![]() ![]() The decision was picked up by local newspapers and national broadcasters, unleashing a wave of protest from across The United Methodist Church (some eleven thousand pieces of mail were sent to the hymnal committee) and stirring up debate in the journal of The Hymn Society in the United States and Canada, The Hymn, including a parody by Brian Wren, “Onward, Christian Rambos,” with updated military language, as found in this online article. It comes as little surprise, then, to learn that “Onward, Christian Soldiers” was initially to be excluded from The United Methodist Hymnal (1989). The text appears to have largely transcended this meaning, such that many people understand it from a place of such polemic that any further discussion becomes largely irrelevant. They were distinct from the Church Triumphant (Christians, angels, archangels, and company in heaven) and, in Catholic theology, the Church Penitent (Christians in Purgatory). This is, however, inaccurate the Church Militant was the body of Christians still living on earth, waging a spiritual war against evil. ![]() These children were representative of the Anglican tradition known as the “Church Militant,” a theological concept popularly understood along the lines of Crusader-like militarism. In approaching the parish church, the children were preparing to engage in religious study, giving them the ability to struggle against sin and wickedness in the world. In its own context, “Onward, Christian Soldiers” functions as a children’s processional, where the military language is used metaphorically to describe the movement of the children through the town. ![]() GERTRUDE, one cannot ignore the nationalistic and militaristic overtones of the nineteenth-century in this hymn, regardless of Baring-Gould’s original intentions. ALBAN, one can assume a certain innocence. Gilbert on comic operas, this tune had a transformative effect on “Onward, Christian Soldiers.” The frequent repeated notes that build up toward the rhythmic activity and “oompah” bass of the refrain match the perceived militarism of the text and work to invoke such a sentiment in the singer. First published in 1871 by Arthur Sullivan (1842-1900), known for his collaboration with W.S. GERTRUDE, which likely contributed to the hymn’s controversy. It is, however, the success of the second tune, ST. It, like the text, lends itself well to usage by children, and it was to this tune that “Onward” was published in the 1868 edition of Hymns Ancient and Modern. The tune is simply constructed, with an exact repetition of the first eight measures for the refrain. ALBAN, an adaptation of the third movement of Haydn’s Symphony No.15 in D Major. In Baring-Gould’s procession, it was sung to ST. Throughout its history, “Onward, Christian Soldiers” has been associated with two tunes. Instances of personification (“hell’s foundations” quiver in stanza two) and exaggeration (“This through countless ages” in stanza five) are strengthened by subtler devices, such as the intensification of elements in stanza four (from “crowns and thrones” to “kingdoms” to the “church of Jesus”), which create a remarkably engaging text. In the first stanza, the poet sets the scene for the spiritual conflict between Jesus and the devil. The language is child-friendly, relying on a single metaphorical image – the marchers as soldiers, related to 2 Timothy 2:3, “Share in suffering like a good soldier of Christ Jesus” (NRSV). The meter is straightforward - an accented syllable followed by an unaccented one - such that one can easily imagine children marching to this text. Written in 1864, “Onward, Christian Soldiers” appears to be simply constructed: each stanza is composed of two four-verse groups (quatrains), in which the second and fourth lines rhyme with each other. Baring-Gould was a prolific writer, publishing hymns and hymn translations, poetry, sermons, short stories, a novel, and the massive work, The Lives of the Saints (1872–1877). He served first at Horbury Bridge (Yorkshire), where “Onward, Christian Soldiers” was written, later taking over as squire at Lew Trenchard in the early 1880s. His family traveled through Europe extensively throughout his childhood and despite an irregular education, he became a schoolmaster, a deacon, and finally a priest in 1865. The author, Sabine Baring-Gould (1834–1924), was born in Exeter (Devon) on January 28, the son of a country squire. Perhaps one of the most controversial hymns ever written, “Onward, Christian Soldiers” began its life as no more than a simple processional song, something for children to sing as they crossed the village of Horbury Bridge to the parish church. ![]() Onward Christian soldiers, Marching as to war, With the cross of Jesus Going on before. CHRIST the royal Master Leads against the foe, Forward into battle, See, his banners go. Onward, Christian soldiers, Marching as to war, With the cross of Jesus Going on before. By Sabine Baring-Gould The United Methodist Hymnal, No. ![]()
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