» Following up the punch

Following up the punch

Wesley PreachingA movement is held together by a common cause. That’s why movements find it so much easier to adapt their methods to the needs of the hour.

In eighteenth century Industrial Britain, John Wesley considered it a sin for anyone to get saved in anywhere but a church. When he was excluded from preaching in various churches, George Whitefield challenged him to preach in the open air. Eventually he succumbed and preached to thousands. Thirty-three years later, having preached to tens of thousands of the unchurched in open-air field preaching Wesley could still confess ‘to this day field preaching is a cross to me. But I know my commission and see no other way of “preaching the gospel to every creature”’ (Journal, September 6, 1772).“

Wesley’s brother Charles was a cultured poet and musician with high church aesthetic tastes. Yet he laid aside his preferences and wrote hymns to the tunes of the common drinking songs being sung in England’s pubs!

John Wesley wrote, ”I love the rites and ceremonies of the Church. But I see, well-pleased, that our great Lord can work without them.“ Alongside his ministry in open air preaching Wesley developed a system of Methodist societies, bands and cells. He organised his converts into societies and accountability groups. Wesley and Whitefield were great evangelists. Unlike Whitefield, Wesley left the legacy of a dynamic movement.

Wesley picked up the idea of open air preaching from Whitefield. The idea of accountability groups came from the Pietists via the Moravians. It was Wesley’s genius to unite these concepts, add some elements of his own such as his circuit riders and form a mass religious movement.

Wesley was fond of saying, ”I will not strike a blow (preach) unless I can follow up the punch (organise people in societies and groups).“ Wesley was not interested in manifestations of the power of God unless he could channel them into a lasting legacy through effective means and functional structures. At the same time he would not tolerate church structures and tradition that impeded the outpouring of God’s power for salvation.
Black Methodists Holding A Prayer Meeting - Svinin
Across the Atlantic, Methodists in America ignored class distinctions and empowered ordinary people to express their faith in their own way. The Methodists proclaimed the message of individual freedom, autonomy, responsibility and achievement. As a result, more African Americans became Christians in ten years of Methodist preaching than in a century of Anglican influence. Methodism did not suppress the impulses of popular religion—dreams and visions, emotional expression, preaching by blacks, by women, by anyone who felt the call.

It was under Methodism that religious popular music—white and black spirituals—prospered. Common people, rather than college-educated gentlemen, eagerly volunteered to become ministers. They rejected the standard sermon—a read theological discourse—and crafted sermons that were audience-centered, in the language of the people and spontaneous.

This capacity for variety and adaptability within Methodism as it spread throughout Britain and the rest of the world, was one of its most remarkable features. As Methodism swept across rural areas, towns and cities it was able to adapt to appeal to sections of the populations whose interests were at times opposed to each other.

How about for you? What wins? The cause or the the way we’ve always done things around here?

2 Responses to “Following up the punch” »»

  1. Comment by Tim Smith | 11/09/06 at 5:52 am

    This is secondary to your main point but your reference to “bar tunes” made me think you might find this interesting:

    Bar tunes not Wesleys’ way: exposing the vulgar myth behind Methodist hymns - Religion - inspiration for hymns of John and Charles Wesley

    Insight on the News, Sept 23, 2002 by Larry Witham

    A music adviser for the United Methodist Church has set out to puncture the “myth” that John and Charles Wesley, the brothers regarded as the fathers of Methodism, based several of the most beloved hymns of Christendom on 18th-century tavern songs.

    “There is a widespread misconception, and I heard it at conferences everywhere this summer, that the Wesleys used drinking songs,” says Dean McIntyre, a music officer with the denomination’s Board of Discipleship. “That is a myth. It just is not true.” John and Charles Wesley, Anglican vicars whose preaching led to the founding of the Methodist Church in the late 1700s in England, wrote some of the most enduring hymns of the church, sung in churches of all Christian denominations. McIntyre, in a telephone interview from Nashville, says many Methodists today, inspired by the Wesleys’ evangelism aimed at the common man, want to believe they sanctified boisterous and drunken tavern songs with new lyrics to save souls.

    “Many have cherished the idea that the Wesleys were so evangelistic that they engaged in this practice,” he says. He first wrote on the topic last year and sent out another memo to church music experts this month as the myth persisted.

    “This idea is that tavern songs can be used to justify using popular music today as a way to reach people, which I have no problem with,” McIntyre says. “But the tavern argument is a myth.”

    As a frequent participant in church music conferences, such as the Hymn Society of the United States and Canada, McIntyre says there is frequent reference to the secular origins of sacred music, which has borrowed from love songs, folk songs, operas and theater. “Going Home,” for example, a hymn often sung at Protestant funerals, is sung to a melodic passage from Antonin Dvorak’s “New World Symphony.” (And not just sacred music: Francis Scott Key wrote “The Star-Spangled Banner,” which became the national anthem, to the music of a Welsh drinking song.)

    But this summer, McIntyre was surprised at how often he heard the canard about hymns from tavern songs, which also has been a popular concept about the origin of great hymnody by Martin Luther, the German reformer.

    “There’s a little more wiggle room with Luther,” he says. “The Wesleys would never have thought of such a thing.”

    McIntyre, the son of a pastor and a composer with a doctorate in music, says the myth probably arose over the generations by a misunderstanding of the term “bar tune” or “bar form,” which refers to the number of lines repeated in a song.

    The classic bar form, for example, sings one melody twice, followed by a contrast melody, and sometimes a return to the original melody. Both “What a Friend We Have In Jesus,” and the early rhythm and blues tune “Kansas City,” for example, follow the bar form. “Out of ignorance people began to say this was a bar song of a drinking tune,” McIntyre says. “Looking in the Wesleys’ notes on their hymns and the prefaces, there is absolutely no sign of that.”

    In contemporary church music, there is debate on how far popular or secular tunes may be borrowed of mimicked in style to change the mood of Sunday worship, or to attract generations of Americans uninterested in the church and its message.

    While music was borrowed in the past, McIntyre says, and the Salvation Army excelled in adapting street tunes to reach the downtrodden in England and the United States, modern copyrights have imposed new strictures.

    For example, the United Methodist Church adapted a hymn to the tune of “Edelweiss” a song composed for the Rodgers and Hammerstein musical The Sound of Music, but the producers sued the church to stop it from using the tune. “What you can do today is imitate a style,” McIntyre says. “But the copyright does ensure that an original work is not changed, and that is good.”

    LARRY WITHAM WRITES FOR Insights’s SISTER DAILY, THE WASHINGTON TIMES.

    COPYRIGHT 2002 News World Communications, Inc.
    COPYRIGHT 2002 Gale Group

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  1. Pingback by WildOxGib.com » A salute to the “methodicals” | 11/06/06 at 8:46 pm

    [...] Steve Addison blogs on the early and formative years of the Methodist movement and provides some very pertinent insights for church planters of today.  In "Following up the punch" we learn about how variety and adaptability created "space" for the  Holy Spirit to move, yet "structure" for the movement to be sustainable.  I have been challenged  by these two factors - We learn that Wesley provided a flexibility for the Holy Spirit to move and empower within a local context, and yet he also organized systems through which the fledgling movement could be sustained, replicated and multiplied. [...]


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