Divide and Lose

Divide and Lose
Warwick Allen
Wednesday, 17 September 2025

[Verse 1]
Aching in our hurting, it's a sad song
Just a fruitless searching, it is all gone
Just a fleeting sighting, but not for long
Aching for the righting, of all the wrong

[Chorus]
We all build this wall of, of division
Wonder why all of this, this confusion
Wonder who is giving the instruction
We all race to, to our, our destruction

[Verse 2]
If you ever find it, do let us know
We all need to mind it, how we will go
We all need a leader, one who will show
If you find the Daystar, we will follow

[Chorus]
We all build this wall of, of division
Wonder why all of this, this confusion
Wonder who is giving the instruction
We all race to, to our, our destruction

[Coda]
Do tell if you know Him, the Prince of Peace
Do tell, will you heed the Prince who brings Peace?

(recording on Suno)

Analysis of Divide and Lose

Introduction

“Divide and Lose” emerges as a solemn meditation on contemporary political fragmentation, written in the immediate aftermath of Charlie Kirk's assassination on 10 September 2025. The lyrics function as both lament and prophetic warning, weaving together themes of social division, spiritual longing, and the search for transcendent unity in an age of manufactured discord. The work demonstrates sophisticated employment of biblical imagery and prophetic literary traditions whilst addressing the urgent political realities of our time.

Thematic Analysis

Political Division and Social Fragmentation

The central thematic concern revolves around the artificial construction of societal division. The opening lines, “Aching in our hurting, it's a sad song / Just a fruitless searching, it is all gone,” establish a tone of collective mourning that extends beyond individual grief to encompass societal trauma. The phrase “fruitless searching” suggests the futility of seeking unity through conventional political means, whilst “it is all gone” implies the loss of some fundamental social cohesion or shared understanding.

The chorus's assertion that “We all build this wall of, of division” employs the collective pronoun to implicate all participants in the creation of societal fragmentation. This is particularly significant given the context of Kirk's assassination, suggesting that the polarisation which may have contributed to such violence is not imposed externally but actively constructed by society itself. The repetition of “of” creates a stammering, uncertain quality that mirrors the confusion and disorientation of a fractured political landscape.

The Search for Authentic Leadership

The second verse introduces the critical theme of leadership vacuum: “We all need a leader, one who will show.” This longing for guidance takes on profound significance in the wake of Kirk's death, representing not merely political leadership but moral and spiritual direction. The conditional phrasing “If you ever find it, do let us know” suggests both skepticism about the existence of such leadership and genuine hope for its discovery.

The injunction “We all need to mind it, how we will go” introduces the crucial concept of personal responsibility within the collective crisis. The verb “mind” carries dual connotations—both careful attention and obedient compliance—suggesting that individual responses to the current political climate require both thoughtful consideration and moral discipline. The phrase “how we will go” implies both the manner of our conduct and our ultimate destination, warning that our actions and reactions in this moment of division will determine both collective and individual consequences. This line thus bridges the gap between seeking external leadership and accepting internal responsibility, suggesting that whilst we await divine guidance, we remain accountable for our own responses to the present crisis.

The progression to “If you find the Daystar, we will follow” represents a crucial shift from secular to sacred imagery. The “Daystar” is a biblical reference to Christ (2 Peter 1:19, Revelation 22:16), indicating that the ultimate solution to political division lies not in human leadership but in divine intervention and spiritual transformation.

Literary Devices and Structure

Metre and Rhyme

Excluding the repeated chorus, the poem takes the form of a fourteen-line sonnet structure. Rather than following the traditional English sonnet rhyme scheme of ABAB CDCD EFEF GG, it employs a stricter pattern of AAAA BBBB CCCC DD—creating blocks of identical rhymes that intensify the sonic unity within each quatrain. The verse approximates iambic pentameter rhythm.

Repetition and Anaphora

The work employs strategic repetition to create both musical quality and thematic emphasis. The repetitive “We all” construction establishes collective responsibility whilst the stammering repetition in the chorus (“of, of division,” “this, this confusion,” “to, to our, our destruction”) creates a sense of linguistic breakdown that mirrors societal collapse. This technique suggests that language itself—the foundation of political discourse—has become fractured and inadequate.

