We have an explanation as to why the Israelite people may have censored the rattle and the lute. But why is it that, down through the ages, God’s people have so often prohibited the drum in church? Despite migrating out of Mesopotamia, which used drums, and living in Egypt for four centuries where a range of drums were commonly used, including the bass drum, the Hebrew people chose to adopt only the small hand drum and no other – and even this was kept out of the sanctuary. There is no record of Jesus or the disciples ever using or prescribing the use of the drum and, down through the Christian ages, it has often met with disapproval. According to Mrs White, even the Lord Himself, in vision to her, singled out the drum for mention, along with shouting, music and dancing, as one of the uncouth activities that would be in the church just before the close of probation: “Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing.”^{12 (p36)}

Harms of Low Frequency Sounds

Apart from its association with rock and roll, perhaps one reason for the drum’s sinister reputation is the physical effect that the drumbeat has on us. For example, the deep bass sounds can be felt vibrating through the body. As discussed previously, exposure to noise with sufficient intensity and duration can alter the physical state of human beings. Risk of harm depends on the frequency distribution and their relative intensities which is largely determined by the type of instrument. In particular, in recent decades, low frequency sound has been put under the scientific spotlight for investigation.

There are few examples of naturally occurring persistent sounds that are dominated by low frequency sound waves. Waterfalls, mountain streams, forest rain and the sound of the surf consist of a wide frequency spectrum producing white noise which tends to have a therapeutic calming effect.³²⁰ In contrast, many man-made machines, devices and instruments produce predominantly low frequency sounds and vibrations which has been proposed by some scientists to be a cause of physical harm to human beings on a mass scale. Because of their longer wavelengths, low frequency sounds are better able to penetrate through walls and deep into the human body. That’s why the bass sound of music can be heard and felt from a long distance and from behind thick walls.³²¹

Many people who are diagnosed with disease have a known cause for their illness. However, when the cause is unknown or unproven, it is classified as idiopathic. For example, about one-third of all epilepsies are idiopathic generalised epilepsies.³²² In 1980, researchers in Portugal discovered that aeronautical technicians employed at an aircraft manufacturing, maintenance and repair facility were diagnosed with late-onset epilepsy at much higher rates than the Portuguese general population. In subsequent studies, the researchers concluded that people with prolonged exposure to high-intensity, low frequency noise are at risk of developing:

“…thickening of cardiovascular structures – carotid arteries, pericardium and cardiac valves; lung fibrosis; and neurological problems, including late-onset epilepsy and disabling balance disorders.”³²³

They established the term vibroacoustic disease (VAD) to describe the cause of these physical manifestations due to excessive exposure to low frequency noise. This disease, they propose, has been observed in low frequency noise exposed professionals, such as disk-jockeys, restaurant workers, aircraft technicians, commercial and military pilots and cabin crew members and ship machinists, as well as other people from the general population exposed to excessive environmental low frequency noise.^323,324

Because of their frequent exposure to intense bass sounds in music, disk-jockeys and restaurant employees have been identified as being at risk of developing VAD. Though the research is in the early stages and has been viewed with scepticism by some scientists, there is a mounting body of evidence confirming that noise pollution in general may have temporary and permanent effects on humans.³²⁰ The scientists involved in the VAD studies are convinced of the harmful effects of low frequency sounds and have attempted to raise the alarm, claiming that disease burden from low frequency noise around the world is staggering.⁹⁷ The general consensus of mainstream science is that, apart from hearing defects, noise-induced disease is controversial, contradictory and inconclusive.³²⁴

However, the potential harms of low frequency noise has been acknowledged by the World Health Organisation. In the WHO Guidelines for Community Health, it states, “a large proportion of low-frequency components in noise may increase considerably the adverse effects on health.”^{325 (p.xiii)} In a review of the scientific literature, Kerstin Waye, professor of the Department of Occupational and Environmental Medicine at University of Gothenburg, Sweden, acknowledges the need for further studies into the effects of low frequency noise. She concludes that there is accumulating data showing adverse effects from exposure to low frequency noise and increasing acceptance that it is a public health problem that needs to be addressed. She cites numerous studies that point to low frequency noise as a cause of disturbed rest, lack of concentration, fatigue, irritability, feeling of pressure in the head and eardrums, elevated cortisol, sleep disturbance, dizziness, reduced work performance, impaired learning, hearing loss, VAD and problems associated with noise-induced annoyance.³²⁶

The modern-day drum kit and electric guitar are able to produce an intensity of bass sound not possible in former times. Add to these numerous other factors – including, artificial amplification of music, ready access to recorded music, as well as home, car and public stereo systems – and certain members of the population, especially young people, are at risk of frequent exposure to harmful, high intensity, low frequency noise.

