Article
Christmas culture
Creed
Music
5 min read

That mother mild

A cartoon and a shampoo might shed some light on a lazy rhyme.
A Christmas tree bauble depicts the Virgin and Child.
Robert Thiemann on Unsplash.

Some years I’ve already reached ‘peak Christmas Carol’ by now. I haven’t - yet - but I have sung enough - in a nursing home, some sheltered accommodation, schools and our own Carol Services this week - to be irked by some seemingly lazy rhymes. And to notice that a surprisingly high number of our most popular carols contain the word ‘mild’ - an adjective that doesn’t pop up in many songs or hymns as at other times of the year. 

This year it started for me with Cecil Frances Alexander’s ‘Once in Royal David’s city.’ It’s a very fine carol, reminding us of Bethlehem’s royal connections and launching a thousand carol services with candlelit children soloing timorously. One of the most infamous uses of ‘mild’ comes in the original, written in 1848: 

‘Christian children all must be 

mild, obedient, good as he.’ 

Cecil Alexander was predominantly a writer of children’s hymns (including ‘All things bright and beautiful’) but the hectoring tone seems out of place in a Festival of Carols. Where’s the lifestyle advice for Christian grown-ups? And as a parent and a pastor, I can think of a hundred better adjectives that I would cherish for Christian children. What’s the use of being mild? What about courageous? Or compassionate? Or contrary? Children of the 70’s like me have only one good use for the word ‘mild’ - it’s as a cover for an alter ego. Our hero was Hong Kong Fuey, who masqueraded as a ‘mild-mannered janitor’ under the glare of Sergeant Flint but was actually a ‘number one super guy’! 

Also revealed in ‘Once in Royal David’s City’ is the apparently lazy rhyme that may well explain the ubiquity of ‘milds’ in our best-loved carols: 

‘Mary was that mother mild, 

Jesus Christ, her little child.’ 

The list of English words that rhyme well with child is limited - eg. filed - piled - riled - smiled - styled - tiled - wild - whiled. You’d have to crack out the shoe horn to get some of those convincingly into a carol. 

Edward Caswall published ‘See amid the winter’s snow’ 10 years after ‘Once in Royal...’, in 1858. He couldn’t resist either: 

‘Teach, O teach us, Holy Child, 

by thy face so meek and mild.’ 

And Freeman Young, who translated the German of Joseph Mohr’s ‘Stille nacht’ also followed suit: 

‘Round yon virgin mother and child, 

Holy Infant so tender and … (you guessed it!) - mild’ 

So is this just a rhyme of convenience, a verbal stocking filler? The intent, admittedly sentimental, seems to be to describe the gentleness, the ordinariness of Jesus or Mary. The problem, for twenty-first century ears, is that we don’t really want a ‘mild’ anything - we want the proper winters of our youth, with snow days. We want a sedative that will knock us out and not keep us awake. And who wants a mild cheddar when you can have Extra Mature for your cheese on toast? ‘Mild’ is unadventurous, dull, pedestrian - we don’t want it for ourselves, and we can’t see why we’d celebrate it as a characteristic of God - even at the moment of Incarnation. 

I think there is some more light to be shed on this seasonal celebration of mildness. Three shafts of light from the past that might help us change our tune on the value of being mild. 

First, the originals of our English word ‘mild.’ The Old English ‘milde’ carried the meaning of someone who is gracious, someone who isn’t severe. Someone who forebears harsh judgement and responds graciously, compassionately. That’s more promising if we’re sketching out the love of God. 

The second comes from the eighteenth century. The prolific Charles Wesley wrote 6,500 hymns, including the majestic and characteristically full-blooded ‘Hark! The herald angels sing’ (written in 1739). Wesley includes two ‘milds’, the first of which, about mercy, rhymes with reconciled, rather than child (that’s another one to add to the list!) It’s the second one that’s really interesting - and my nomination for the best us of ‘mild’ in a Christmas carol: 

‘Mild, he lays his glory by’ 

This carries the older, less familiar sense of being gracious, of not being severe. The essence of God’s mildness is described as the putting aside of his majesty, the majesty of King and Creator. Laying it aside - in love - so that He can become visible, and tangible - to fallen, fragile human beings. This is a brilliant description of the Christmas story - we just wouldn’t now choose the word ‘mild’ to encapsulate this. 

The most unlikely but illustrative modern echo of the Old English original and Wesleyan mild is Unilever’s Timotei shampoo. It exploded on to the UK market in the 80’s with its promise to be ‘so mild you can wash your hair as often as you like’. For starters, marketing genius - I can safely wash my hair every day (and use lots more shampoo)! But also a restatement of the value of gentleness or not being stringent or severe. This shampoo (actually removed from UK markets in 2017 but still popular in Europe) isn’t going to damage your scalp and hair - it’s going to nourish it instead. 

I can see why the nagging ‘Christian children must be mild’ is often left out of twenty-first century Carol Services. I can tolerate the number of child-mild rhymes, given the lack of other options (though I do feel ‘styled’ could be great in the hands of a Gen Z composer). But it’s Wesley’s ‘mild, he lays his glory by’ that will keep me celebrating the forebearance, the humility of Jesus this Christmas. Who knows, I may not reach ‘peak carol’ till 12.30 pm on Christmas Day (when we close up the church and jump in the car for festive lunch with the family.) The forecast for Winchester is, after all …. MILD! 

