詩歌的故事：上主是我堅固保障

Hymn Stories: A Mighty Fortress Is Our God

作者：Tim Challies  譯者：駱鴻銘

http://www.challies.com/articles/hymn-stories-a-mighty-fortress-is-our-god

https://www.facebook.com/SanxiaReformed/posts/1226019397456812:0

https://plus.google.com/u/1/105106813742373627205

此詩歌故事系列的最後一篇文章是要突出一個人的作品，他也許是最有名的詩歌作者：偉大的改教家馬丁路德。在他多產的作品中（路德大概寫了36首詩歌），「上主是我堅固保障」比起其他作品來說，是最廣為人知的。The final post in this Hymn Stories series highlights the work of the man who may be the most popular hymn writer yet: the great reformer, Martin Luther. Among his voluminous works, Luther wrote some 36 hymns. “A Mighty Fortress Is Our God,” however, is far and away the most well known.

這首詩歌的歌詞來自詩篇第四十六篇，是在慶祝上帝主權的權能，統管地上和屬靈的一切勢力，以及我們因著基督在祂裡面所得到的一切確實盼望。這首詩歌在出版之後大受歡迎，傳遍了整個歐洲的改教勢力範圍。Based on Psalm 46, the hymn is a celebration of the sovereign power of God over all earthly and spiritual forces, and of the sure hope we have in him because of Christ. After its publication, it gained immense popularity throughout Reformed Europe.

它可以說是……宗教改革的「馬賽曲」（Marseillaise；譯按，原文是法國國歌的意思）。在德國國會開會期間，會在奧斯堡唱這首詩歌；在薩克森選侯區，所有的教會也會唱它，通常是為了對抗天主教神父的抗議。當1547年，墨蘭頓、約拿斯（Jonas）、克魯齊格（Cruciger）被逐出威登堡、進入威瑪時，也是唱著這首詩歌，據說也安慰了他們的心。當抗羅宗信徒被放逐移居國外時，以及當他們殉道臨死前，也會唱它。它已經交織到宗教改革時期的歷史當中，成為德國抗羅宗真正的國歌（Louis Benson）。It was … the Marseillaise of the Reformation. It was sung at Augsburg during the Diet, and in all the churches of Saxony, often against the protest of the priest. It was sung in the streets; and, so heard, comforted the hearts of Melanchthon, Jonas, and Cruciger, as they entered Weimar, when banished from Wittenberg in 1547. It was sung by poor Protestant emigrants on their way into exile, and by martyrs at their death. It is woven into the web of the history of Reformation times, and it became the true national hymn of Protestant Germany. (Louis Benson)

這首詩歌與路德自己也有非常緊密的關聯，其歌詞和旋律充分體現了路德的個性——勇敢、自信、面對壓迫時一無所懼。路德在威登堡的墓碑上刻著這首詩歌的第一句歌詞，正顯出這首詩歌和路德之間的關聯。The hymn became closely associated with Luther himself, as it embodied in its words and melody so much of the character of its author — bold, confident, defiant in the face of opposition. This association is symbolized in the monument to Luther at Wittenberg where the first line of the lyrics were engraved on the base.

至少有七個被證實的理論，說明了這首詩歌寫作的時間和環境。Benson和其他史家的結論是，最可能的故事是它是在1527年的十月寫的，那時黑死病正在逼近當中。關於這個日期的證據是圍繞這首詩歌的出版歷史（在此之前沒有任何的複本，而在此之後，有越來越多的複本）。There are at least 7 documented theories on the time and circumstances in which the hymn was written. Benson concludes, along with several other historians, that the most likely story is that it was written in October 1527 as the plague was approaching. The evidence for this date is the printing history surrounding it (no copies beforehand, and a growing number of copies afterwards).

關於這首詩歌曲調的來源一直有爭論。在過去，有人相信它是路德從別處借來的，也許是借用自一首古老的格雷果聖歌的曲調。不過，最近的學者傾向於認為是路德自己寫的（在路德的時代有一個故事說這個曲調是來自一個小酒館非常流行的歌曲，這是誤解了德國音樂術語的結果）。There is debate about where the tune came from. In times past, it was believed to have been borrowed by Luther, perhaps from an old Gregorian melody. More recently, however, scholars are inclined to believe that Luther wrote it himself. (The story that the tune came from a tavern song that was popular in Luther’s day is the result of a misunderstanding of German musical terminology.)