Brush drumming was introduced to quiet the drums back in a time when there were no amplifiers to increase the volume of other instruments. Electric guitar and electric bass and microphones for voice and other instruments allowed the drums to play heavier grooves. They were able to play the back beat all the way through the song. Prior to that, the drum set would have drowned out the other music. By the late 50s, as rock and roll emerges, drum music becomes more beefed up.^327,328 It is yet to be determined the potential risk of harm due to frequent exposure to bass music in rock and pop music in the home and in social settings such as nightclubs and even church worship services. Science is uncovering the link between frequent consumption of concentrated and processed foods. Likewise, future science may yet reveal the link between idiopathic disease and frequent exposure to artificial modern day sounds, including electronic and amplified music.

The Susceptibility of the Human Brain to Drum Rhythms

Probably a more important reason for the drum’s sinister reputation is its association with pagan ritual and trance. The strength of the drum is said to be in its ability to give a song its rhythmic beat and energy. But even modern-day secular musicians admit that there is something ominous about this beat. As the late BBC radio broadcaster and gay rights activist, Ray Gosling, put it, behind every beat of rock and roll is a ‘sympathy for the devil.’²⁰⁸ TIME magazine saw in the very beat of rock music rebellion against social restraints.²⁰⁷ What is it about the drum beat that gives it such a sinister reputation? Science may be able to provide some answers to this baffling question.

From a scientific perspective, musical instruments in and of themselves are not harmful. However, certain types of instruments produce particular properties of sound that can cause unusual manifestations and even physiological or psychological harm when used in certain ways. The drum, for example, being a percussion instrument, produces rhythmic tunes. Also, drums, especially deep bass drums, produce mainly low-frequency sounds. These two sound properties of the drum – rhythm and low frequency – makes the human brain and body particularly vulnerable to its effects. The rhythmic tunes of the drum can quite effectively synchronise with brain waves. Moreover, sound receptors in the ear are more tolerant to low-frequency sounds and, therefore, can withstand higher amplitudes of sound before pain is felt. Consequently, more energy can be transmitted to the brain than higher-frequency sounds.

With the right rhythm and tempo, coupled with other precipitators, such as dance movements and flashing lights, a person may enter a trance state and experience hallucinations. This has been observed in ceremonies in different parts of the world and researched by anthropologists for many decades.³²⁹ In scientific research, people in trance states often report feelings of becoming an animal, of being outside the body or of being possessed.³³⁰ Some participants in trance states also report communicating with disembodied entities or deceased people. Shamanic trance is a widely known ancient practice used by shaman practitioners to interact with spirits and energies for the physical and spiritual wellbeing of individuals and communities. These trances are often induced through rhythmic drumming, chanting and dancing.³³¹ Thus is demonstrated the power of the drum to influence the mind in ways that other instruments do not.

Participants of Pentecostal worship have recounted experiences of trance-like states of ‘feeling lost in worship’ as well as instances of ‘momentary apparitions or visions.’³³² In an earlier chapter, we discussed a YouTube video of the song ‘Way Maker’ which was sung at Jesus ’19 in Orlando, Florida, January 1st, 2020. The song was played continually for 28 minutes, repeating the same line over and over again for much of the song. One of the lead singers is seen sitting on the floor rocking backwards and forwards for large segments of the song.¹⁹² She was showing signs that she may have been experiencing a trance-like state.^330,331

