moved out of print. However, if you’re interested in buying a copy, there are several that are being sold used on Amazon for a very low price.)

On a Friday NoonOn a Friday Noon: Meditations under the Cross by Hans-Ruedi Weber (published jointly by Eerdmans and the World Council of Churches) is a survey of the crucifixion in world art, from its earliest known appearance in the fourth century until 1979, when the book was published. Part One consists of thirty-three full-color images from around the globe, paired with devotional text—prayers, Bible verses, poems, and such. The second part is a seventeen-page essay titled “Across frontiers of centuries and cultures,” which traces the development of crucifixion iconography by region: the West, Latin America, Asia, and Africa. The essay draws all the artworks from Part One into the discussion and thus includes plate references.

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Tee Time: It was you who he died for

It was you who he died for Found at adifferentdirection.com.

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