Paradox and Irony

The title “Divide and Lose” presents a paradoxical reversal of the classical “divide and conquer” strategy. Rather than division leading to victory, the lyrics suggest it leads to collective defeat. This ironic inversion critiques contemporary political strategies that prioritise short-term tactical advantage over long-term social cohesion.

Structural Movement

The piece follows a classical lament structure, moving from description of suffering (verse 1) through analysis of causation (chorus) to petition for remedy (verse 2) and finally to hope for redemption (coda). This structure mirrors both psalmic tradition and contemporary protest song forms, creating a bridge between sacred and secular literary traditions.

Religious Symbolism and Biblical Intertextuality

Prophetic Tradition

The work clearly draws upon the Hebrew prophetic tradition, particularly in its critique of social injustice and call for spiritual renewal. The phrase “aching for the righting, of all the wrong” echoes prophetic calls for justice (Isaiah 1:17, Micah 6:8), whilst the reference to “destruction” recalls prophetic warnings about societal collapse resulting from moral failure.

Messianic Imagery

The progression from seeking human leadership to invoking the “Daystar” and “Prince of Peace” reflects messianic expectation central to Judeo-Christian tradition. The “Prince of Peace” directly quotes Isaiah 9:6, traditionally interpreted as a messianic prophecy. This imagery suggests that political division represents a spiritual crisis requiring divine resolution.

Light/Darkness Symbolism

The “Daystar” imagery creates a light/darkness motif that runs throughout the piece. The “fleeting sighting, but not for long” suggests momentary glimpses of hope or truth quickly extinguished by the prevailing darkness of division. This biblical symbolism (John 1:5, 1 John 1:5) positions the current political moment as one of spiritual darkness requiring divine illumination.

Contemporary Political Context

Response to Political Violence

Written days after Kirk's assassination, the lyrics function as both mourning song and prophetic warning. The “aching in our hurting” takes on immediate relevance as collective trauma, whilst the questioning “Wonder who is giving the instruction” alludes to the ideological and spiritual forces that contribute to political violence. The work thus serves as both elegy and call to examination of conscience.

Critique of Manufactured Division

The emphasis on division as constructed rather than natural (“We all build this wall”) offers a sophisticated analysis of contemporary political manipulation. The “instruction” reference suggests external forces orchestrating division for unknown purposes, reflecting concerns about media manipulation, foreign interference, and the weaponisation of political discourse.

Although “Wonder who is giving the instruction” immediately suggests a political agenda, it also acknowledges the darker spiritual realities that work to undermine human society. This line evokes Ephesians 6:12 (ESV): “For we do not wrestle against flesh and blood, but against the rulers, against the authorities, against the cosmic powers over this present darkness, against the spiritual forces of evil in the heavenly places.” The lyric thus operates on both political and theological levels, suggesting that visible divisions may reflect invisible spiritual warfare.

Universal Culpability

The consistent use of “we all” refuses to exempt any political faction from responsibility for current divisions. This represents a mature and challenging position that avoids the tribalism it critiques, instead calling all participants to self-examination and repentance.

Conclusion

“Divide and Lose” succeeds as both artistic expression and political commentary by grounding its analysis of contemporary division in timeless spiritual and literary traditions. The work's power lies in its refusal to offer easy solutions or partisan comfort, instead calling for fundamental spiritual transformation as the prerequisite for social healing.

The piece demonstrates how prophetic literature can address contemporary political crises whilst maintaining artistic integrity and spiritual depth. In the wake of political assassination and escalating social division, the work offers neither false comfort nor cynical despair, but rather a call to transcend human political categories through divine intervention and collective spiritual renewal. The final question—“Do tell, will you heed the Prince who brings Peace?”—leaves readers with the ultimate challenge of the text: whether they will choose the difficult path of spiritual transformation over the easier path of continued division.

Floral Apostle

Floral Apostle
Warwick Allen
Monday, 23 June 2025

[Verse 1]
Winter daffodil
Stalwart sentinel
Guardian of hope
Humble antidote
To our brumal ill

[Refrain 1]
(Here is a call for the endurance…)

[Chorus 1]
Your golden bloom
Under skies cold and grey
Pierces dark and gloom
Speaks of a better day

[Verse 2]
Though storm battered
And snow covered
Indomitable yellow
A bright foreshadow
Of sun assured

[Refrain 2]
(Here is a call for the endurance…)

[Chorus 2]
Your steadfast constant cheer
Banishes our dismay
Leaves no space for despair
Shows us the better day

