This first album by Jars of Clay was the first CD I owned as a child. I listened to it many times for the enjoyment of melody, but never truly considered the meaning of the lyrics; most of the songs I later realized I had misheard what was being said anyhow. Over the years however, the Lord has used this album to speak to my heart at many times as I have went back and looked at what was actually being sung about. This album, in my opinion, is the best of all of the Jars of Clay music capturing the heart of God beautifully.
The first thing that caught my attention as I listened to this song again recently was who was actually saying, ‘See the art in me’. I assumed it was the cry of an individual who felt misunderstood by others and wanted to be recognized as beautiful, but from the context it is actually clear that the one saying this is the same as the one who is ‘composing a symphony’ which is God. The title then is concerning God Himself – a plea for humanity to see Him rightly and recognize His leadership as good.
‘Images on the sidewalk speak of dream’s descent, washed away by the storms to the graves of cynical lament.’ What is being observed here are the chalk lines which outline a murder victim on the sidewalk. Someone has been killed and all their ambitions, dreams and desires are now lost to the grave with them. ‘Cynical’ has a few definitions, one being: contemptuous; mocking. This observer wants to be saddened by death and the evil done by mankind, but yet experiences a tension in themselves and instead mocks the idea of life and death as if it could have meaning at all.
‘Dirty canvases to call my own protest limericks carved by the old pay phone.’ It seems clear to me that this is supposed to be a full sentence and that what is being communicated is that this observer’s ‘dirty canvases’ are in opposition to limericks that are left as graffiti in a public place. We are not told specifically what sort of limericks are left, but whatever they were are not in agreement with this person’s dirty canvases – which we are also not specifically told, but notice they are plural. Edward Lear (1812 – 1888) is known as the father of limericks, though not the originator, for his popular use of them as a form of nonsense poetry. However, Gershon Legman who followed after Lear believed with other contemporaries Arnold Bennet and George Bernard Shaw that a true folk form limerick should be obscene. According to Wikipedia’s page of limericks (as of this writing) it is stated within this context that, “From a folkloric point of view, the form is essentially transgressive; violation of taboo is part of its function. Lear is unusual in his creative use of the form, satirising without overt violation.” Therefore, I believe it is a safe assumption that whatever limerick was found by the pay phone was not a very positive one. Working in construction myself, I would find these limericks written in porta-potties at jobsites. Many people are in despair and leave graffiti behind as a way to share their pain and frustration with others. Most people who are more positive have more honor and respect than to degrade public property, so almost all limericks I have seen on others’ property are defiling and negative. Now, if this statement is still being made by the same observer as the first part (which I believe it is) then the ‘canvases’ they are referring to can’t be their own life since they use the plural form, but we do know they are owned by this individual. Keeping with the same thought as the first part, the ‘canvases’ could be speaking of this person’s own dreams and ambitions. ‘Dirty’ does not necessarily have to be understood as a negative thing, but as the natural result of something which once was bare now taking on something. I imagine this individual now recognizes their own dreams (in the light of the dead man whose dreams perished with him) and has sought to fulfill them, but perhaps, like most of us, it has been a messy process. This observer wants to believe that dreams and ambitions are good, but yet finds others’ who scoff at the idea through their obscene and possibly nihilistic limericks. In the chorus we find the expression of the internal wrestle that this individual is experiencing.
‘And in your picture book I’m trying hard to see – turning endless pages of this tragedy.’ The keyword here I believe is ‘tragedy’ and in the second half we find it at tension with the idea of a ‘composed symphony’. This individual sees the tragedy and despair of life by the fact we all have dreams and ambitions yet those who are murdered have had the ability to fulfill them stripped away not by their choice and others, through their limericks, protest the idea that we should dream at all. This individual is speaking to God here referring to God’s ‘picture book’ which gives the impression of full color and design. Picture books help children visualize and understand what the author is speaking about compared to a novel where it is left to the reader to visualize for themselves. The words ‘endless’ are also used to describe how this individual feels about the story God is writing. They struggle to understand how all the details of life are actually going somewhere specific and how they make sense.
‘Sculpting every move you compose a symphony.’ This individual must be at least God-fearing as He sees God as supreme and sovereign. They know that God must have some master plan for it all and that it must all make sense. I see this as a declaration made by this person, similar to how David would command his soul. Amidst the chaos and uncertainty we feel at times, we recognize the sovereignty of God and declare, “You alone are good and we trust Your leadership.”
'And you plead to everyone: see the art in me.' God is not intimidated by His story or by our brokenness in the process. He is completely confident in where it is all going and nothing surprises Him. He beckons us to trust Him unequivocally that there is indeed a purpose for death and suffering. We are invited to take our eyes off of the negatives of this age, but to see His workings amidst it – to see the wonderful masterpiece that He is making through the redemptive process.