有許多人嘗試翻譯成英文。最有名的是Thomas Carlyle的「A Safe Stronghold Our God Is Still」，和Frederic Henry Hedges的「A Mighty Fortress Is Our God」，後者是最受歡迎的。中文的歌詞也是根據後者翻譯的：There have been many attempts to translate the hymn into English. The two most enduring are Thomas Carlyle’s “A Safe Stronghold Our God Is Still” and Frederic Henry Hedge’s “A Mighty Fortress Is Our God,” Hedge’s translation being far more popular.

上主是我堅固保障，莊嚴雄峻永堅強；

祂領導我安穩前航，助我乘風破駭浪。

惡魔盤踞世上，仍謀興波作浪，

猖狂狡猾異常，殘暴狠毒難防，陰險絕倫真無雙。

A mighty fortress is our God, A bulwark never failing;

Our shelter He, amid the flood Of mortal ills prevailing.

For still our ancient foe Doth seek to work us woe;

His craft and pow’r are great, And, armed with cruel hate,

On earth is not his equal.

我若單憑自己力量，自知斷難相對抗，

幸有一人挺身先登，率領著我往前方。

如問此人為誰？乃是基督我王，

統管宇宙萬方， 自古萬民共仰，定能將群魔掃蕩！

Did we in our own strength confide, Our striving would be losing;

Were not the right Man on our side, The Man of God’s own choosing.

Dost ask who that may be? Christ Jesus, it is He;

Lord Sabaoth is His name, From age to age the same,

And He must win the battle.

群魔雖然環繞我身，向我盡量施侵凌， 我不懼怕，因神有旨，真理必使我得勝。

幽暗之君雖猛，不足令我心驚，

他怒，我能容忍，日後勝負必分，主言必使他敗亡。

And tho’ this world, with devils filled, Should threaten to undo us;

We will not fear, for God hath willed His truth to triumph through us.

The prince of darkness grim — We tremble not for him;

His rage we can endure, For lo! his doom is sure,

One little word shall fell him.

主言權力偉大非常，遠勝世上眾君王，

聖靈恩典為我所有，因主耶穌在我旁。

親戚、財物可捨，渺少浮生可喪，

人或殘殺我身，主道依然興旺，上主國度永久長。

That word above all earthly pow’rs — No thanks to them — abideth:

The Spirit and the gifts are ours Thro’ Him who with us sideth.

Let goods and kindred go, This mortal life also;

The body they may kill: God’s truth abideth still,

His kingdom is forever.

优秀的诗歌与崇拜战争 THE WORSHIP WARS

现代宗教改革（Modern Reformation）杂志，总18第6期，2009，9/10月号。

作者：Donald T. William     译者：诚之

http://peddrluo.blog.163.com/blog/static/194801312200911201190980/

http://lanternhollowpress.com/2012/10/15/the-worship-wars/

牧师应该如何面对所谓的“崇拜战争”呢？首先需要知道的是，问题不是出在音乐的新旧，而是音乐的好坏。在评估当代的崇拜音乐时，我们必须知道，教会历史中遗留下来的“好”诗歌，具有哪些特征，使他们能脱颖而出，成为崇拜音乐中的瑰宝。好的诗歌需要通过下列几个标准的检验：圣经真理，神学深度，诗意盎然，曲调优美，以及词曲的配合。任何时代的诗歌如果能通过这些考验，就能受神的子民喜爱而历久不衰。这些标准不是随意与武断的，而是在考虑圣经对崇拜本质的教导，以及对音乐本质的认识后，所得出的总结。How should we approach the “Worship Wars” as writers who are also pastors, ministers of music, and lay persons?  We must first realize that the question is not whether music is old or new but whether it is good.  We cannot discern the best contemporary worship music without knowing those marks of excellence that made the best of the past stand out.  Biblical truth, theological profundity, poetic richness, musical beauty, and the fitting of music to text in ways that enhance rather than distort meaning, are the marks of excellence in any age.  They are not arbitrary, but derived from biblical teaching about the nature of worship and an understanding of the nature of music.