[Verse 3]
Winter may linger
Last many a year
Floral apostle
Will you then please tell
What we need to hear

[Refrain 3]
(Here is a call for the endurance…)

[Chorus 3]
Your resolute message
The sure hope you relay
Sweetens bitter passage
Towards that better day

[Bridge]
Of this we are sure
Remind our hearts again
If we will endure
With Him we will reign

[Verse 4]
Show Jerusalem
The city to come
City where the dark
Can't stay, cannot park
It's lit by the Son

[Verse 4 repeated]
Show Jerusalem
The city to come
City where the dark
Can't stay, cannot park
It's lit by the Son

[Refrain 4]
(…the endurance and faith of the saints.)

(recording on Suno)

Analysis of Floral Apostle Lyrics

Floral Apostle is a poetic and spiritually rich song that weaves together vivid natural imagery and Christian theology to deliver a message of hope, endurance and divine promise. The central metaphor of a daffodil blooming in winter serves as a powerful symbol of resilience amidst adversity, embodying the role of an “apostle”—a messenger of God's truth. Through its structured progression of verses, refrains, choruses and a bridge, the song invites listeners to reflect on their struggles while anchoring them in the assurance of a future redeemed by Christ. The lyrics draw heavily on biblical themes, with direct quotations and allusions to Scripture, particularly emphasising the call to patient endurance and the hope of eternal salvation. This analysis explores the song's lyrical content, structure, imagery, themes and biblical references, providing insight into its theological depth and emotional resonance.

Structure and Form

The song is structured as four verses, each followed by a refrain, with three choruses interspersed after the first three verses, a bridge before the final verse, and a concluding refrain. This hymn-like structure creates a rhythmic flow, with the refrains acting as a unifying thread that builds anticipation. The verses develop the daffodil's symbolism, the choruses amplify its message of hope, the bridge offers a spiritual exhortation, and the final verse culminates in an eschatological vision. The refrains, initially truncated (“Here is a call for the endurance…”), resolve fully in the final iteration (“… the endurance and faith of the saints”), mirroring the song's progression from struggle to triumph. The rhyme scheme is loose but intentional (e.g., “daffodil” / “ill,” “yellow” / “foreshadow”), lending a poetic quality that enhances the lyrical flow without rigid formality.

Imagery and Symbolism

The daffodil, described as a “winter daffodil,” “stalwart sentinel,” and “floral apostle,” is the song's central image, representing hope and resilience in the face of adversity. The daffodil referred to might be Sternbergia lutea, a yellow-flowered plant often mistaken for a daffodil, known for blooming in late autumn or early winter in Mediterranean climates, which aligns with the song's depiction of a flower enduring harsh conditions. Its “golden bloom” and “indomitable yellow” pierce the “skies cold and grey” and “dark and gloom” (Verse 1, Chorus 1, Verse 2), evoking a stark contrast between light and darkness. This light/dark motif underscores the song's theme of hope overcoming despair, with the daffodil's perseverance in “storm battered” and “snow covered” conditions (Verse 2) symbolising steadfast faith. The final verse shifts to an eschatological vision of “Jerusalem / The city to come,” where “the dark / Can't stay, cannot park / It's lit by the Son,” reinforcing the triumph of divine light. The bridge's call to “endure” and “reign” with Christ bridges the earthly daffodil to the heavenly promise, uniting the song's natural and spiritual imagery.

Themes

The primary themes of Floral Apostle are hope, patient endurance, and divine assurance:

• Hope: The daffodil's ability to bloom in winter symbolises hope amidst hardship, with choruses proclaiming a “better day” (Choruses 1–3). This hope is not merely optimistic but eschatological, culminating in the vision of Jerusalem.
• Patient Endurance: The song repeatedly calls listeners to persevere through trials, as seen in the refrains' “call for the endurance” and the bridge's “If we will endure.” The daffodil's resilience mirrors the steadfastness required of believers.
• Divine Assurance: The lyrics anchor hope in God's promise, with the daffodil as a “humble antidote” to “brumal ill” (Verse 1) and a “foreshadow” of the “sun assured” (Verse 2), ultimately pointing to Christ, the “Son” who lights the eternal city (Verse 4).

The song balances vulnerability—acknowledging “Winter may linger / Last many a year” (Verse 3) and the need to “remind our hearts again” (Bridge)—with triumphant assurance, making its message both relatable and uplifting.

