History of Hymns: 'We Dream of a Turning'

By Budi Taniwan, Guest Contributor

"We Dream of a Turning"
by Adam M. L. Tice

We dream of a turning from ages of wrong,
Earth to Eden restored, and our pardon.
Like Eve and Adam, join in a story and a song
As we wander with God through the garden.
REFRAIN:
Where true peace is shining as hate rolls away,
See, God’s bright new creation is gleaming.
The morning rays that dawn on our weary, waking day
Bring a hope far beyond all our dreaming.

© 2009 GIA Publications, Inc. Used by permission. All rights reserved.

"We Dream of a Turning" by Adam M. L. Tice (b. 1979) weaves themes of redemption, restoration, and eschatological hope. Tice offers an evocative lyric that invites reflection on redemption, community, and divine relationship.

The author combines a favorite passage from Isaiah on the peaceable kingdom with his Anabaptist theology to reflect the ongoing pursuit of reconciliation. This results in an invitation to envision a return to a paradisiacal state reminiscent of the Garden of Eden and to participate in a communal journey with God. Tice writes:

The first stanza begins with the idea of "turning from ages of wrong," echoing the prophetic appeals for repentance and renewal in Isaiah 1:16–17. The prophet urges the people to "Take your evil deeds out of my sight; stop doing wrong" (NIV), reflecting the theme of transformation. The eschatological expectation of a renewed creation echoes the new heaven and earth described in Revelation 21:1–4, where God dwells alongside humanity in a restored and harmonious relationship. The allusions of "Earth to Eden" and "Eve and Adam" situate the hymn in the context of the Genesis stories of creation (Genesis 2:4–25), recalling the initial state of innocence and peace between humanity and the Creator—a vision that requires restoration. A reference to “the garden” signifies divine presence and intimacy, found in several biblical passages, including Genesis 3:8 and Song of Solomon 4:12–16.

The refrain conveys a message of profound hope and renewal, drawing upon the imagery of dawn to symbolize overcoming past struggles with the heartfelt optimism of a brighter future. The poetic term "morning rays" is a powerful analogy that underscores the concept of light as a symbol of divine grace, contrasting with the "weary, waking day, " emphasizing fatigue and difficulty. The juxtaposition of exhaustion and optimism reflects the conflict between human vulnerability and the transcendent force of renewal. The phrase "hope far beyond all our dreaming" elevates this renewal to a transcendent realm, indicating that the optimism ushered in by the new day exceeds our most ambitious hopes. This reference to heavenly hope exceeds human imagination. Light and dawn serve as metaphors for enlightenment and salvation.

The second stanza envisions an inclusive spirit, ending societal divisions, including prejudice based on "difference or label." This imagery draws upon scripture, including Isaiah 25:6, which describes "a feast of rich food" for all peoples, and Galatians 3:28 (NRSVUE), where Paul declares that in Christ “there is no longer Jew or Greek; there is no longer slave or free; there is no longer male or female, for all of you are one in Christ Jesus.” The feast represents the fulfilment of God’s kingdom, where unity and love replace exclusion. The transformation of "weapons forged to destroy or to divide" into "rust far from God's holy table" references Isaiah 2:4, "They shall beat their swords into plowshares," representing a prophetic vision of peace and reconciliation. The final line of the stanza, "God’s holy table," employs Eucharistic imagery, where the breaking of bread symbolizes unity in Christ. This stanza imagines an eschatological hope characterized by the reign of justice and peace where God’s presence embraces all without fear or division.

The final stanza is fully eschatological. The stanza begins with the prophetic imagery found in Isaiah 11:6–9 and Isaiah 65:25, portraying a peaceful kingdom where natural enemies, the wolf and the lamb, live together peacefully, signifying the end of violence and the restoration of creation to its intended order. The phrase, "a little child shall dance, leading all the creatures on," refers to Isaiah 11:6 and depicts an unexpected, though prophesied child, the Messiah, who will establish true equity and justice among reconciled creatures, embodying innocence and leadership in an optimistic world. The final line, "hand to hoof, claw, and feather," fleshes out the peaceable kingdom, while sounding an eschatological note, depicting the four living creatures (the lion, the ox, the man, and the flying eagle) referenced in Revelation 4:6–8.

The text of the hymn is paired with the tune LOCH LOMOND, which originated from a short Scottish song, "The Bonnie Banks o' Loch Lomond" (1841), later published in The Assembly Hymn and Song Collection: Designed for Use in Chapel, Assembly, Convocation, or General Exercises of Schools, Normals, Colleges, and Universities (1914). This ballad relates the tale of two Scottish soldiers captured by the English during the eighteenth-century Jacobite uprising. The English condemned one soldier for execution while arranging freedom for the other. The original lyrics, "O ye'll tak' the high road, and I'll tak' the low road, and I'll be in Scotland before you," embody the notion of the executed soldier’s soul returning to Scotland before his companion, who is embarking on the "high road"—the physical journey home. The soldier sentenced to execution sings of journeying along the "low road" to Scotland, a reference to the Scottish belief that fairies and spirits escort the souls of people who die abroad back to their native land. The text also explores the natural beauty of Loch Lomond, a prominent and scenic lake in Scotland, esteemed for its aesthetic appeal and historical importance. This tune is also used by Kathy Galloway (b. 1952) for her hymn, "Love Is the Welcome" (2003), published in Iona Abbey Music Book (2019).

Tice first published "We Dream of a Turning" in Woven into Harmony: 50 Hymn Texts (2009). The Mennonite hymnal Voices Together (2020) included it. An earlier hymn with a similar theme is “O Day of Peace that Dimly Shines” (1982) by Carl P. Daw Jr. (b. 1944), which appears in numerous hymnals. Daw’s choice of tune, JERUSALEM, by noted British organist Charles H.H. Parry (1848–1918), reflects a majestic cathedral spirit, where LOCH LOMOND conveys the intimacy of a folk song.