一、圣经真理 （Biblical Truth）

新教徒的赞美诗一向坚持要合乎圣经真理。最早期宗教改革时期教会所唱的诗歌，都是对圣经经文的改写。18世纪前，许多作家，例如瓦兹，Cowper, Newton, 卫斯理等，不再受改写圣经经文的限制，开始自由地创作赞美诗的歌词。但是他们仍然对歌词要合乎圣经真理有很重的负担。这时期的诗歌通常会附上圣经经文，确定歌词有圣经的根据。Protestant hymnody has always insisted on Biblical Truth.  The earliest congregational songs for Reformation churches were paraphrased Scripture texts.  The metrical Psalms of Sternhold and Hopkins (1549) was the most popular book in Elizabethan England.  By the Eighteenth Century, writers like Watts, Cowper, Newton, and the Wesleys felt free to compose words of praise that were not strict paraphrases of Scripture.  But they still felt obligated to ensure that their words were Scriptural.  Often hymns were printed with the biblical references that justified their content appended to every verse.

“诗歌本是教会的另一本圣经”，教会的诗歌本，常唱的诗歌，会在无形中塑造会众的神学思想。教会中的平信徒如果长期在合乎圣经真理的诗歌的熏陶下，也会写出具有深邃神学洞见的诗歌。（诚之按）

二、神学深度 (Theological Profundity)

教会历史上最好的诗歌，通常都反映了深刻的神学洞见。我们是凭信心，靠着道成肉身、赐下救恩给我们的中保基督，来赞美我们荣耀、超越的上帝。最好的歌词不仅提升我们的敬拜，也帮助我们以合乎圣经的方式，来诠释我们自己的宗教经验。如此我们颂赞“永生神是灵，智慧无限量 / 真光明真奇妙，隐藏的真神”（Immortal, Invisible, God only Wise / In Light inaccessible hid from our eyes）。我们一同“赞美我主全能君王，显出造物奇功”（Praise to the Lord, the Almighty, the king of Creation）。又还有哪一首诗歌比卫斯理的《但求如愿》（And Can if Be That I Should Gain）更能表达我们得救的经历呢？Theological Profundity also marks the best of past hymnody.  Even simple folk praised a majestically transcendent God with a graciously incarnated Son who saved them by grace through faith.  The best texts not only lifted them up in worship but also helped them interpret their own religious experiences in biblically sound ways.  So we sing to One who is “Immortal, invisible, God only wise, / In light inaccessible hid from our eyes.”  We give our “Praise to the Lord, the Almighty, the King of Creation.”  Has anyone ever applied the specifics of the atonement to the experience of conversion better than Charles Wesley in “And Can it Be?”

三、诗意盎然 （Poetic Richness）

我们必须谨慎地追求诗情的丰富，因为典故太多只会让一般人感到迷惑，不但不能丰富我们的敬拜，反而成为阻拦。然而，适当要求歌词的优美，还是应该的。例如，我们用《是何婴孩》（What Child is This, Who Laid to Rest）来捕捉道成肉身的奇妙；用适当的军事比喻来描写属灵争战，如《上主是我坚固保障》（A Mighty Fortress is our God）；或选择简单却发人深省的字眼，例如《奇异恩典》（Amazing Grace）中的“wretch”（卑鄙小人）。对歌词稍加修饰，更引发人思想，或更带动人的情感，也经常会通过时代考验，出现在诗歌中。而一些押韵的诗歌，更容易使人上口。Poetic Richness is a virtue that must be pursued carefully, because a text that is too allusive can be confusing for average people and thus hinder rather than enrich worship.  Nevertheless, appropriate kinds of literary excellence have a role.  Examples include gems like the use of the questions in “What Child is this?” to capture the wonder of the incarnation, the appropriate military metaphors in that great meditation on spiritual warfare, “A Mighty Fortress,” or the choice of a simple, evocative word like “wretch” in “Amazing Grace.”  Little touches that make a text more intellectually suggestive or emotionally powerful without making it unnecessarily difficult will show up in hymns that survive the test of time, while texts that are just rhymed prose with tunes attached are more forgettable.

四、曲调优美（Musical beauty）

在某种程度上，曲调是否优美取决于听众的耳朵。然而，一首曲调的轮廓，结构，节奏，以及和弦，会决定其旋律是否容易记忆，甚至让人縈繞於心。想想《成为我异象》（Be Thou My Vision）的旋律如何像海洋的波浪般起起伏伏；《耶稣大爱深不可测》（Oh the Deep, Deep Love of Jesus）ABA 的曲式，《大哉圣哉》（All Hail the Power的“复杂”版本Diadem）中，第三部的男声打断女声的旋律，或者《圣哉、圣哉、圣哉》中，第三节的内声部逆势对抗静止的旋律。Musical Beauty might be thought to be in the ear of the hearer.  To a certain extent, it is.  Nevertheless, there are contours, structures, and cadences that make for a sing-able melody and harmonic felicities that can make that melody more memorable or even haunting.  Think of how Slane (“Be Thou my Vision”) rises and falls like an ocean wave, the gently rolling ABA structure of Ebenezer (“Oh the Deep, Deep Love of Jesus”), the men’s voices in Diadem (the “complicated” version of “All Hail the Power”) punctuating the flowing women’s line in the chorus, or the inner parts moving against the still melody in the third measure of Nicaea (“Holy, Holy, Holy”).

