Episode Overview

Podcast: 5 Minutes in Church History with Stephen Nichols
Episode: Charles Jennens' Libretto (November 12, 2025)

This episode spotlights Charles Jennens, the lesser-known but pivotal figure behind the libretto of Handel’s Messiah. Host Stephen Nichols offers a swift yet insightful journey into Jennens’ personal history, his intellectual and theological motivations, and how his arrangement of Scripture shaped one of the most beloved works in church music. The episode underlines Jennens’ role in defending orthodox Christianity in an age of rising Deism, and provides a cogent overview of how Messiah’s structure and scriptural choices accomplish that apologetic aim.

Key Discussion Points & Insights

Charles Jennens' Life and Times

[00:07–02:54]

• Background: Jennens was born in 1700 into wealth, growing up on a large estate in Leicestershire, England.
• Education: At 16, Jennens attended Balliol College, Oxford—one of the oldest colleges, rich in history.
  • Historical aside: John Wycliffe had also been a master at Balliol.
• Early Career: After college, Jennens managed his family's estate for two decades.
• Religious Conviction: He was a devout Christian deeply opposed to Deism, which was on the rise in 18th-century England.
  • Deism “denies the virgin birth, denies that Jesus is the God man, and absolutely denies the gospel.”
• Patron of the Arts: Jennens began collaborating with composer George Frideric Handel in 1735, first with Saul, then Israel in Egypt, and finally Messiah (1741).
• Last Endeavors: Around 1770, Jennens undertook the editing of Shakespeare’s plays—creating the first critical editions with footnotes, publishing five before his death in 1773.

The Making of Messiah’s Libretto

[02:55–04:15]

• Jennens’ Role:
  • “It’s better not to say that Jennens wrote the Messiah. The text of the Messiah is all Bible citations. What Jennens did do was to select and compile and arrange those texts.”
• Source Material:
  • Roughly 60% of the libretto comes from the Old Testament, notably Isaiah.
• Theological Purpose:
  • Jennens sought to “underscore Jesus’ authority” and demonstrate “that Jesus was the true Messiah,” intentionally highlighting Christ’s fulfillment of prophecy to counter Deism.
• Opening Lines:
  • The opening of Part One derives from Isaiah 40: “Comfort, O comfort my people.”
    • “If you’re like me, you can’t read those words without hearing them sung.”
• New Testament Sources:
  • Heavy use of Matthew and Revelation, which provides the lyrics for the Hallelujah Chorus.

Structure of the Libretto

[04:16–05:13]

• Three Part Structure:
  • Part One: Messiah’s coming—prophetic pronouncements, angelic announcements, and the shepherds (Luke 2).
  • Part Two: Christ’s passion—crucifixion, burial, resurrection. Ends with the Hallelujah chorus.
  • Part Three: The resurrection and Christ’s exalted state—his session at God’s right hand.
• The libretto’s movement mirrors the story of redemption in Scripture.

The Hallelujah Chorus: Scriptures and Significance

[05:14–end]

• Scriptural Sequence:
  • Begins with Revelation 19:6: “For the Lord God omnipotent reigneth.”
  • Then Revelation 11:15: “The kingdom of this world is become the kingdom of our Lord and of his Christ, and he shall reign forever and ever.”
  • Closes with Revelation 19:16: “King of kings and Lord of Lords.”
• Nichols’ Emphasis:
  • “King of kings and Lord of Lords. That is indeed who Christ is.”
• Jennens’ Legacy:
  • Through his careful compilation, Jennens crafted a text that celebrates Christ’s divinity and kingship with clarity and biblical depth.

Notable Quotes & Memorable Moments

• On Deism and Apologetic Purpose — [01:09]:
  • “Deism was on a meteoric rise in England in the 1700s. Of course, Deism denies the virgin birth, denies that Jesus is the God man, and absolutely denies the gospel. And so much of Jenin's efforts were aimed at responding to and answering Deism.”
• On the Textual Nature of Messiah — [03:06]:
  • “It’s better not to say that Jennens wrote the Messiah. The text of the Messiah is all Bible citations. What Jennens did do was to select and compile and arrange those texts.”
• On Fulfilled Prophecy — [03:33]:
  • “He wanted to show all of that fulfilled prophecy surrounding Christ's first coming in the incarnation. From those Old Testament texts. Genens of course drew very heavily from the book of Isaiah...”
• On the Hallelujah Chorus — [05:26]:
  • “King of kings and Lord of Lords. That is indeed who Christ is.”

Key Timestamps

• 00:07 — Introduction to Charles Jennens and his background
• 01:09 — Jennens' fight against Deism and role as patron of the arts
• 02:55 — Move to focus on Messiah: Jennens compiles, not composes
• 03:33 — Theological strategy: Old Testament as apologetic against Deism
• 04:16 — Overview of libretto’s three-part structure
• 05:14 — Dissection of the Hallelujah Chorus sources and meaning
• 05:26 — Emphasis on Christ as “King of kings and Lord of Lords”

Tone and Style

Nichols maintains an engaging, informative, and reverent tone throughout, encouraging listeners to appreciate both the historical context and the enduring spiritual significance of Jennens’ work. The language is warm and accessible, blending personal reflections (“if you’re like me, you can’t read those words without hearing them sung”) with clear explanation.

Summary

In five fast-moving minutes, Stephen Nichols brings to light Charles Jennens, whose careful scriptural arrangements for Messiah powerfully defend the gospel and Christ’s kingship. This episode not only introduces Jennens’ biography, but vividly frames his labor as both artistic and apologetic—a legacy still resounding each time “King of kings and Lord of Lords” is sung.