Across many cultures since ancient times, drums have been seen as vehicles for communication with the divine. The rhythmic beats of drums are believed by these cultures to have the power to summon the gods.³³³ Historically, instruments used to attract gods have usually been rhythmic percussive and shrill instruments rather than melodic instruments. Common forms include drums, gongs, cymbals, bells and rattles.³³⁴

In West Africa, people believe in and worship ancestor spirits called Orisha. Examples of powerful Orisha include Shango (god of thunder, lightning and justice), Kori (goddess of fertility) and Ogun (god of iron and war). In a state of trance, an individual loses normal self-awareness and is believed to become possessed.  When the ego leaves, the Orisha can enter through the head and then take over the whole body. The Bible refers to the gods that people sacrificed to as demons (Ps 106:37; 1 Cor 10:20). If that is the case, these gods that the West Africans worship are evil spirits. These African people believe there are spirits other than Orisha and that they must take great care to avoid possession by these undesired spirits. Jesus spoke in similar terms of spirit possession. If an undesired spirit leaves a person and that person is not then filled with the Holy Spirit, unclean spirits will then return to enter and dwell with that person (Matt 12:43-45).

West Africans believe they can control which spirits take up residence in them by the use of the drum. By playing particular drum rhythms, they attract only the Orisha. Secret societies in West Africa possess special powerful trance rhythms to attract specific spirits. During initiation training, candidates are taught the drum rhythms used by the sect to summon the desired spirits. These secret sects can keep their members in trances for months it is said.^{210 (p152-4)}

If these African people are right about the influence of drum rhythms on spirits and, if Christian music mimics the rhythms created by people who are unconsecrated and antagonistic to God, might we not be at risk of inviting unclean spirits to enter and dwell within us by listening to this music? When the slave ships brought people from West Africa to America, they brought with them the drum rhythms that were used to call down Orisha. The Vodoun or Voodoo is a form of spirit worship also originating in West Africa and was introduced to New Orleans by enslaved West Africans and from slaves arriving from the Caribbean.^{210 (p168),335} Out of these rhythms, says drummer Mickey Hart, came “jazz, the blues, the backbeat, rhythm and blues, rock and roll – some of the most powerful rhythms on the planet.”^{210 (p157)}

After years of drumming, travel, playing with shamans and African drummers and reflecting on the practice of drumming, trance and spirit worship, Mickey Hart came to the realisation that his own tradition of rock and roll does “have a spirit side, that there was a branch of the family that had maintained the ancient connection between the drum and the gods.” Babatunde Olatunji, a renowned African drummer, describes his experience growing up in Nigeria in West Africa being taught by the master drummers. He said:

“…the most important rhythms in Yoruba land are those that communicate with the Orisha… There are several ways of celebrating these Orisha,” he says, “Sometimes we make sacrifices at the shrine of the Orisha and offer them gifts. Or else a feast with drumming and dancing is planned, and as we chant and dance, some of the people will become possessed by the spirit of, say, Ogun or Shango and be transformed to a higher spiritual level.”

At age 23, Babatunde Olatunji won a scholarship to attend college in Atlanta to study sociology. He thought his drumming was behind him until he turned on the radio in America for the first time and heard a pop song and was completely stunned. He remembered thinking, ‘hey that’s African music’ and right away joined the campus jazz combo.^{210 (p158,160-1)}

In ancient Egypt, the rattle, another percussion instrument used to bring on trances, was used in the worship of the goddesses Isis and Hathor³³⁴ and was widely used throughout Canaan in cultic practices.²²⁷ Archaeology has revealed that the rattle was also popular amongst the ancient Hebrews, yet it was apparently censored by Israelite religious leaders, as already discussed. The only time it appeared in the Bible was in the first account of David and Israel bringing the ark to Jerusalem when Uzzah was struck dead by God. In the second account, written at a later time, it was removed from the narrative. This demonstrates that the inspired authors of the Bible did not want the rattle included in Scripture or in Hebrew worship.

In modern times, no other instrument is probably more widely associated with pagan ritual, spirit worship and rebellion than is the drum. Given the power of the drum to cause people to lose self-awareness and enter trance-like states, and given the widespread use of drums throughout the ages for cultic ritual, including in modern times, and its link to spirit possession, it might be wise for religious leaders of our time to limit the use of drums in worship, especially the rhythms that mimic secular and cultic practice. If religious leaders in the Bible restricted the use of instruments used in pagan cultic practice, there is scriptural precedence for religious leaders to do the same today.

