p. 6 | The Power of Song by G. B. Thompson

Review and Herald Publishing Association · Takoma Park Station, Washington, D. C. · May 12, 1910

The Power of Song

By G. B. Thompson

G. B. THOMPSON

ANGELS around the throne of God sing. The redeemed will sing in eternity. Singing is an important part of worship, and may be a great factor in the salvation of sinners. Many have been reclaimed from a sinful life through impressions made by a song. The following story, taken from an exchange, illustrates the power of a well-rendered song:—

“When we were on the Pacific Coast, thirty men, red-eyed and disheveled, lined up before a judge of a San Francisco police court. It was the regular morning company of drunks and disorderlies. Some were old and hardened; others hung their heads in shame. Just as the momentary disorder attending the bringing in of the prisoners quieted down, a strange thing happened. A strong, clear voice from below began singing:—

“‘Last night as I lay sleeping, There came a dream so fair;’

“Last night? It had been for them all a nightmare or a drunken stupor. The song was such a contrast to the horrible fact that no one could avoid the sudden shock at the thought the song suggested.

“‘I stood in old Jerusalem, Beside the temple there.’”

“The song went on. The judge had paused. He made a quiet inquiry. A former member of a famous opera company was waiting trial for forgery. It was he who was singing in his cell.”

“Meanwhile the song went on. Every man in the line showed emotion. One boy at the end of the line, after desperate effort at self-control, leaned against the wall, buried his face in his folded arms, and sobbed: ‘O mother! mother!’”

“The sobs, cutting the weary hearts of the men who heard, and the song, still welling its way through the courtroom, blended in the hush. At length one man protested:—

“‘Judge,’ he said, ‘have we got to submit to this? We’re here to take our punishment, but this ——.’ He, too, began to sob.

“It was impossible to proceed with the business of the court, yet the judge gave no order to stop singing. The police sergeant, after a surprised effort to keep the men in line, stepped back and waited with the rest. The song moved to its climax:—

“‘Jerusalem! Jerusalem! Sing, for the night is o’er! Hosanna in the highest, Hosanna forevermore.’”

“In an ecstasy of melody the last words rang out, and then there was silence.

“The judge looked into the faces of the men before him. There was not one who was not touched by the song; not one in whom some better impulse was not stirred. He did not call the cases singly—a kind word of advice, and he dismissed them all. No man was fined or sentenced to the workhouse that morning. The song had done more good than punishment could have accomplished.”

The power of this song, however, lay in the fact that the words could be understood. While sweet and harmonious strains of music may please the ear, that which really touches the heart is the words of the song. Yet how many there are, counted as singers, who are so imperfect and indistinct in their pronunciation that the words of the song can either not be understood at all, or only partially so. The writer has heard solos, duets, quartets, etc., sung in churches and at camp-meetings, of which only a few of the words could be understood. Such singing is a failure; it neither helps nor edifies any one, and the writer marks it down at zero, no matter how melodious the strains or how noted the singer. What influence would the harmonious tones of the “Holy City” have had over the drunks and disorderlies in the illustration given above, if the words had been pronounced in an indistinct, unintelligible manner?

An inspired writer speaks of singing not only “with the Spirit,” but “with the understanding also.” Such singing will be intelligible to the hearers. Those who are blessed with the gift of being able to sing, should prize the gift, and use it to the glory of God.

Takoma Park, D. C.