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Article
Belief
Culture
Music
5 min read

How Mumford and friends explore life's instability

Communing on fallibility, fear, grace, and love.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A bassist hauls a double bass of its base as he plays it.
Daniel Boud/x.com/mumfordandsons.

“Serve God, love me, and mend” must rank as one of the more unexpected openings to a hugely popular album in the history of rock ‘n’ roll. A quote from Shakespeare’s Much Ado About Nothing, it introduces us to the potent mix of Shakespearean and Biblical allusion and imagery to be found on Mumford and Sons debut album Sign No More.  

Sigh No More, both as song and album, begins with confident assertions of faith then moves into acknowledgement of human fallibility and prevarication summed up in the Shakespearean phrase that “Man is a giddy thing” before asserting that love does not enslave but is freeing, enabling those who know it to become the people they were meant to be. The song ends with a prayer to see the beauty which will come when the protagonist’s heart is truly aligned with love. Throughout the album, the overriding concern is that personal fallibilities and fears – the darkness within – will prevent grace from having its full effect and the beauty of alignment with love from being fully realised. 

In many Mumford and Sons songs such personal instability is the problem to be resolved; “Man is a giddy thing”, “Why do I keep falling?”. Their search is often for the relationship or place that will provide stability:  

I can't say, "I'm sorry," if I'm always on the run 

From the anchor (‘Anchor’) 

‘Roll Away Your Stone’ describes the darkness within as a God-shaped hole filled with false gods: 

See you told me that I would find a hole 

Within the fragile substance of my soul 

And I have filled this void with things unreal 

And all the while my character it steals 

but this is not how life has to be: 

It seems that all my bridges have been burned 

But, you say that's exactly how this grace thing works 

It's not the long walk home 

That will change this heart 

But the welcome I receive with the restart 

Lead singer and songwriter Marcus Mumford knows how this grace thing works because, on the one hand, his parents founded the Vineyard Church UK and Ireland meaning he grew up in the context of grace and, on the other, he seems to have experienced grace personally in relation to the sexual abuse he suffered as a child (which was not experienced in his family or his church). In ‘Grace’ from his self-titled solo album he contrasts grace, flowing like a river, with the experience of acknowledging the abuse he endured and the healing for which he prays. 

Such biblical allusions and references abound in the songs of Mumford and Sons, as is also the case with some of those with whom they performed, supported or inspired. The Nu-folk movement of which the Mumford’s were part, began at a club called Bosun’s Locker in Fulham. There, with the likes of Laura Marling, Noah and the Whale, and others, their musical journey commenced. Noah and the Whale’s first album Peaceful, the World Lays Me Down featured philosophical rumination on a par with that of Sigh No More including lines such as: 

Oh, there is no endless devotion 

That is free from the force of erosion 

Oh, if you don't believe in God 

How can you believe in love?          

Following the closure of Bosun’s Locker, Ben Lovett from Mumford and Sons, with others, set up Communion Records, a network of musicians, songwriters, industry and music fans who all share a common philosophy and set of ideals. Among the artists supported by Communion have been Bear’s Den and Michael Kiwanuka. 

Bear’s Den is one of several bands, which also included Dry the River, that have used religious and spiritual symbols in their songs. Andrew Davie from Bear’s Den has said: “I wouldn't say I'm particularly religious, but I was brought up going to church every Sunday, I studied a bit of religion in school and just from going to Sunday school, it's almost that I know the stories so well, that I find it a cool way of telling more modern and more nuanced stories about my own life. As a backdrop to that I find it just constantly helpful and it's quite a powerful way to talk about things. It adds weight to me.” Similarly, Matthew Taylor of Dry the River said of the theological imagery in lead singer Peter Liddle’s songs: “It’s always been a tool for Peter I think, to use the imagery you’re talking about, to add weight to what he’s writing about. It’s rich imagery, and the ideas are ones that people can relate to easily, if there’s that familiarity there.” Both recognise, as do Mumford and Sons, the continuing power of Christian ideas and imagery and their resonance for young people. 

Michael Kiwanuka was surprised that his early song about faith ‘I’m Getting Ready’ was enthusiastically released first as the title song of an EP from Communion Records and then by Polydor as a single from his debut album Home Again. Kiwanuka, who is married to Christian singer Charlotte, has consistently expressed aspects of his faith through songs like ‘Love and Hate’, ‘One More Night’, ‘Solid Ground’, and ‘Floating Parade’. Alexis Petridis has noted that Kiwanuka sees more people searching for a belief system: “Having a faith in things now is, I think, a lot more acceptable, whatever faith it is. There’s no dogma, necessarily. We’re connected by the struggles we have and I think that’s what I’m singing about – being a human being and trying to overcome, which is what we’re all doing in a way.” 

Whether opening up space for bands to utilise the power of Christian imagery in their songs or enabling singers with a Christian faith to be heard on mainstream labels, Mumford and Sons, by example and support, have created opportunities for faith to be explored and appreciated. The response to their music, its themes, and those of artists with whom they connect, seems to reflect a growing openness to spirituality and faith. As they sang, together with Pharrell Williams, on ‘Good People’, “Welcome to the revelation”. 

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