The Aggressive Emotion of Drums

Maybe the most important reason of all for the drum’s sinister reputation, and the reason the drum kit became a favourite instrument for rock musicians, is the emotional characteristics of various types of drums. Music is one of the most effective media for conveying emotion.¹⁶² In his book, The Sonic Boom, Beckerman provides a chart of instruments with their associated emotional characteristics which he has observed from his own experience. He describes the primary emotions of the electric guitar, for example, as ‘power’, ‘youthful energy’ and ‘rebellion’.^{165 (p92-3)} Research has helped to formalise these emotional characteristics of instruments. Because it is such a huge industry, much scientific research has been carried out in recent decades exploring emotion recognition in music, especially addressing the effect of tempo, texture, pitch, timbre, and other characteristics on the emotional effect of music. For example, the violin, trumpet and clarinet have been highly ranked for happy, joyful, heroic and comic. The harp, flute and guitar naturally produce a sad emotion which is effective for creating a pleasant but sombre sound. The harp and violin were also judged shy.

These emotional characteristics of instruments are then used to convey desired messages for consumers to receive. Emotional characteristics can be manipulated in a song by emphasising instruments that are comparatively stronger in representing these characteristics. A more sophisticated mix of emotions can also be produced. For example, musicians could create a joyful melody mixed with an undertone of sadness by mixing in the sad emotion of the horn.^162,336 At every moment of the American Super Bowl, very specific messages are being broadcast through sound and music to consumers. These messages are powerful – and can be much more powerful than words or lyrics.

Beckerman said, the most basic vocabulary in the process of sonic branding involves “instruments and sounds and the feelings and emotions they trigger.”^{165 (p92)} This flies in the face of General Booth’s conviction that only the lyrics count. Who do we believe: Beckerman or Booth? Of course, it is in Beckerman’s best interest to promote the importance of sound for conveying a message because he makes money from sonic branding. Despite this, ever since his best-selling book was published, numerous research studies have confirmed that the type of emotions generated by music is critically important to the message being conveyed. The first step is matching the emotions with the story followed by selecting instruments with the desired emotional characteristics. Other features, such as tempo and timbre, can also be altered to give the desired emotion. Although certain musical instruments produce desirable emotions for worship, such as cheerful, solemn, joyful, sad and heroic sounds, other instruments tend to produce undesirable emotions, such as anger and aggression.

As we know from our own experience listening to drum rhythms, different emotions can be expressed on drums by varying the rhythm pattern. However, one scientific study has shown that some emotions – happy, sad, fearful and angry – seem easier to communicate with the drum than tender and solemn emotions.³³⁷ Note that most of the easily communicated emotions of drums are negative: sad, fearful and angry. Mrs White said that worship music should be ‘cheerful, yet solemn melodies’^{168 (p507-8)}. She often uses the word ‘solemn’ as an ideal attribute of appropriate music. As this study reveals, however, the drum is not an ideal instrument for producing solemn melodies.

In another study, by assessing drum sounds alone without regard to rhythm patterns, the inherent emotional characteristics of individual drum types was uncovered. The bass drum was strongly correlated with almost all negative emotions, such as agitation, anger, scary and terrifying.³³⁸ Other research has shown that the intensity of an emotion is affected by the pitch and dynamics of the sound. In one study, for example, angry and scary sounds produced by instruments became more intense in the bass frequencies; whereas the other eight emotions studied all became less intense in the bass frequencies, including: happy, heroic, romantic, calm, comic, mysterious, shy and sad. The same study also found that heroic, angry, scary and comic sounds all become stronger with loud notes; while romantic, calm, mysterious, shy, and sad sounds become stronger with soft notes.³³⁹ The findings demonstrate likely reasons why pitch and dynamics cause drum sounds to be perceived as angry: drums naturally produce both bass and loud sounds, each of which intensify angry emotions.

