The Play of the Godhead
Text: Mary Louise Bringle b. 1953
Tune: BEDFORD PARK, 11 11 11 11 11
© 2002, 2003, GIA Publications, Inc.
The play of the Godhead, the Trinity’s dance,
Embraces the earth in a sacred romance,
With God the Creator, and Christ the true Son,
Entwined with the Spirit, a web daily spun
In spangles of myst’ry, the great Three-in-One.
The warm mist of summer, cool waters that flow,
Turn crystal as ice when the wintry winds blow.
The taproot that nurtures, the shoot growing free,
The life-giving fruit, full and ripe on the tree:
More mystic and wondrous, the great One-in-Three.
In God’s gracious image of co-equal parts,
We gather as dancers, uniting our hearts.
Men, women, and children, and all living things,
We join in the round of bright nature that rings
With rapture and rhythm: Creation now sings!
William Rowan's minuet with its melodic figure that repeats three times made me think of the "threefold dance of the Trinity," celebrated in the early church's doctrine of perichoresis. In this doctrine, the persons of the Trinity are held to "dance [chore] around [peri]" one another as equal partners in an interchange of love. The second stanza notes various "natural analogies" for the Trinity that have historically been tried and found wanting: steam, water, and ice; root, shoot, and fruit.
Corrected. I was typing quickly. However the dashes do appear in Gather from which I copied.
Perichoresis (for those unfamiliar with it) is about the relation of the three divine persons; about the inner life of the Trinity, not about the relation of the Trinity to the created world. So the song raises the concept of Trinitarian 'dance', but then moves immediately out to the created world instead of saying something about what that 'dance' is or means about the inner life of the Godhead.
"What is Dr. Bringle saying by that?" - the reference to the divine persons as "parts" of the Holy Trinity
It is misleading to attribute the role of Creator particularly to the First Person of the Trinity.
I would counter that statement by saying that it is misleading to attribute the role of Creator exclusively to any person of the Trinity.
I think the reason indicated above applies to that version. Probably various authorities have permitted such expressions -- after all, such words are not explicitly false -- but it would be good for the authorities to set a higher standard.In Worship III, no. 368, "Creator of the Stars of Night", stanza 6 begins "To God Creator, God the Son," using the wording found in numerous hymnals from the 1980's and afterwards.
I'm glad to learn that the doxology of Creator of the stars of night has a clear Trinitarian invocation as the Latin original does.In Worship IV, that stanza begins "To God the Father, God the Son," not because of "inclusive language" issues, but because of the need for internal consistency in the hymn itself: "Creator" cannot be used for the First Person of the Trinity in stanza 6, because "Creator" was already used for the Second Person of the Trinity in the very first word of the hymn.
But in talking about the Trinity as such, replacing any of the names "Father, Son, and (Holy) Spirit" with a functional word such as "Creator" opens the door to erroneous interpretations of the type to which hartleymartin alluded above.
We have a lot of people who are heretics because they just don't know any better.
What a low opinion you have of "a lot of" your fellow believers.
They are not in the state of grace if they are heretics.
Though I agree it is a lot better to say that many of us don't know our faith as well as we should, than to call everyone "heretics".
The tunes of these hymns, which are often sung in the language of the people, are memorized with almost no effort or labor. The mind grasps the words and the music. They are frequently repeated and completely understood. Hence even boys and girls, learning these sacred hymns at a tender age, are greatly helped by them to know, appreciate and memorize the truths of the faith. Therefore they also serve as a sort of catechism. These religious hymns bring pure and chaste joy to young people and adults during times of recreation. They give a kind of religious grandeur to their more solemn assemblies and gatherings. They bring pious joy, sweet consolation and spiritual progress to Christian families themselves. Hence these popular religious hymns are of great help to the Catholic apostolate and should be carefully cultivated and promoted.
--Musicae Sacrae, encyclical of Ven. Pius XII (1955), referring to extra-liturgical hymns
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.