Arts – Music – Poetry – Cinema – Television
Choosing music for sacrament meetings is an interesting responsibility sometimes. One of a few different challenges is that there are only 27 hymns specifically selected as sacrament meeting hymns, so there is a lot of potential for repetition.
Joseph Smith’s 1843 appeal to the Green Mountain Boys, ghostwritten by W. W. Phelps and published in (the original) Times and Seasons contains a series of foreign language quotations that are interesting not only because they include using the GAEL as a source for Egyptian.
The previous posts have put us in the vicinity of catalyst theories of revelation, but none of the formulations that I’ve seen are adequate for describing the Book of Abraham translation, and I think “catalyst” is the wrong chemical metaphor.
The GAEL provides for a mode of interpretation that finds expansive (but not unlimited) meaning in seemingly simple characters. Zakioan-hiash, as we have seen, is both a name, a word with a specific phonetic realization, and the equivalent of at least one sentence.
Two related features of the GAEL that have been the focus of the most controversy and puzzlement are how one character might represent much longer English texts, and the GAEL’s use of a five-fold system of degrees to expand a character’s potential meaning.
In his 2009 article, Chris Smith argued for the textual dependence of the Book of Abraham on the GAEL. While Dan Vogel’s recent book about the Book of Abraham and related apologetics strenuously objects to any suggestion that the GAEL was reverse engineered from the translation of Abraham, Vogel nevertheless entirely rejects the basis of Chris Smith’s argument.
I’ve always wondered how well the talks of different general authorities translate to other languages. For example, I can imagine that a lot of the alliteration that a few apostles adopt in their addresses doesn’t carry over. And I know from my work on translating Spanish hymns that translating between languages is an inexact science and involves compromises to keep certain aspects of the original language – rhyme, meter, literal meaning of words, nuances conveyed in idioms, etc. It’s almost impossible to carry all of those together across from one language to another. Largely because of this, translations of the Bible have proliferated, with each trying to convey the meaning of the texts from the original languages in different ways. For example, Robert Alter’s English translation of the Hebrew Bible focuses on carrying the literary forms of the Hebrew texts. In a recent interview at the Latter-day Saint history blog From the Desk, Robert Alter discussed his translation. Robert Alter is a noted scholar who received his doctorate from Harvard University and is a Professor of Hebrew and Comparative Literature. His doctorate was in modern comparative literature, but he noted in the interview that: “as an undergraduate I spent three years studying biblical texts rigorously with H. L. Ginsburg, one of the leading philological scholars of the Bible of his generation.” His familiarity with literary forms and biblical texts came together to lead to his translation: In the late 1970s I published…
With the preliminary deliberations out of the way, it’s time for a close look at the GAEL.
Before we get to the heart of my argument – which is coming up next in a long post with a detailed look at what’s in the GAEL – we need to look at what Joseph Smith and his associates would have known about Champollion and the decipherment of Egyptian hieroglyphics by 1835.
Scholars from seemingly every corner of Mormon Studies agree: While working on the Egyptian papyri, Joseph Smith and his associates were either unaware of Champollion’s recent work to decipher Egyptian hieroglyphics, or simply unaffected by the recent advances in Egyptology. Not only is this position untenable, it’s demonstrably incorrect.