The negative, especially angry, emotional characteristic of drumbeats may help to account for the suspicion and mistrust of drum music by many Christians. Certain listeners may be more attuned to the natural negative undercurrents of the drum rhythm in music. Joel Beckerman, award-winning composer who has developed signature sonic branding programs for global giants such as Disney, AT&T, and Southwest Airlines, said that some companies fail spectacularly at using music to connect with customers. Earlier in the book, it was decided that Beckerman’s ideas needed to be put to the test since they are in direct opposition to Booth’s view that any music is fine, as long as the lyrics are spiritual. Concerning companies he has worked with, Beckerman said:

“They make the mistake of confusing music their audience likes with music and sounds that create a more meaningful emotional connection with their story.”^{165 (p58)}

What he has discovered is that most of the songs licensed by each brand don’t sync with the brand’s personality:

“They used pop tracks that could have worked just as well in spots for chewing gum or denture cream… The sonic elements they did own merely complemented pictures or seemed to be chosen because they sounded cool.”^{165 (p90-1)}

The studies referenced above support Beckerman’s claim. If the emotional characteristics of instruments convey specific messages, would it not be important for organisations to match the message of their tunes to their unique story? The advice of Rick Warren of Saddleback Church to match the music to the people you want to reach²⁷⁶ is contrary to the evidence of science. General Booth and those who followed, including the contemporary music industry, though well intended, have caused Christian music to lose its identity. The sacred and secular have merged. The unique story is lost. Christian pop blends in so seamlessly with the secular world that it can be hard to distinguish the two. By playing music the congregation likes – especially angry rock and pop tunes put to Christian lyrics – we are connecting the wrong emotion with our story which should be one of hope, joy and peace in Christ Jesus.

Secular music artists tend to play on the negative emotional characteristics of the drum to add to the rebellious effect of rock music, as suggested by TIME’s statement: “all rock is revolutionary. By its very beat and sound, it has always implicitly rejected restraints and celebrated freedom and sexuality.”²⁰⁷ Even the Jesus Movement, of which TIME recognised music was a special medium, was a marriage of conservative religion with the rebellious counterculture.³⁴⁰ The birth of the Jesus Movement and CCM coincided with rebellion against Christian norms.

Daniel Glass is an American drummer, writer and authority on classic American drumming and the evolution of American popular music. He has played around the world with bands such as Kiss, Neil Diamond and Bette Midler. He is with the band Royal Crown Review which plays a lot of classic American music from the 20s to the mid 60s. He said:

“…we were trying to figure out how to take the rebellious Spirit of modern styles like Punk and put it into big band and other roots music – we found out it was already there.”³⁴¹

Because of its frequent use in war down through the ages as a means of communication, boosting morale and inciting aggression, drums have become a symbol of war. During the American civil war, Henry White, son of James and Ellen White, learned to play the drum for marching exercises from Union soldiers who were stationed not far from their home. Concerned about their boys, Henry and his brothers, getting caught up in the spirit and emotion of war, they ordered that the drum be put away. When they disobeyed, James had the drum destroyed.⁹

Distorted guitar riffs, drum patterns and synthesiser effects can be used to produce aggressive music tones.³⁴² Michael Spitzer, professor of music at the University of Liverpool in the UK, describes how the US Army played music at maximum volume in order to compel the Panamanian dictator, Manuel Noriega, to surrender when he was holed up in the Vatican’s embassy in 1989. He said, “Of course, they didn’t bombard him with Céline Dion, but rather endless hard rock, since its aggressive power chords express the emotion of anger.”²⁷¹ A simple Google search brings up hundreds of websites teaching drummers and guitarists how to create aggressive sounds with their instruments. Research has demonstrated how aggressive music, especially when accompanied with violent lyrics, but even without lyrics, can lead to aggressive behaviour.³⁴²

