In talking to folks, some people theologically object to Amazing Grace, for the following reasons: -the word "wretch" can be interpreted as referring to total depravity -the use of "saved" throughout the song implies "once saved, always saved"
Wretch can be interpreted as "a miserable or unhappy person" according to Merriam-Webster, so that objection is absurd. I don't know what version of the lyrics you, or they, are looking at. My hymnal only uses the word saved in the first verse, and implies nothing more than initial rescue from a sinful life. The rest of the text invokes grace, which is a gift we continually are offered by God, but from which we are always free to turn away.
Though the author was undoubtedly a Calvinist of some sort (like most 18th century Anglicans who were not closet Unitarians), I can't think of a single line of Amazing Grace that expresses a distinctively Calvinist doctrine. Really. Not one.
If a small child can imagine monsters hiding under the bed, I suppose I could imagine Calvin hiding under Amazing Grace. The question is, why would I want to?
And John Newton himself made clear he was no pure, thorough-going Calvinist, or pure Anglican Churchman or pure Methodist for that matter, notwithstanding things he shared among them, other than a great sinner in need of an even greater Redeemer. He was a former slave ship master who had an experience of conversion, and how that conversion manifested was not instantaneous but over the rest of his life. For the English-speaking peoples, who largely became a hymn-singing people, this hymn became foundational in that tradition. And all the more for its symbolic reminder of turning from the evils of chattel slavery.
My main objection to 'Amazing Grace' being sung at any church service - Catholic or Protestant, is that invariably there is someone in the congregation who will decide it has to be sung with a nasal twang.
My cousin plays the Irish pipes and refused to play this song.
I maybe program it on Sundays a couple of times per year when the readings for the day are blindingly obvious (pardon the pun), like for Lent IV when the Gospel of the man born blind or that of the prodigal son are read.
One of the deacons at my parish told the story of how a coworker at his regular job at the time complained to him about having to sing "...that saved a wretch like me..." because she told him, "I am not a wretch!" To which he replied, "Would you like a second opinion?"
So, if you abide by sci-fi author John C. Wright's assessment that Catholicism is the "church of Vulcans", then I suppose it is 'Catholic' by association.
The lyrical question I've always had about 'Amazing Grace' is what precisely is the sound that saved a wretch like me? Or maybe I'm just not getting the word placement as intended.
To me. Not what is the sound referred to. What is the grace referred to? (The grace of conversion is an actual grace, which does not save) And no Church; just sola fide, apparently.
I do not like Amazing Grace on the bagpipes because there is usually a note the bagpipes cannot hit, and so the tune is altered, which I find jarring. I can take it or leave it.
It's a parenthesis: Amazing grace (how sweet the sound!) that saved a wretch like me.
Wretch means miserable outcast, not totally depraved. And we are saved by grace.
Quid sum miser tunc dicturus cum vix iustus sit securus? Qui salvandos salvas gratis salva me, fons pietatis. Lux æterna luceat eis Domine cum sanctis tuis, quia pius es.
The Olney Hymns were written as meditations on texts of Scripture. In this this case, the Scripture is 1 Chron 17:16-17 (which comes after the Ark of the Covenant has been brought to Jerusalem and placed in a tent, and offerings and thanksgivings have been made):
"And David the king came and sat before the LORD, and said, Who am I, O LORD God, and what is mine house, that thou hast brought me hitherto? And yet this was a small thing in thine eyes, O God; for thou hast also spoken of thy servant's house for a great while to come, and hast regarded me according to the estate of a man of high degree, O LORD God."
Looking through the early decades of published examples provided by Hymnary, it appears that the parentheses were arbitrarily dropped by some publishers or converted into dashes in the first generations of the text's popularization (which was generally as a text without music). The version in the 1854 edition of The Southern Harmony, sourced there to Baptist Harmony, still retains it:
My objection to Amazing Grace while it is a fine hymn appropriate for community prayer services or even mission services, is it really shouldn't be used at Mass. Many people like it and sing to it because Catholic church musicians use it all the time and because Catholic musicians are unaware that there is a better quality of hymn available. The whole idea of trying to rationale the theology behind Amazing Grace wouldn't even be a point of consideration if Catholic musicians started using these better-quality hymns.
There are over two hundred public domain hymns that can be sung before and after Latin Masses and at Novus Ordo Mass that are contained in A Catholic Book of Hymns. Like the Prodigal Son who was lost and is found, these hymns were lost to us and have been found again. All the hymn text for each hymn is fully approved by the Catholic Church and the melodies, tried and true, are easy to sing, your congregation will love them.
With all the other great music one can sing, in all sorts of languages, why does this wretched text/tune duo keep coming up?
When I wrote a spoof about some people I used to work with, one of them asked the other about the great French musical classics such as Frere Jacques. Every time I see another attempt to raise Amazing Grace to the level of Catholic liturgical music, I'm reminded of that imaginary conversation.
To participate in the discussions on Catholic church music, sign in or register as a forum member, The forum is a project of the Church Music Association of America.