This first album by Jars of Clay was the first CD I owned as a child. I listened to it many times for the enjoyment of melody, but never truly considered the meaning of the lyrics; most of the songs I later realized I had misheard what was being said anyhow. Over the years however, the Lord has used this album to speak to my heart at many times as I have went back and looked at what was actually being sung about. This album, in my opinion, is the best of all of the Jars of Clay music capturing the heart of God beautifully.
The first thing that caught my attention as I listened to this song again recently was who was actually saying, ‘See the art in me’. I assumed it was the cry of an individual who felt misunderstood by others and wanted to be recognized as beautiful, but from the context it is actually clear that the one saying this is the same as the one who is ‘composing a symphony’ which is God. The title then is concerning God Himself – a plea for humanity to see Him rightly and recognize His leadership as good.
‘Images on the sidewalk speak of dream’s descent, washed away by the storms to the graves of cynical lament.’ What is being observed here are the chalk lines which outline a murder victim on the sidewalk. Someone has been killed and all their ambitions, dreams and desires are now lost to the grave with them. ‘Cynical’ has a few definitions, one being: contemptuous; mocking. This observer wants to be saddened by death and the evil done by mankind, but yet experiences a tension in themselves and instead mocks the idea of life and death as if it could have meaning at all.
‘Dirty canvases to call my own protest limericks carved by the old pay phone.’ It seems clear to me that this is supposed to be a full sentence and that what is being communicated is that this observer’s ‘dirty canvases’ are in opposition to limericks that are left as graffiti in a public place. We are not told specifically what sort of limericks are left, but whatever they were are not in agreement with this person’s dirty canvases – which we are also not specifically told, but notice they are plural. Edward Lear (1812 – 1888) is known as the father of limericks, though not the originator, for his popular use of them as a form of nonsense poetry. However, Gershon Legman who followed after Lear believed with other contemporaries Arnold Bennet and George Bernard Shaw that a true folk form limerick should be obscene. According to Wikipedia’s page of limericks (as of this writing) it is stated within this context that, “From a folkloric point of view, the form is essentially transgressive; violation of taboo is part of its function. Lear is unusual in his creative use of the form, satirising without overt violation.” Therefore, I believe it is a safe assumption that whatever limerick was found by the pay phone was not a very positive one. Working in construction myself, I would find these limericks written in porta-potties at jobsites. Many people are in despair and leave graffiti behind as a way to share their pain and frustration with others. Most people who are more positive have more honor and respect than to degrade public property, so almost all limericks I have seen on others’ property are defiling and negative. Now, if this statement is still being made by the same observer as the first part (which I believe it is) then the ‘canvases’ they are referring to can’t be their own life since they use the plural form, but we do know they are owned by this individual. Keeping with the same thought as the first part, the ‘canvases’ could be speaking of this person’s own dreams and ambitions. ‘Dirty’ does not necessarily have to be understood as a negative thing, but as the natural result of something which once was bare now taking on something. I imagine this individual now recognizes their own dreams (in the light of the dead man whose dreams perished with him) and has sought to fulfill them, but perhaps, like most of us, it has been a messy process. This observer wants to believe that dreams and ambitions are good, but yet finds others’ who scoff at the idea through their obscene and possibly nihilistic limericks. In the chorus we find the expression of the internal wrestle that this individual is experiencing. ‘And in your picture book I’m trying hard to see – turning endless pages of this tragedy.’ The keyword here I believe is ‘tragedy’ and in the second half we find it at tension with the idea of a ‘composed symphony’. This individual sees the tragedy and despair of life by the fact we all have dreams and ambitions yet those who are murdered have had the ability to fulfill them stripped away not by their choice and others, through their limericks, protest the idea that we should dream at all. This individual is speaking to God here referring to God’s ‘picture book’ which gives the impression of full color and design. Picture books help children visualize and understand what the author is speaking about compared to a novel where it is left to the reader to visualize for themselves. The words ‘endless’ are also used to describe how this individual feels about the story God is writing. They struggle to understand how all the details of life are actually going somewhere specific and how they make sense.
‘Sculpting every move you compose a symphony.’ This individual must be at least God-fearing as He sees God as supreme and sovereign. They know that God must have some master plan for it all and that it must all make sense. I see this as a declaration made by this person, similar to how David would command his soul. Amidst the chaos and uncertainty we feel at times, we recognize the sovereignty of God and declare, “You alone are good and we trust Your leadership.”
'And you plead to everyone: see the art in me.' God is not intimidated by His story or by our brokenness in the process. He is completely confident in where it is all going and nothing surprises Him. He beckons us to trust Him unequivocally that there is indeed a purpose for death and suffering. We are invited to take our eyes off of the negatives of this age, but to see His workings amidst it – to see the wonderful masterpiece that He is making through the redemptive process.