Music is a universal language.³⁴³ Music inspired by a Spirit filled heart is going to resonate with our spiritual nature, with God and His angels. Music emanating from the heart of a carnal person is going to resonate with our carnal nature. If we are copying the drum beat of the secular world, we are spreading a message inspired by minds that are not in tune with God but with the fallen world and the spirit of the world. That might be why, when Moses and Joshua came down from the mountain, Joshua confused the music of the Israelites with the sound of war (Ex 32:17-19). Likewise, the sound and feeling of a rock concert is angry and aggressive like war, especially when heard from a distance with the higher frequency sounds filtered out. The deep bass sound and vibrations can trigger a stress response, causing a rush of adrenaline raising the heart rate and blood pressure – the same reaction we have in response to fear and stress.³⁴⁴ This is why rock music feels good, because it also causes a flood of endorphins in the brain.⁹⁹

Peace & Love Toward Others is the Goal

Rather than expressing aggressive emotion, our music should reflect the fruits of the Spirit. It should instil peace and love toward others as well as concern for their salvation. That way, when we face oppression, we might be more likely to respond as Jesus did:

“He was oppressed and He was afflicted,

Yet He opened not His mouth;

He was led as a lamb to the slaughter,

And as a sheep before its shearers is silent,

So He opened not His mouth.” (Is 53:7)

Jesus said “Blessed are those who mourn, for they shall be comforted. Blessed are the meek, for they shall inherit the earth(Matt 5:5).” The harp/lyre was the instrument of choice for the Israelites. Harps produce sad and shy emotions.³³⁶ Meek is a synonym of shy and meekness is a quiet, gentle and submissive nature. To mourn is to be sad over a loss and, as Christians, we mourn over the sin and suffering in the world and the fact that our creator had to suffer so much for us.

Research has shown that sad tunes, such as those produced by the harp, actually elicit pleasant emotions and therapeutic responses. Though we are saddened by the sin and suffering, we are not weighed down by this because we have peace and joy in Jesus. The harp produces meaningful emotions connected to our story as Christians.^{165 (p58-9)} Guitars, flutes and violins are examples of other instruments that have been found to produce either meek or pleasant sad emotions. Professional composers are careful to select instruments that produce the emotions they want to elicit in the audience.

Martin Luther’s understanding of music theory associated a particular character or emotional effect with each of the eight modes. He used this theory of music to elicit desired emotions, such as gentle and friendly emotions for the gospel. Johann Walter, musical advisor to Luther, recalled that Luther:

“…appointed the eighth tone for the Epistle and the sixth tone for the Gospel, saying: ‘Christ is a friendly Lord, and his sayings are gentle, therefore, we want to take the Sexton tonum for the Gospel; and because St. Paul is a serious apostle, we want to appoint the Octavum tonum for the Epistle.’”⁸

In the tunes of our music and the tone of our behaviour, we must endeavour to express peace and love. Despite William and Catherine Booth’s enduring love affair, they did not agree on every matter and, being the strong-willed people they were, there were intense debates between the two from time to time, but they resolved to never argue in front of the children. When Catherine first met William, she was a teetotaller while William admitted to imbibing ‘for medicinal purposes.’ For Catherine, this was a deal-breaker and had to stop if they were to marry. Also, women’s right to preach had been a bone of contention between them when they were first engaged, until Catherine managed to win him over to her view. General Booth was also plagued with depression and severe indigestion which could make him hypercritical of others and irritable, even explosive. But on the whole, the couple managed to remain at peace with each other throughout their relationship together.^{14 (ch2,8,10)}

Sometimes humour, used in the right way, can help us to settle disagreements in a pleasant way and maintain peace and unity. Though Mrs White discouraged irreverent jesting, she was not against the appropriate use of humour and was known to enjoy a hearty laugh at an amusing situation. For example, Mrs White loved to make rag carpets, but James did not appreciate it, perhaps because it was quite a messy hobby, but he tolerated it. One day he came up the pathway singing loud and heartily a hymn about heaven which he had adapted: “In heaven there will be no more rag carpets, no more rag carpets.” Mrs White, who was listening inside the house, laughed at the humour of it, though it was at her expense. Shortly after, apparently, she took the hint and changed her hobby to knitting!¹⁴¹

