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
Character
Culture
Film & TV
Music
4 min read

Love is all you need. Really?

We want to feel the main character energy of each of the Beatles

Jamie is Vicar of St Michael's Chester Square, London.

Four actors dressed in black stand together
The new cast.
Neal Street Productions.

One of the joys of moving into central London is the nostalgia. You can 'remember' anything in London, but for a Beatles fan like me (one year I was in the top one per cent of listeners globally on Spotify - impressive, I know - and it was before I had kids), the aesthetic of central London is deeply connected to the fab four. I'm aware it's not Liverpool but look what London has to offer fans of the fab four.  Abbey Road’s crossing, the rooftop performance in Savile Row, or the amount of time the fab four spent just here for the famous launch of Sgt Pepper. Walking around these streets with my headphones in, it's impossible not to smile at music that is faultlessly happy-making. 

Sir Sam Mendes, however, is taking the immersive Beatles experience to a whole new level. Four coordinated films will be released in 2028 in a stunning act of ambition and delayed gratification. Mendes' production company says it will be the first 'bingeable theatrical experience.' 

Now that the cast have been revealed, lots of questions remain: How long will the films be? Will they all be released at exactly the same time? Will there be Lord of the Rings viewing marathons? By the way - did you hear about the failed pitch for a Lord of the Rings film starring John as Gollum, Paul as Frodo, George as Gandalf and Ringo as Sam? We've missed that particular masterpiece, as Tolkien turned it down, as did Stanley Kubrick for that matter. The man it did fall to, Peter Jackson, recently also released a Beatles television experience in Get Back. Even for Beatles diehards like me I've not made it through all 468 minutes. But I saw enough to see Shakespeare being written. 

Screenwriter Peter Straughan (Wolf Hall, Conclave) said that the different script writers for the not-so-imminent upcoming four films were "firewalled off from each other", so we receive four takes truly inhabiting the shoes of each protagonist. Band members wanting their own 'main character energy'? Surely not! 

Only Mendes knows how the films will tie together. "Each one is told from the particular perspective of just one of the guys," Sir Sam told CinemaCon in Las Vegas on Monday. "They intersect in different ways - sometimes overlapping, sometimes not." 

"They're four very different human beings. Perhaps this is a chance to understand them a little more deeply. But together, all four films will tell the story of the greatest band in history." 

An omnipresent director still has infinite attention for each one us within a grander narrative arc. 

Lennon and McCartney are undeniably geniuses. But with the Beatles, they were always greater than the sum of their parts. Even the songs that were solos were credited to Lennon/McCartney. Their solo works, no disrespect, never quite reached the dizzying heights of their collective efforts. 

But a biopic for each bandmember is a terribly 2020s take. We want to feel that main character energy pulsing through our veins. While we want to feel part of something bigger, we want to feel that our lives are unique and distinct, not derivative (the latter not being a problem for The Beatles). 

But a quartet of films, "challenging the notion of what constitutes a trip to the movies", harmonising in new ways (remind you of anything as subversive and groundbreaking?) provides an utterly lovely step-change in cinema. There's been no shortage of Beatles biographies and films, but this new concept comes closer to art imitating life. Our lives have to be lived independently, but are somehow made more meaningful and rich in connection and collaboration with others.  

The philosopher Tom Morris wrote: "There are two striking human passions, the passion for uniqueness and the passion for union. Each of us wants to be recognised as a unique member of the human race. We want to stand apart from the crowd in some way. We want our own dignity and value. But at the same time, we have a passion for union, for belonging, even for merging our identities into a greater unity in which we can have a place, a role, a value.” 

Can those passions be held in tension? The Christian faith, while commending us to be outward-focused, does more than polyphonic films. It says that each of us are worthy of our own 'cinematic events'. Yes, we mightn't have started living until we have broken free from our own confines to the concerns of broader humanity, as Martin Luther King said, but an omnipresent director still has infinite attention for each one us within a grander narrative arc. 

All you need is love, they sang. But that love needs the perfect perspective of someone else. 

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