Before I go on to the other theological texts that use the Genesis 1 creation story, I want to tabernacle, so to speak, among the readers of John 1 for a time. In particular, I want to quote excerpts from a pair of songs by contemporary Christian musicians that take John 1 as their starting point. (I have to say at the outset that most CCM artists are awful, but these two have real substance, in my opinion.)

The first is a song by Michael Card, called “The Final Word” (Card, above left, also wrote “El Shaddai”):

You and me we use
so very many clumsy words.
The noise of what we often say
is not worth being heard.
When the Father’s Wisdom wanted
to communicate His love,
He spoke it in one final perfect Word.He spoke the Incarnation
and then so was born the Son.
His final word was Jesus,
He needed no other one.
Spoke flesh and blood so He could bleed
and make a way Divine.
And so was born the baby
who would die to make it mine.

And so the Father’s fondest thought
took on flesh and bone.
He spoke the living luminous Word,
at once His will was done.
And so the transformation
that in man had been unheard
Took place in God the Father
as He spoke that final Word.

The second song, by Rich Mullins, is called “It Don’t Do” (Mullins, above right, also wrote “Awesome God”):

It don’t do to preach the gospel
If you don’t live the Christian life
It don’t do to dream about heaven
If you never look up and see the skyIt don’t do to preach on Matthew
If you have not yet read Mark
It don’t do to scream about the judgment
If there is no love in your heart

It don’t do to preach on Moses
If you bow down to the golden calf
It don’t do to think about glory
If you never dare to laugh

Word became flesh and He dwelt among men
He let us see Him with our eyes
He let us hold Him in our hands
And before you say whatever you will
I think you better do the best that you can
Or it won’t do

Now, as far as these two artists go, I should note up front that Michael Card is probably the squarest musician I’ve ever heard, and (the late) Rich Mullins could push mushy sentimentality to its very limits. However, both know the Bible, both exhibit thoughtful theology in their lyrics, and both (as far as I can tell) lack the kind of pretension that makes Christian rock music look so silly sometimes. Card approaches John 1 as a theologian, Mullins as a preacher.

Card, though he perhaps conflates John with the other gospels, does a pretty straightforward interpretation of the text; his language is fresh enough to help us see the text as we may not have seen it, and yet the point his song makes is essentially the same as the point of John’s gospel.

Card often uses his music to teach, and in this case he presents a clear explanation of a theological truth in terms of the scriptural text it comes from. For my tastes, his language is too obvious to be good art, but then his audience is the generation before mine, and his prioritization of clarity above art seems intentional. In any event, I appreciate the clarity with which he communicates one of the messages of John 1 here.

Mullins does something more interesting in my opinion, first of all by bringing in 1 John 1, a passage closely related to John 1:

That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked at and our hands have handled, concerning the word of life –– indeed, life was revealed, and we have seen and we (now) testify and proclaim to you the eternal life which was with the Father and which was revealed to us. That which we have seen and heard, we (now) are proclaiming also to you, so that you, too, may have fellowship with us.

It isn’t entirely clear if 1 John intended for the “word” to refer to Jesus in the same way the Gospel of John did, but it is a reasonable interpretation, and so Mullins pulls them together to make his point.

The point, which Mullins of course makes more effectively with his lyrics than I can with my words here, is that God did not remain in heaven and speak words only at a distance. Rather, in Jesus Christ, God’s word became flesh (John 1) so that we could see it up close and handle it (1 John 1). So in a sense, God put his money where his mouth was, not asking anything of humanity that he would not do himself.

But Mullins does not stop with that theological claim; instead, he suggests that God’s action in the incarnation puts a claim on us as Christians. Because God’s word became flesh, our own words (of testimony, see 1 John 1) must become flesh too, in our actions.

Mullins plays (as John did) off the multiple meanings of “word,” linking it to our common experience of knowing (and being) Christians who speak far too many words with far too few actions. But instead of repeating, say, the cliché that we should practice what we preach, Mullins couches the plea in the terms of a pair of unexpected scriptural texts. This catches our attention with an unexpected challenge coming from a familiar text, and at the same time it enriches our reading of Scripture by suggesting connections we may not have seen before.

Scripture and Song as Theology

One reason I’m writing on these two songs is that good Christian music (whether CCM or church hymns) often does the same thing that Scripture does: it uses accepted traditions in creative ways to move us and motivate us, and in many cases it builds new theological truths that either were not present, or else were not apparent, in the originals.

To put it plainly, Michael Card and Rich Mullins are doing roughly the same thing John did. While Christians typically believe John’s text is inspired in a more profound sense than the works of modern musicians, nevertheless there should be a certain consistency in the way we listen to both kinds of “texts.” In both cases, we not only should learn from what we hear; we also should enjoy it. Scripture is not only revelation but also art.

It is my impression that God intends for us, at the same time that we believe in and obey Scripture, to appreciate it as something beautiful he has given us through the creativity of people created in his image.