Overall, the marriage between James and Ellen White was a happy one and they shared a tender relationship. But it was not perfect. Neither of them were without their flaws. They were as human as William and Catherine Booth. It was tough at times for both William and James who had wives who were prominent public figures – they had to get used to changing roles in the relationship. James and Ellen White did ministry together and usually spoke together at the same venue, but if they spoke in separate venues, most people would go to see Mrs White rather than James – he could be left with almost no audience!¹⁴¹

An even bigger stress in the Whites’ relationship which brought them to the brink of breaking point was their health. James had several strokes which affected his personality. Mrs White became perplexed over his irritability and mood swings since the link between strokes and behaviour was not well recognised at the time. It was a very trying time for her because he would often take out his frustrations on her and he had all kinds of personality issues, including becoming very suspicious of everyone. At one point in 1876 they were forced to work in different parts of the country because they just could not get along. During this time of separation, they kept writing to each other frequently, but the communication only deteriorated.¹⁴¹ James did not appreciate the advice that Ellen was giving him and in a letter of reply he said:

“I shall use the good old head God gave me until He reveals that I am wrong. Your head won’t fit my shoulders. Keep it where it belongs, and I will try to honor God in using my own. I shall be glad to hear from you, but don’t waste your precious time and strength lecturing me on matters of mere opinions.”³⁴⁵

In one of her letters, Mrs White had written to James:

“I do not receive your views or interpretation of my feelings on this matter. I understand myself much better than you understand me. But so it must be and I will say no more in reference to the matter. I am glad you are free and happy and I rejoice that God has blessed me with freedom, with peace, and cheerfulness and courage.”³⁴⁶

In desperation, Mrs White confides in her friend, Lucinder Hall, pouring out her heart to her. It was a tough time in her marriage. Afterwards, she felt bad about her own behaviour and politely asked Lucinda to burn the letters. She wrote to Lucinder:

“I am sorry I wrote you the letters I have. Whatever may have been my feelings, I need not have troubled you with them. Burn all my letters, and I will relate no matters that perplex me to you. … I will not be guilty of uttering a word again, whatever may be the circumstances. Silence in all things of a disagreeable or perplexing character has ever been a blessing to me. When I have departed from this, I have regretted it so much.”³⁴⁵

Thankfully, Lucinda kept the letters, giving us a glimpse into the human side of this Godly couple.

Fortunately, reconciliation between James and his wife came surprisingly swiftly. Mrs White wrote apologetically to James:

“It grieves me that I have said or written anything to grieve you. Forgive me and I will be cautious not to start any subject to annoy and distress you. We are living in a most solemn time and we cannot afford to have in our old age differences to separate our feelings. I may not view all things as you do, but I do not think it would be my place or duty to try to make you see as I see and feel as I feel. Wherein I have done this, I am sorry.

I want a humble heart, a meek and quiet spirit. Wherein my feelings have been permitted to arise in any instance, it was wrong. Jesus has said, ‘Learn of me; for I am meek and lowly in heart; and ye shall find rest unto your souls (Matt 11:29).’”³⁴⁷

Ellen’s letter of reconciliation was a turning point. They soon stood side by side in the public ministry once again. Though circumstances required that they were often separated in their ministry after that time, their private correspondence remained affectionate.

Apart from this temporary setback, overall, the Whites enjoyed an enduring and loving relationship right up until James’ premature death at age 60. When James was away, Mrs White often spoke in her letters to him about how much she missed him and how cold the bed was without him.¹⁴¹ James said that from the hour of their marriage Ellen had been his crown of rejoicing^{348 (p126)} and at his death, Ellen said James “is the best man that ever trod shoe leather.”³⁴⁹

Despite their human frailties, due to meekness and humility, the Booths and the Whites both had enduring marriages and successful blended ministries that contributed significantly to the spread of the gospel. God used them as couples and not just as individuals. Interestingly, when the Whites were at the height of their quarrel, James said to his wife, “When you have a message from the Lord for me, I hope I shall be where I shall tremble at His word. But aside from that, you must let me be an equal, or we had better work alone.”³⁴⁵ If James had been harbouring any doubt about the veracity of Ellen’s visions and prophetic gift, this would have been the moment to express those doubts. But even when he found other things about his wife to be disagreeable, he still believed in her prophetic gift and respected her as a genuine prophet.