The image below is the beginning of the Prologue, John 1:1.
Historically in the theological community there has been a great amount of discussion and analysis on the Prologue of John and many theologians believe it can be considered a hymn. In Thomas Tobin’s work, The Prologue of John and Hellenistic Jewish Speculation, he directly outlines and describes the origins of John’s prologue. Tobin specifies his articles purpose by stating, “My interest will be focused on the hymn that is part of the Prologue” (Tobin 252). While focusing on this topic, he proceeds to analyze the text from a musical perspective, with surgical precision. He references another esteemed Biblical scholar, Raymond Brown, when examining from this viewpoint. He says, “The verses about John the Baptist (John 1:6-8,15) clearly disrupt the flow of the hymn both in terms of content and of style” (Tobin 253). When reading the Prologue, it can be argued that there is a specific style and feeling one receives throughout the reading. The Prologue can be differentiated as a hymn in comparison to other parts of the bible in this way. In certain sections of the bible readers are definitely able to create images in their brains, but this Prologue enhances that effect through the structure and the style. A primary aspect of categorizing the prologue of the Gospel of John as a hymn, is actually defining the meaning and purpose of a hymn itself. Matthew Gordley describes the prologue of John’s Gospel as a ‘didactic’ hymn. This didactic hymn uses language of composition and imagery to help influence worship of God. When these didactic hymns are used it allows for better and easier understanding because people are drawn to images, which they can obtain through reading such hymns. It makes sense that didactic hymns are to be used in scripture because people are able to form these images to relate to their own reality. Ancient hymns also serve the role of analyzing history in a religious context. “These hymns and prayers that review history offer a vision of present reality that is theological oriented and historically grounded. In each instance the review of history plays a role in providing encouragement, exhortation, and perspective leading to an enhanced sense of identity for the community” (785, Gordley: The Johannine Prologue). These hymns are able to make claims and point out circumstances of the past and relate them to scripture. This relationship between scripture and reality is what helps people keep their faith strong and pray. If this relationship is lost, it is much more difficult for people to remain faithful. If we separate them then they lose their importance because our reality and our faith are suppose to build off each other. The construction of the prologue of the Gospel of John is also a main reason why it can be considered a hymn. A strophe is the division of a poem that allows it to be structured and arranged in a way that provokes rhyme and contain poetic characteristics. In the gospel there are seven of these divisions, or strophes, present. It is especially intriguing because they are grouped by their subject matter and what they address. Obviously, this gospel discusses certain specific topics, so it is sometimes more difficult to differentiate and understand why they are divided into their specific group. However, they do follow a thematic structure and each strophe builds off the last, similar to other religious songs or poems. Gordley explains this, stating, “This arrangement brings into focus three central features of the dynamic movement of the hymn: its topical development, its chronological development, and its thematic/stylistic development (790, Gordley: The Johannine Prologue). The gospel possesses a specific that constructs and presents its purpose. The Gospel of John not only has a moving message but particularly developed understanding of how to express that message. This structure is also able to bring us this information through means of time. We can read it and retain the information starting from the past and progressing through time. We should also note that this gospel has a stylistic movement throughout. Similar to what we learned in our poetry classes as younger students, this piece uses a word or an idea to carry the hymn on from the previous line. Rather than a storytelling structure that the other Gospels are modeled after, the prologue of John flows with metaphors, imagery, and allusions. It can be argued that the prologue of John was first passed down through oral tradition, as argued by Raymond Brown. Since the prologue to the gospel flows so eloquently, it is likely to believe that it was sung in the ancient world as a hymn. The author’s vivid strategies may have been influence by those that sung it as a hymn to begin with. Therefore, when John finally wrote down the prologue, he could have included the metaphors and imagery from the hymn itself. If the prologue was passed through oral tradition, John was most likely not the original writer, rather he just put in on paper and incorporated metaphors and symbolism to have it flow as a hymn. Overall, The language used in the prologue of John is also that of worship and praise. The structure of the prologue is very poetic in a sense that it does not tell a story outright. Instead, the author strings these words along, creating a literary narrative that flows freely. By structuring the prologue in this way, it makes it easier for people in ancient times to sing the words so that they flow and sound eloquent, like the hymns that we still hear in church in modern times.
 Gordley, Matthew. "The Johannine Prologue and Jewish Didactic Hymn Traditions: A New Case for Reading the Prologue as a Hymn."  Gordley, Matthew. "The Johannine Prologue and Jewish Didactic Hymn Traditions: A New Case for Reading the Prologue as a Hymn."  Gordley, Matthew. "The Johannine Prologue and Jewish Didactic Hymn Traditions: A New Case for Reading the Prologue as a Hymn."  Brown, Raymond. “The Gospel and Epistles of John: A Concise Commentary.”