A few years ago, I talked about Christmas songs that are included in the various translations of the Latter-day Saint hymnbook that are not in the English hymnal. I’m hoping to share the music and translations of those songs over the next few Decembers, starting this time with the music in the French hymnbooks. In this case, there are three Christmas hymns in the hymnbook that appear in the French edition that aren’t in the English: “He Is Born, the Divine Christ Child” “Lo, How a Rose E’er Blooming,” and “Sing We Now of Christmas“. He Is Born, the Divine Christ Child “He Is Born” (“Il est né le divin Enfant”) is a relatively well-known carol that is included in the French and Tahitian hymnbooks. For the translation presented below, I’ve used the Samuel Bradshaw translation paired with the music from the French hymnal. Lo, How a Rose E’er Blooming “Lo, How a Rose E’er Blooming” (“Es ist ein Ros entsprungen”) is a well-known German Christmas song frequently sung during the Advent season that leads up to Christmas. It is also one of the Christmas sonsg featured most frequently in Latter-day Saint hymnbooks outside of the English edition. It is included in the German, Dutch, French, Icelandic, and Swedish editions of the hymnal. I’ve elected to use the translation that I’m most accustomed to (the Theodore Baker translation) paired with the music from the French hymnal. Given that the French…
“Our Savior, Jesus Christ, understands our pains and our afflictions. He wants to ease our burdens and comfort us.”[1] ~Moisés Villanueva Hymn Text: “Final”, by Joel Morales was included in the Spanish hymnals from 1912 – 1992. The 1912 hymnal indicates that it is intended to be sung to the same tune as Songs of Zion, no. 168, which was “Ye Who Are Called to Labor” by Daniel B. Towner . When printed with music in the 1942 hymnal, it was published with the tune of “A Happy Band of Children” by Edwin F. Parry. Unfortunately, I wasn’t able to find any information about Joel Morales himself. Table 1. Comparison of the hymn text in different editions of the hymnal 1912 1942 Ya suena la trompeta, Los justos llaman ya, Y Cristo se presenta, Los hombres juzgará. Ya suena la trompeta, Los justos llama ya, Y Cristo en su trono A todos juzgará. Serán las obras jueces, El mal á condenar; A justos dar la gloria, El bien á premiar. Serán las obras jueces, El mal condenarán; A justos dar la gloria, Lo bueno premiarán. En nube de la gloria, El Cristo ya vendrá; Del hombre la historia Escrita, El tendrá. En nube de la gloria, El Salvador vendrá; Del hombre la historia Escrita, él tendrá. La salvación eterna, A justos, les dará; El romperá las ligas, Y les libertará. La salvación eterna A justos, él dará, Eterna…
To the degree that members of the Church live the gospel and follow the counsel of the prophets, they will, little by little and even without noticing it, become sanctified. Humble members of the Church who conduct daily family prayer and scripture study, engage in family history, and consecrate their time to worship in the temple frequently, become Saints.[1] Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: “Venid, Hermanos” by José V. Estrada G. was published initially in the 1912 edition of the Mexican mission hymnbook, though it did not make the cut past the 1933 edition of the same hymnal. It bears a similar name and the same author as the previous hymn discussed in this series (“Hermanos, Venid”), though it is a distinct hymn. The original edition indicates that it was intended to be sung to hymn 87 from The Songs of Zion, which was “How Firm a Foundation.” In this case, the same tune is used for “How Firm a Foundation” in the current hymnal. It took me a bit to figure out how to do the translation, since rather than using an iambic meter (every other syllable is stressed), it uses a dactyl-based meter (every third syllable is stressed).
Problems form an important part of our lives. They are placed in our path for us to overcome them, not to be overcome by them. We must master them, not let them master us. Every time we overcome a challenge, we grow in experience, in self-assuredness, and in faith.[1] ~Horacio A. Tenorio Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: “Hermanos, Venid” by José V. Estrada G. was initially published in 1912 and continued to be published up through the 1942 hymnbook. It was intended to be sung to the tune of Latter-day Saint Psalmody, 254, which was OMEGA by John Tullidge (“We’ll Sing the Songs of Zion”). It was also published in the 1942 hymnal, though set to a tune by George Careless called SUPPLICATION (“O God, The Eternal Father”). In the Latter-day Saint Psalmody, SUPPLICATION is the next page over from OMEGA, so it is possible that either there was a typo in the older hymnals or that both tunes were used interchangeably for the hymn and the latter won out later on (both tunes work for the text). Figure 1. “Hermanos, Venid” in the 1912 hymnal. Table 1. Comparison of the text of “Hermanos, Venid” in various editions of the Spanish hymnal. 1912 1942 Se oyen por doquiera Anuncios y clamor, Que dicen á la tierra, Su pronta destrucción; Ya suena la trompeta, Con…
