Hymn Reflection: Not for Tongues of Heaven’s Angels
So now faith, hope and love abide, these three; but the greatest of these is love. (1 Corinthians 13:13)
One of the most recognizable passages in all of Scripture, 1 Corinthians 13, what is commonly referred to as the Love Chapter, is the basis for this hymn by British hymnwriter Timothy Dudley-Smith. In these four short stanzas Dudley-Smith pleads that the love described by the Apostle Paul in these verses be ours.
Timothy Dudley-Smith
Even to the ears of American Southern Baptists the name Timothy Dudley-Smith is recognizable. Dudley-Smith, born in 1926 in Manchester, England is an ordained Anglican priest, a fellow of the Hymn Society of the United States and Canada, and a fellow of the Royal School of Church Music. Growing up listening to his father recite poetry, Dudley-Smith longed to write hymns, “but didn’t think I ever would because I am totally unmusical.” [1] One day he was asked by a colleague if he had written any hymns. His negative response was quickly followed by an admission of composing a metrical version of the Magnificat which became his most enduringly popular hymn text “Tell Out, My Soul.” Since that first foray into hymn writing his influence in Christian worship has become global, with over 400 published hymns.
The Hymn
Written at the request of GIA Publishing in 1984 — Not for Tongues of Heaven’s Angels appears in twenty-two hymnals from nine denominations between the years 1986 and 2013, but its predominant usage has been in the United States. Dudley-Smith is a technically meticulous writer, and strives for metrical continuity and perfect rhyme scheme which is evident in the hymn under study. The meter (8.7.8.7. with Refrain) is not coerced, and the text rises and falls rhythmically. Of the hymn writer’s art, Dudley-Smith says it should be “true to divine revelation, true to Christian experience, springing from some inner vision, and achieving some standard of technique.” [2]
The Tunes
Primarily paired with three tunes — BRIDEGROOM composed by Peter Cutts, COMFORT by Michael Joncas, and REINLYN composed by Roy Hopp — Not for Tongues of Heaven’s Angels can be found in hymnals of varying traditions. The most popular tune in hymnals associated with this hymn is by Peter Cutts (b. 1937). A retired English music teacher, Cutts penned BRIDEGROOM in 1968, and it has been published in 47 hymnals to date. [2]
A second tune, COMFORT, was composed by Father Michael Joncas, Artist in Residence and Research Fellow in Catholic Studies at the University of Saint Thomas. Joncas is also the composer of the popular songOn Eagle’s Wings. COMFORT has been published in six hymnals exclusively with the text of this hymn. [3]
Biblical Basis
The source of this text can be found in the thirteenth chapter of Paul’s first letter to the church in Corinth. Often taken as a stand-alone passage for recitation at Christian weddings, this chapter is strategically situated within a discussion revolving around the use of spiritual gifts in the Corinthian church. Chapter 13 intricately connects the gifts outlined in chapter 12 to the problems facing the church by the improper use of those gifts in chapter 14. Paul’s answer to those problems is that love must be the lens through which the gifts of the Spirit must be employed, for without love they are simply a “noisy gong or a clanging cymbal.” (1 Corinthians 13:1)
Analysis of the Hymn
Stanza 1
Not for tongues of heaven’s angels,
not for wisdom to discern,
not for faith that masters mountains,
for this better gift we yearn:
May love be ours, O Lord.
The hymn begins with a reference to the opening statement of 1 Corinthians 13 which introduces the link to the previous chapter. In chapter 12 Paul discusses the spiritual gift of tongues — glossolalia — what could be called the tongues of angels (1 Cor 13:1). There are also references to wisdom and faith (13:2). Here Dudley-Smith then turns to the crux of the message of both 1 Corinthians 13 and this hymn: the better gift is love, and we plead for that gift. The recurring refrain that ends each stanza speaks to the need for love to be focusing lens through which we view life.
Stanza 2
Love is humble, love is gentle,
love is tender, true, and kind;
love is gracious, ever patient,
generous of heart and mind:
May love be ours, O Lord.
Stanza 2 lists many of the biblical qualities of love as outlined by the Apostle Paul. Love is humble and gentle (13:4), tender, true and kind (13:6), and gracious, ever patient, generous of heart and mind (13:4). The aim of the believer is to attain each of these characteristics as set forth by Paul.
Stanza 3
Never jealous, never selfish,
love will not rejoice in wrong
never boastful nor resentful,
love believes and suffers long:
May love be ours, O Lord.
In Stanza 3 Dudley-Smith turns toward the negative aspects of love that believers are to avoid. Found in 1 Corinthians 13:4 and 13:6, we are admonished to not allow our love to be jealous, selfish, boastful, resentful, or to rejoice in wrong. We are also encouraged to show love that believes and suffers long (13:7). I have heard stories many times of mothers or wives who have prayed for wayward children or spouses for decades while consistently loving them unconditionally through times of unimaginable hurt and pain. This love trusts that through the suffering we might see reconciliation and redemption.
Stanza 4
In the day this world is fading
faith and hope will play their part;
but when Christ is seen in glory
love shall reign in every heart:
May love be ours, O Lord.
Stanza 4 concludes the hymn by referring to 1 Corinthians 13:12–13. As the world is fading, the arrival of Christ’s coming kingdom draws nearer each passing hour. In that moment, faith and hope will be unnecessary as faith becomes sight and hope is realized. Yet above it all remains love, for “love shall reign in every heart.” May this love, love that is commended by the Apostle Paul, be ours today and forever.
Use in Corporate Worship
One of the wonderful byproducts of singing congregationally is the impartation of Scripture in a way that is memorable. When hymn-writers such as Dudley-Smith use their craft to paraphrase Scripture, they are encouraging the body of Christ to place it in their collective memories. Because it is well-written, and the rhyming scheme is not contrived or coerced, we are better able to commit this text to memory, and thus be able to recall it in times of want and need. As it is scriptural, it spans denominational theology and cultural trends. Paired with either the tune from Peter Cutts or Michael Joncas, it is accessible to any congregation. May we always sing songs that instill in our congregations a knowledge of Scripture.
[1] Esme Shirt, “Lord, for the years… Interview with Timothy Dudley-Smith,” Evangelicals Now, December 1997. [Link]
[2] Timothy Dudley-Smith, “What Makes A Good Hymn Text,” The Hymn 36, no. 1 (January 1985): 14. [Link]
[3] www.hymnary.org — BRIDEGROOM [Link]
[4] www.hymnary.org — COMFORT [Link]