Biblical References

Floral Apostle is deeply rooted in Scripture, with direct quotations and allusions to several Bible passages that emphasise endurance, hope and salvation. Below are the key references, drawn from the English Standard Version (ESV) for consistency:

1. Revelation 13:10 & 14:12 (Refrain: “Here is a call for the endurance…”):
   The refrain directly quotes the end of Revelation 13:10, “Here is a call for the endurance and faith of the saints.” (which is echoed in Revelation 14:12, “Here is a call for the endurance of the saints, those who keep the commandments of God and their faith in Jesus.”) The song uses this to frame the daffodil's message as a divine call to steadfast faith, with the truncated refrains building suspense until the full quotation in Refrain 4. This passage underscores the song's theme of perseverance amidst trials, aligning with the daffodil's resilience.
2. 2 Timothy 2:12 (Bridge: “If we will endure / With Him we will reign”):
   The bridge directly alludes to 2 Timothy 2:12, “If we endure, we will also reign with him; if we deny him, he also will deny us.” The line “With Him we will reign” promises believers a share in Christ's eternal glory, tying the daffodil's hope to the ultimate reward of salvation. The plea to “Remind our hearts again” reflects the need for spiritual renewal in enduring faith.
3. Revelation 21:1–4, 23 (Verse 4: “Show Jerusalem / The city to come / City where the dark / Can't stay, cannot park / It's lit by the Son”):
   The final verse alludes to Revelation 21, which describes the New Jerusalem: “And I saw the holy city, new Jerusalem, coming down out of heaven from God… And the city has no need of sun or moon to shine on it, for the glory of God gives it light, and its lamp is the Lamb” (Revelation 21:2, 23). The “city where the dark / Can't stay” and “lit by the Son” (referring to Christ) evokes this vision of a redeemed world free from darkness, tying the daffodil's light to the eternal light of God.
4. Romans 5:3–5 (Implied in Chorus 3: “Sweetens bitter passage / Towards that better day”):
   The phrase “Sweetens bitter passage” echoes Romans 5:3–4, “We rejoice in our sufferings, knowing that suffering produces endurance, and endurance produces character, and character produces hope.” While not directly quoted, this passage informs the song's theme of enduring trials with hope, particularly in the choruses' focus on a “better day.”
5. Galatians 6:9 (Implied in Bridge: “If we will endure”):
   The bridge's emphasis on endurance aligns with Galatians 6:9, “And let us not grow weary of doing good, for in due season we will reap, if we do not give up.” The promise of reaping a reward through perseverance resonates with the song's encouragement to persist through “winter.”

Emotional and Theological Impact

Floral Apostle masterfully blends natural and spiritual imagery to convey a message of hope and endurance grounded in Christian theology. The daffodil, possibly Sternbergia lutea, serves as a relatable symbol of resilience, its “golden bloom” piercing the gloom of winter, much like Christ's light overcomes darkness. The song's reflective mood, seen in lines like “Winter may linger / Last many a year” and “Remind our hearts again,” acknowledges human struggle, making the hope authentic and hard-won. The biblical allusions provide theological weight, framing the daffodil as a divine messenger calling believers to endure with faith in God's promises.

The song's progression from earthly struggle to heavenly vision mirrors the Christian journey from trial to salvation, with the daffodil as a “floral apostle” delivering God's message of hope. The refrains' gradual revelation of the call to endurance, culminating in the full quotation from Revelation, creates a narrative arc that invites listeners to join the “saints” in faithful perseverance. The bridge's plea for renewed hearts and promise of reigning with Christ adds emotional depth, balancing vulnerability with assurance.

Conclusion

Floral Apostle is a profound lyrical work that combines poetic imagery with biblical truth to inspire hope and endurance. Its central metaphor of the daffodil, paired with allusions to Revelation, 2 Timothy, Romans and Galatians, creates a rich tapestry of faith and resilience. The song speaks to both the heart and soul, offering comfort to those in “winter” while pointing to the eternal light of the “city to come.” Its universal themes of hope and perseverance, grounded in Christian theology, make it a powerful piece for spiritual reflection and encouragement.

At the End of Myself

At The End of Myself
Warwick Allen
Tuesday, 17 June 2025

[Verse 1]
I'm weary, and my all is not enough,
And the road ahead stretches long and rough.
I'm kneeling, empty, nothing left to give,
Here, in surrender, I begin to live.