五、词曲的配合（Fitting of Music to Text）

一首伟大的诗歌，必须有词、曲的互相搭配；光是词本身好，曲本身也好，并不能保证成就一首好的诗歌。违反这个原则最坏的一个例子，大概要数宣信（A.B. Simpson）牧师的《一个宣教士的呼求》（A Missionary Cry）莫属了。这首诗的歌词本来应该用小调和葬礼的节奏，但是却配了非常不搭调的进行曲曲调。词曲完美配合的极佳例子，如：（Let All Moral Flesh Keep Silence）， Of Father’s Love Begotten，Oh Could I Speak the Matchless Worth。（译按，上面三首曲子华人教会都不熟悉。）A good Fit between the Words and their Musical Setting is essential to great worship music even when text and tune are both excellent in themselves.  The most egregious violation of this principle may be A. B. Simpson’s “A Missionary Cry”: “A hundred thousand souls a day / Are marching one by one away. / They’re passing to their doom.”  If ever there was content demanding a minor key and a dirge-like tempo . . . but this song is set to a completely inappropriate snappy march tune! Examples of good fit are the meditative, plainsong-derived melodies of Picardy in the contemplative “Let all Mortal Flesh Keep Silence” and Divinum Mysterium in “Of the Father’s Love Begotten” or the sprightly, joyous rhythms of Ariel in “Oh Could I Speak the Matchless Worth.”

圣经真理，神学深度，充满诗情，曲调优美，和词曲配合不是风格的问题。它们是所有时代中，优秀崇拜诗歌的特征，熟悉圣经和教会音乐历史的学者，都会得出这些标准。只有受过古典和历史训练（以及圣经与神学训练）的音乐家，能平衡地引导教会，正确判断哪些当代最新的诗歌是合适的，可以作为教会丰富传统的补充。CONCLUSION:  Biblical truth, theological profundity, poetic richness, musical beauty, and appropriate fitness are not matters of style.  They are the marks of excellence for worship music in any age, but only knowledge of musical history can tell us this.  Only musicians who are classically and historically (as well as biblically and theologically) trained are poised to guide the church in judicious appropriation of the best new music as a supplement to her rich musical heritage.  And only writers who are so trained are poised to provide the texts to that music.

诗歌集中每首音乐刚被创作出来时，都属于“现代音乐”。有些作者遗留下来的比较多，因为他们的作品表现了圣经真理，显出神学的深度，富含诗意，曲调优美，词曲也有良好的配合。今天的教会仍然应该坚持唱他们的作品，因为它们有内在的优点，也因为唯有我们熟悉这些优点，才能帮助我们分辨，也推广今日所写的最好的“新歌”。Every hymn in the hymnbook was contemporary when it was written.  Some of their authors crop up more often than others because their work manifested truth, profundity, richness, beauty, and fitness more powerfully and reliably.  The church should still cling to their work, both for its intrinsic merit and because only an informed familiarity with that merit can help us discern and propagate the best “new songs” being written today.

Donald T. Williams

Professor of English and Director of the School of Arts and Sciences at Toccoa Falls College in the hills of NE Georgia. His most recent books are Mere Humanity: G. G. Chesterton, C. S. Lewis, and J. R. R. Tolkien on the Human Condition (Nashville: Broadman & Holman, 2006) and Credo: Meditations on the Nicene Creed (St. Louis: Chalice Press, 2007). His website is http://doulomen.tripod.com/dtw.htm

译后感言：华人音乐家何时能根据神给我们的诗歌（诗篇），用中国人的曲调创作上好的诗歌，供神的子民吟唱呢？诗篇中有许多的“宣召”诗，“感恩诗”，“悔改诗”，“感谢诗”，“赞美诗”，分别适合崇拜中的一些活动，如果我们在崇拜中都能用神给我们的诗歌来唱，一定更能塑造神的子民，对神有更正确的认识。