This post by Brian Stubbs, a well-respected linguist with numerous publications on the history of Uto-Aztecan languages, is a response to an earlier post by Jonathan Green from 2019. In Times and Seasons, January 6, 2019, Jonathan Green published a post “Uto-Aztecan and Semitic: Too Much of a Good Thing.” A commenter, Steve J, asked: “I hope Stubbs will at some point address the concerns expressed in the post.” Steve’s hope is justified and a response is rightfully due. I did not learn of the post until long after it was written, thus the delay. Green is kind and fair in his opening paragraphs on my background and credentials. Later in the comments, he is again more than decent in my defense. So this is nothing against Green, only a clarification that he and many readers may appreciate. The research involves Uto-Aztecan (UA), one language family of some 30 related languages from the Utes in the north to the Aztecs in the south. UA contains a substantial amount of Semitic and Egyptian. Because some answers to the concerns are addressed in former publications, we refer to those past works with these abbreviations: Uto-Aztecan: A Comparative Vocabulary (2011) as UACV, which was favorably reviewed (Hill 2012) and praised by all UA specialists; Exploring the Explanatory Power of Semitic and Egyptian in Uto-Aztecan (2015) as Exploring; the 2nd edition of Changes in Languages from Nephi to Now (2020) as Changes in…
That complicated bond between my faith is what keeps me wondering, searching, discovering, and debating with myself, and through this I find a little of me each day, repeatedly learning that life has a purpose and that it has much to do with others and my relationship to the divine. It humbles me when I begin to think that I’m very important and lifts me up when I convince myself that I’m not worth much.[1] ~Ignacio M. García Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: “Dios, bendícenos”, by Edmund Richardson, is an interesting example of a hymn where it’s not clear if it’s meant to be an original text, a translation of an existing hymn, or something in between. It was published initially in 1907 and was included in every Spanish hymnal up through the 1942 hymnal. In the 1992 Himnos, however, the translation of “Lord, Dismiss Us With Thy Blessings” was published using the same title while the Richardson text was dropped from the hymn book, indicating that it might have been a translation or paraphrase of “Lord, Dismiss Us With Thy Blessings” in the past hymnals. There is a significant amount of overlap in ideas between the two hymns, similar meter, and the same number of verses. On the other hand, the text was always attributed to Edmund Richardson as author rather than translator,…
Our Father knows and loves His children all over the world, from Boston to Okinawa, from San Antonio to Spain, from Italy to Costa Rica. In Ghana, President Gordon B. Hinckley recently thanked the Lord “for the brotherhood that exists among us, that neither color of skin nor land of birth can separate us as Thy sons and daughters.” … We come to this world in many colors, shapes, sizes, and circumstances. We don’t have to be rich, tall, thin, brilliant, or beautiful to be saved in the kingdom of God—only pure. We need to be obedient to the Lord Jesus Christ and keep His commandments. And we can all choose to do that regardless of where we live or what we look like.[1] ~Clate W. Mask Jr. Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: The hymn ¿Por qué somos? by Edmund W. Richardson was initially published in the 1912 edition of Himnos de Sion (see Figure 1). It is one of the three hymns that were written originally in Spanish that are included in the 1992 Spanish hymnal. The hymn has also been included in the Portuguese hymnal as “De que rumo vêm os homens”, though it is not included in the current hymnbook in that language. The original publication indicated that it should be sung to the tune of hymn 50 in Songs of…
What greater power can you acquire on earth than the priesthood of God? What power could possibly be greater than the capacity to assist our Heavenly Father in changing the lives of your fellowmen, to help them along the pathway of eternal happiness by being cleansed of sin and wrongdoing?[1] ~Adrián Ochoa Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: “Santos, Dad Loor á Dios” by Edmund W. Richardson was initially included in the 1907 Himnario Mormón (see Figure 1). It was published in the 1912 edition of the Himnos de Sion, but was not included in subsequent editions of the hymnal. Both of the hymnals that it was published in did not indicate a tune to which it was intended to be sung, though the John-Charles Duffy and Hugo Olaiz article indicates that it was sung to the tune of “O Jesus! the giver of all we enjoy” from the Latter-day Saints’ Psalmody (GOSHEN, by Ralph Bradshaw), which can be made to fit.[2] There are a few textual variations between the 1907 and 1912 editions (see Table 1). Table 1. Comparison of texts from the two editions in which “Santos, Dad Loor á Dios” was published. 1907 “Santos, Dad Loór á Dios” 1912 “Santos, Dad Loor á Dios” Santos, dad loór á Dios, Himnos elevad; Alaban al Señor Por Su gran bondád. Antes en la cruz…
Oh, beloved brethren! Let us always remember the teachings of the prophets, let us always remember the teachings of our Lord Jesus Christ which he brought us in the meridian of time. Let us remember also his exhortations to our people here in the Americas, which are recorded in the Book of Mormon; let us keep watch so that these great treasures which have been left to us will not be buried as they were during the time of the great apostasy. Strive to preserve them, to cultivate them, to convert our families into strong units in Zion.[1] ~Guillermo Torres Note: This is a part of an ongoing series. To start at the introduction, follow the link here. Hymn Text: Humildad by W. Ernest Young was originally published in the 1912 editions of Himnos de Sion, and was included in the 1927 and 1933 editions of that book before being cut in subsequent editions. According to the 1912 edition, it was intended to be sung to the tune of hymn 223 in Songs of Zion, which was “Beautiful Isle” by J. S. Fearis. It is notable as the only one of the 23 original hymns in the Mexican mission hymnals to have a verse-chorus structure. Figure 1. “Humildad,” in the second 1912 edition of Himnos de Sion. Note: The author’s name is switched around slightly in the published text (Ernest W. instead of W. Ernest). The author, Walter Ernest…