[Chorus 1]
At the end of myself, is where I find my strength.
When it's no longer I, but He who lives in me,
I can do all things through Him who gives me strength.
He lifts me up and He carries me.

[Verse 2]
In front of me, tasks beyond my might,
And every step, a battle and a fight.
I'm lost in the struggle, but in this place,
I rest in His mercy, and in His grace.

[Chorus 2]
At the end of myself, is where I find my strength.
In the breaking of my pride, His mercy reigns.
I can do all things through Him who gives me strength.
He holds me close, through every storm and pain.

[Verse 3]
All I have to offer is tears and loss,
So I fall before the redeeming cross.
His strength is perfect when I know my weakness.
In knowing my emptiness, I find His fullness.

[Chorus 3]
At the end of myself, is where I find my strength.
In the stillness of surrender, He will sustain.
I can do all things through Him who gives me strength.
Through it all, His grace and power remain.

[Bridge]
When my race is run,
His has just begun.
When I am undone,
I rest in the Son.

[Chorus 4]
At the end of myself, is where I find my strength.
In the ashes of my plans, His hope remains.
I can do all things through Him who gives me strength.
So here I rest, in the power of His name.

[Coda]
He maketh me to lie down in green pastures:
He leadeth me beside the still waters.
He restoreth my soul:
He leadeth me in the paths of righteousness
for his name's sake.

(recording on Suno)

Disclaimer

Some lyrics have been generated by AI.
Hide AI-generated content.

Analysis of At the End of Myself Lyrics

The song At the End of Myself is a poignant exploration of human frailty, spiritual surrender and divine empowerment, deeply rooted in Christian theology and scriptural references. Written in a confessional and meditative tone, the lyrics articulate a journey from exhaustion and inadequacy to reliance on God's strength. This analysis examines the song's thematic progression, its use of scriptural allusions, and the deliberate choice of Bible translations to convey its message.

Thematic Analysis

The song's central theme is the paradox of finding strength in weakness through surrender to God. This is introduced in Verse 1, where the speaker describes weariness and insufficiency (“my all is not enough”) but discovers life through surrender. The recurring motif of being “at the end of myself” in the choruses underscores a state of personal depletion as the prerequisite for divine intervention. This aligns with Christian teachings on humility and dependence on God, particularly echoed in 2 Corinthians 12:9, where God's grace is sufficient in weakness, a concept implicitly woven throughout the song.

Each verse builds on this theme by depicting increasing levels of struggle and surrender. Verse 2 portrays overwhelming tasks and battles, yet finds solace in God's mercy and grace. Verse 3 deepens the emotional intensity, with the speaker offering only “tears and loss” at the “redeeming cross,” a clear reference to Christ's atonement. The bridge shifts to an eschatological perspective, contrasting the speaker's finite “race” with God's eternal work, culminating in rest in “the Son” (a Christological title). The coda, quoting Psalm 23, concludes with a serene affirmation of God's guidance and restoration, providing a resolution to the song's earlier turmoil.

Scriptural References and Translation Choices

The song is saturated with scriptural allusions, drawing from multiple Bible translations to enhance its lyrical and theological impact. The most prominent reference is the repeated line in the choruses, “I can do all things through Him who gives me strength,” directly quoting Philippians 4:13 from the New International Version (NIV). This verse aligns with the song's theme of divine empowerment in human weakness. The choice of the NIV rendition offers contemporary accessibility and rhythmic suitability for lyrical repetition.

The coda explicitly quotes Psalm 23:1–3 from the King James Version (KJV), evident in its archaic language: “He maketh me to lie down in green pastures: He leadeth me beside the still waters. He restoreth my soul.” The KJV's poetic cadence and solemnity lend a timeless, almost liturgical quality to the song's conclusion, evoking a sense of divine comfort and finality. This contrasts with the NIV's modern phrasing in the choruses, suggesting a deliberate juxtaposition of contemporary and traditional expressions of faith to bridge personal experience with historical scripture.

Other scriptural influences are less explicit but discernible. For instance, Verse 3's line, “His strength is perfect when I know my weakness,” echoes 2 Corinthians 12:9: “My grace is sufficient for you, for my power is made perfect in weakness.” This verse informs the song's nuanced articulation of weakness as a conduit for divine strength. Similarly, the imagery of the “redeeming cross” in Verse 3 alludes to the crucifixion narratives (e.g., 1 Corinthians 1:18), symbolising salvation and surrender. The bridge's reference to resting “in the Son” draws from Christological passages like John 15:4–5, where abiding in Christ is essential for spiritual vitality.

