Hymn Guide: The King of Love My Shepherd Is
If Psalm 23 had been written by Saint Peter rather than King David, the result would be something like “The King of Love My Shepherd Is.” Composed by Anglican clergyman Henry Baker, this beloved metrical setting treats Psalm 23 from the perspective of New Testament faith. We sing to Jesus the “Good Shepherd,” are comforted by his “cross,” and feed on his “food celestial.” Perhaps more than any other, this hymn deeply illustrates what it means for the Christian to say: “The Lord is my Shepherd.”
The original tune, DOMINUS REGIT ME, is still popular in England, where it was used at the funeral of Princess Diana (see video below). In America, the more common tune is ST COLUMBA, an Irish melody selected by a subsequent hymnal when the owner refused to grant his rights. Both tunes are lovely, but let this serve as a warning to copyright owners: it is prudent to share your wealth, lest your text be displaced! The hymn is appropriate on Good Shepherd Sunday, at a Funeral, or anytime Psalm 23 is read.
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Verse by Verse
The six verses of this hymn mirror those of Psalm 23. Because each verse has four lines, there is space for Baker to develop the Psalm’s ideas, making them explicit and highlighting their christological and ecclesial dimensions.
Verse 1
The King of love my shepherd is,
whose goodness faileth never.
I nothing lack if I am his,
and he is mine forever.
Baker characterizes the “Lord” of Psalm 23 as the “King of Love.” Remarkably, this seems to be the first major use of the phrase in English literature. The closest comparison comes from George Herbert’s paraphrase of Psalm 23, “The God of love my shepherd is.”
What does it mean to call Jesus the “King of Love”? It is to fuse two ideas that often have different connotations. A King is a figure of authority and power, sometimes of wisdom, but rarely is he characterized by love. Love, by contrast, connotes compassion and sacrifice, rather than power. But Baker’s phrase accurately captures the combination of qualities in Jesus. While his word always had authority, he was also marked by deep compassion. He was the King who came to sacrifice and give himself for his people. Therefore, it is indeed true: “I nothing lack if I am his.”
Verse 2
Where streams of living water flow,
my ransomed soul he leadeth;
and where the verdant pastures grow,
with food celestial feedeth.
The second verse reads Psalm 23 through the lens of the sacraments. The living water that ransoms our souls is baptism. And the pasture of celestial food is communion.
This verse is an example of mystagogical interpretation, or interpretation of the scriptures that connects them to the sacramental mysteries of the church.
Verse 3
Perverse and foolish, oft I strayed,
but yet in love he sought me;
and on his shoulder gently laid,
and home, rejoicing, brought me.
The third verse uses our sin to show how this shepherd is a King of Love. It begins with our sin: as we say in the General Confession of the daily office, we have “erred and strayed like lost sheep.” Nevertheless, Christ in his love has sought us.
Baker draws here upon the parable of the lost sheep from Luke 15, where the shepherd leaves the 99 in order to find the 1 who has strayed. “And when he has found it, he lays it on his shoulders, rejoicing” (Luke 15:5).
Verse 4
In death’s dark vale I fear no ill,
with thee, dear Lord, beside me;
thy rod and staff my comfort still,
thy cross before to guide me.
The fourth verse shows off Baker’s skill as a poet, especially by condensing ideas into their most essential form. Consider, for example, the initial identification of “death’s dark vale.” This condenses seven words in the King James Version and four words from Herbert, as follows:
KJV: “the valley of the shadow of death”
Herbert: “death’s shady black abode”
Baker: “death’s dark vale”
Through this compression, Baker frees up space to include other ideas. Here, he expands on the rod and staff of the shepherd, interpreting them as the cross of Christ.
Verse 5
Thou spreadst a table in my sight;
thy unction grace bestoweth;
and oh, what transport of delight
from thy pure chalice floweth!
Again, Baker reads Psalm 23 mystagogically, connecting the oil and the cup to the unction of the Holy Spirit (perhaps even anointing with oil for healing) and the chalice of eucharistic wine.
If I have one criticism of Baker’s text, it is that he removes any reference to the enemies that feature so clearly in Psalm 23. In the context of the Hebrew psalm, it is precisely the presence of enemies that makes God’s hospitality so poignant, and which gives a clear sense that God blesses his people even in the midst of the trials of this world.
Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.
Psalm 23:5, KJV
As a general matter, the hymn tradition has often lost sight of the enemies that appear so frequently in the psalms, and it is one of the reasons why a restoration of the psalms is so vital in our day.
Verse 6
And so through all the length of days,
thy goodness faileth never;
Good Shepherd, may I sing thy praise
within thy house forever.
Poetically, this last verse is simply brilliant. The Shepherd title, which is so prominent at the beginning of the psalm, is now expanded to the more christological title “Good Shepherd.” It is a glorious moment when the King of Love is identified with the Good Shepherd, even Jesus Christ, who lays down his life for his sheep.
Singing the hymn, this is a moment of high emotion, and it makes us feel in our heart what we say: “Good Shepherd, may I sing thy praise / within thy house forever.”
On Video
The first video, from Princess Diana’s funeral at Westminster Abbey, features this hymn in its original tune DOMINUS REGIT ME, which remains popular in England. The second video is a sublime choral setting based on SAINT COLUMBA, the more familiar tune in America. The third video is a contemporary setting by Michael Card with piano and guitar.
Image: Shepherd and Flock in the Mountains by Félix-Saturnin Brissot de Warville (c. 1870), courtesy of Wikimedia Commons. Digitally edited by Jacob Davis.
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