In this final Xmas songs instalment, I wanted to share a portion of Michael Card’s¹ “Simeon’s Song.” For me, the story told in this song is the height of bona fide, well-founded baby-Jesus-related emotion.
An old man in the temple, waiting in the court —
Waiting for the answer to a promise.
And all at once he sees them in the morning sunshine —
A couple come in, carryin’ a baby.
Mary and the baby come,
And in her hand five shekels —
The price to redeem her baby boy.
The baby softly cooing,
Nestled in her arms.
Simeon takes the boy and starts to sing:
Now that I’ve held Him in my arms,
My life can come to an end.
Let Your servant now depart in peace.
‘Cause I’ve seen Your salvation;
He’s the Light of the Gentiles
And the glory of His people Israel
Words and music by Michael Card.¹ © 1982ish, Mole End Music
Countdowns are all counted . . . family traditions have been participated in … wrappings are now all unwrapped. Commercialized Christmastide aside, can you agree that “Simeon’s Song” is what the Coming was, and is, all about? Can we please now lay aside all the stuff, including the Christmas Eve “services,” with their mix of the bogus and the real? Can we escape the concocted pageantry of the Advent wreaths and other Catholicisms?²
Can we please, please inextricably connect ourselves to something real, something faith-filled like Simeon’s devoted life, his prophecy — and the inspired, inspiring example of his genuine response to seeing the Infant Jesus who was to become Rabbi, Lord, and King? Read the record here.
I want to have the faith of Simeon.
² In planning for a now-distant Christmas extravaganza, I tried to bring to the table some bona fide exegesis toward scripturally sensitive themes and motifs, but I was ignored. (I don’t fault the other individuals at the table beyond suggesting that they had not enough biblical backbone to their respective brands of Christianity.) Instead, we ended up being treated to scary-looking Dark-Ages imagery and legacy music that had a less valid basis than my suggestions.