Structural and Poetic Devices

The song's structure reinforces its theological message. The four verses and choruses progress from despair to hope, with each chorus slightly varying to reflect the speaker's growing trust in God. For example, Chorus 1 focuses on Christ living in the speaker, while Chorus 4 speaks of resting “in the power of His name,” indicating a shift in thought from indwelling to worshipful reliance. The bridge serves as a theological pivot, introducing Christ's eternal perspective, while the coda's scriptural quotation provides a meditative finish.

Poetically, the lyrics employ vivid imagery and contrasts. The “long and rough” road (Verse 1) and “storm and pain” (Chorus 2) evoke life's hardships, while “green pastures” and “still waters” (Coda) offer divine respite. The repetition of “at the end of myself” creates a rhythmic anchor, mirroring the cyclical nature of spiritual surrender. The bridge's concise parallelism (“When my race is run, / “His has just begun”) distils the song's eschatological hope.

Theological and Emotional Resonance

The choice of translations—NIV for the choruses and KJV for the coda, with evidence of English Standard Version (ESV) influences elsewhere—reflects a careful curation of scriptural voices. The NIV's dynamic phrasing in Philippians 4:13 appeals to modern listeners, grounding the song's personal narrative. The KJV's Psalm 23 invokes a collective, historical faith, connecting the individual's journey to a broader Christian tradition. The ESV's influence, with its emphasis on precision, supports the song's doctrinal clarity, particularly in its Pauline allusions to weakness and grace. Together, these translations create a multifaceted scriptural foundation that resonates both emotionally and theologically.

The song's emotional power lies in its raw vulnerability. By depicting a speaker who is “weary,” “empty,” and offering only “tears,” it invites listeners to relate their struggles. The progression from exhaustion to rest mirrors the Christian narrative of redemption, making the song a compelling devotional tool. Its scriptural anchoring ensures theological depth, while its lyrical craftsmanship ensures universal relatability.

Conclusion

At the End of Myself is a lyrically and theologically sophisticated song that navigates the tension between human limitation and divine strength. Its scriptural references, drawn from the NIV, KJV and ESV, are strategically employed to reinforce its message of surrender and empowerment. The NIV's Philippians 4:13 drives the song's central affirmation, the KJV's Psalm 23 provides a timeless conclusion, and the ESV's influence lends doctrinal precision. Through its vivid imagery, poetic structure, and emotional authenticity, the song offers a profound reflection on faith, making it a resonant piece for both personal devotion and communal worship.

Ordinary Mean of Grace

Ordinary Means of Grace
Warwick Allen
Saturday, 25 May 2025

[Verse 1]
I breathe Your Breath in the quiet,
knowing my prayer is heard.
I eat the bread, the good diet,
of Your daily, guiding Word.

[Chorus]
We receive them in
the ordinary,
Your daily mercy
and Your endless grace.
The beautiful gifts,
the blessed routines,
“ordinary means”:
there we find Your grace.

[Verse 2]
As cool waters over me flowed,
life-giving grace made me new.
Your body, Your blood, gifts bestowed,
draws us, Your bride, in to You.

[Verse 3]
Together with the saints I come,
share prayer, sweet fellowship.
Your grace knits Your body as one;
united, You we worship.

[Chorus]
We receive them in
the ordinary,
Your daily mercy
and Your endless grace.
The beautiful gifts,
the blessed routines,
“ordinary means”:
there we find Your grace.

[Verse 4]
As I gladly serve Your Body
with my modest offering,
Your grace is pouring into me,
and it's I who's receiving.

[Verse 5]
Through Your faithful teachers, preachers,
countless graces I'm given.
Understanding of Your scriptures,
make You more deeply known.

[Bridge]
And we do, we eagerly pursue
the extraordinary.
But we're happy to glory
in the ordinary.
That's where we find You

[Chorus]
We receive them in
the ordinary,
Your daily mercy
and Your endless grace.
The beautiful gifts,
the blessed routines,
“ordinary means”:
there we see Your face.

Anthem of the Redeemed

Anthem of The Redeemed
Warwick Allen
Wednesday, 12 March 2025

[Verse 1]
From every nation, tribe, and tongue,
A multitude in white has come,
Before the throne, their voices ring,
To God and Lamb, their praise they bring.
Sealed by grace, the chosen stand,
Marked by heaven's holy hand,
Through tribulation's darkened tide,
They rise to glory at His side.

[Chorus]
Glory to our God on high,
To Him who reigns over earth and sky,
And to the Lamb who once was slain,
Forevermore we sing His name!
Amen, amen, the anthem swells,
Blessing and power where glory dwells,
Deepest praise, thanks and honour,
Unto our God, Yeshua

[Verse 2]
The angels bow, the elders fall,
A mighty chorus fills the hall,
The One who sits upon the throne,
Has called His own to their home.
No hunger now, no thirst to bear,
Their God will dry their every tear,
By living springs of joy they stand,
In the majesty of the Lamb.

[Chorus]
Glory to our God on high,
To Him who reigns over earth and sky,
And to the Lamb who once was slain,
Forevermore we sing His name!
Amen, amen, the anthem swells,
Blessing and power where glory dwells,
Deepest praise, thanks and honour,
Unto our God, Yeshua

[Verse 3]
Twelve times twelve, the thousands called,
A righteous host with Him will rule,
Clothed in robes of purest light,
Washed in blood, made clean and bright.
Day and night, their song ascends,
A praise that never, never ends,
For He who created with His breath,
Has conquered sin and vanquished death.

[Chorus]
Glory to our God on high,
To Him who reigns over earth and sky,
And to the Lamb who once was slain,
Forevermore we sing His name!
Amen, amen, the anthem swells,
Blessing and power where glory dwells,
Deepest praise, thanks and honour,
Unto our God, Yeshua

[Verse 4]
The bright Morning Star is coming,
His just reward, He is bringing.
Blessed are those who've washed their robe,
Through the city gate they may go,
And they have been given the right
To eat fruit of the tree of life.
And the Spirit and bride invite
To drink of the water of life.

[Chorus]
Glory to our God on high,
To Him who reigns over earth and sky,
And to the Lamb who once was slain,
Forevermore we sing His name!
Amen, amen, the anthem swells,
Blessing and power where glory dwells,
Deepest praise, thanks and honour,
Unto our God, Yeshua

[Outro]
Forevermore, the throne we see,
The Lamb, our Shepherd, sets us free,
With every voice, we join in praise,
Glory and honour to the Endless of Days!

(recording on Suno)

Disclaimer

Some lyrics have been generated by AI.
Hide AI-generated content.

Old Order Disappeared

Old Order Disappeared
Warwick Allen
Wednesday, 12 March 2025

they're all around
swamping you
strangling you
dragging you down

they bite and tear
flesh and skin
leaving you thin
tempting your fear

but I float on by
observing
immune
how?

they will take you
if you allow
you don't cower
they will lose

and you fight
and won't succumb
you will overcome
there'll be light

and here I am
supporting
somehow
how?

every tear He'll wipe
pain will be no more
the old order disappeared
we'll live in His light

you can do
all things through
Him who gives
you strength

and there He is
sustaining
in His
love

(recording on Suno)

Analysis of Old Order Disappeared

“Old Order Disappeared” is a compelling piece that navigates the tension between observed suffering and transcendent hope, ultimately resolving in explicitly Christian eschatological vision.

Structure and Voice as Ministerial Act

The poem employs a distinctive dual perspective that takes on particular significance when read as supportive address. The opening stanzas establish an unnamed “they” as a threatening collective force, described through visceral imagery of violence: “bite and tear / flesh and skin.” This creates an almost predatory atmosphere reminiscent of Psalm 22's imagery of enemies as “dogs” and “lions,” but functions here not merely as poetic device but as validation of the addressee's experience of affliction.

What proves particularly poignant is the speaker's initial positioning as detached observer—“I float on by / observing / immune”—followed by the vulnerable question “how?” This confession of bewilderment transforms what might appear as callous detachment into honest acknowledgement of the mystery of differential suffering. The repetition of “how?” later in the poem creates a structural echo that binds together questions of both immunity and sustenance, suggesting the speaker's movement from puzzled observer to committed supporter.

Biblical Intertextuality as Consolatory Resource

The poem's most explicit biblical resonance appears in the penultimate stanza, which draws directly from Revelation 21:4: “every tear He'll wipe / pain will be no more / the old order disappeared.” Read as supportive address, this passage functions not as abstract theological statement but as concrete promise offered to one presently afflicted. The poet transforms the biblical text's word order (“God will wipe away every tear”) through inversion and contraction (“every tear He'll wipe”), creating immediacy within prophetic vision that serves pastoral rather than merely literary purposes.

The closing reference to Philippians 4:13—“you can do / all things through / Him who gives / you strength”—takes on the character of gentle exhortation rather than triumphalist declaration, its enjambment softening what might otherwise read as aggressive certainty into tender encouragement.

Theological Implications as Pastoral Theology

The poem's theological sophistication lies in its refusal to minimise suffering whilst maintaining Christian hope. The speaker doesn't deny the reality of the loved one's affliction—the “they” who “swamp,” “strangle,” and “drag down”—but rather positions transcendence as both mystery (“how?”) and available resource (“in His / love”).

This creates what one might term a “theology of accompaniment”—the speaker moves from bewildered observation to committed support, reminiscent of the incarnational movement whereby divine love enters human suffering without removing its reality but transforming its meaning.

Literary Technique as Pastoral Method

The poem's strength as consolatory literature lies in its restraint. The short lines and simple diction avoid the pitfalls of religious consolation that can become platitudinous or dismissive of genuine pain. The repetition of “how?” functions as shared wonder rather than demanded explanation—a sophisticated pastoral positioning that acknowledges mystery without claiming false understanding.

The progression from second person (“you”) to first person (“I”) to divine third person (“He”) creates a movement from acknowledged suffering through human solidarity to divine resource, mapping the pastoral journey from empathy to hope.

Critical Assessment as Devotional Literature

Whilst the poem successfully integrates biblical promise with present suffering, one might question whether the resolution addresses the full complexity of sustained affliction. However, read as occasional verse written for pastoral purposes, such concerns may miss the point. The “old order disappeared” functions not as theological argument but as vision offered to one who needs hope more than explanation.

The work succeeds in creating what one could call “pastoral modernism”—maintaining contemporary poetic sensibilities whilst drawing upon traditional consolatory resources, achieving that delicate balance between honesty about suffering and confidence in divine care that marks effective spiritual counsel.

In conclusion, “Old Order Disappeared” demonstrates how biblical vision can serve contemporary pastoral care through verse, offering not theological resolution but companionship in suffering and gentle direction towards transcendent hope. As occasional poetry written in love, it succeeds in its primary purpose: to offer comfort whilst acknowledging the genuine mystery of differential suffering.

Tear-Stained Sod

Tear-Stained Sod
Warwick Allen
Wednesday, 1 March 2025

[Verse 1]
Oh Lord, You laid the earth in motion,
Spoke the stars to light the sky.
The wind sings endless admiration,
And the mountains testify.
I walked in dust, my heart was broken,
Lost my all beneath Your gaze,
Yet still Your voice, it softly spoken,
Guided me through the shadowed days.

[Chorus]
Great are You, God, in the storm and the flame,
Goodness flows from Your unequaled name.
I lift my eyes from the tear-stained sod,
And sing of the greatness of my God.

[Verse 2]
You let the tempest tear my shelter,
Stripped my hands of fleeting gold,
But in the silence, I felt Your splendor,
A wealth that cannot be stole'.
Your knowledge boundless, wisdom greater,
Beyond what mortal minds can know.
In every trial, I stand and wonder,
At the mercy You still show.

[Chorus]
Great are You, God, in the storm and the flame,
Goodness flows from Your unequaled name.
I lift my eyes from the tear-stained sod,
And sing of the greatness of my God.

[Bridge]
Who am I to question Your purpose?
I'm dust beneath Your boundless flame,
You hold the dawn, the dusk, the cosmos,
And call me gently by my name.
From ashes, Lord, You lift my soul,
Your love remains, it makes me whole.

[Chorus]
Great are You, God, in the storm and the flame,
Goodness flows from Your unequaled name.
I lift my eyes from the tear-stained sod,
And sing of the greatness of my God.

[Outro]
So here I stand, though scarred and humbled,
Before Your throne, my spirit free,
The world may shake, the proud may stumble,
But Your grace is all I see.
Oh Lord of all, of dust and glory,
Forever Yours, my song will be.

(recording on Suno)