Poem: Sussex Carol (On Christmas Night All Christians Sing)

Painting by Guido Reni (1575-1642) - Courtesy of Wikipedia

Sussex Carol (On Christmas Night All Christians Sing) is an anonymous English Christmas carol. An early version was published in the 17th century by Fr. Luke Wadding O.F.M. (October 1588-1657), but it is uncertain if he was the original author or was setting down an existing folksong. None-the-less, the song remained popular in oral tradition and was collected in 1919 by the folklorist,  Cecil Sharp (1859-1924) together with the composer, Ralph Vaughan Williams (1872-1958). It is this version which is most commonly known today. Sussex Carol is included in the Poems for Advent and Christmas Appendix of the Divine Office (1974).

Arranged by Ralph Vaughan Williams

SUSSEX CAROL (Anonymous)

On Christmas night all Christians sing
To hear the news the angels bring.
News of great joy, news of great mirth,
News of our merciful King's birth.

Then why should men on earth be so sad,
Since our Redeemer made us glad,
When from our sin he set us free,
All for to gain our liberty?

When sin departs before His grace,
Then life and health come in its place.
Angels and men with joy may sing
All for to see the new-born King.

All out of darkness we have light,
Which made the angels sing this night:
"Glory to God and peace to men,
Now and for evermore, Amen!"

'Five Mystical Songs' by Ralph Vaughan Williams with words by George Herbert

George Herbert - Courtesy of Wikipedia

Five Mystical Songs is a song cycle by Ralph Vaughan Williams (1872-1958). Written between 1906 and 1911, it was commissioned by the Three Choirs Festival in Worcester, where it debuted in 1911 with Vaughan Williams conducting. The work is a setting of four poems ('Easter' is divided in two) by George Herbert (1593–1633). They were published posthumously in 1633 as part of the collection, The Temple. None of Herbert's poems were published during his lifetime and much of his other writings are believed to have been lost as a result of the English Civil War (1642–1651). Though born of noble parentage, a facility member at Cambridge, and a Member of Parliament; he left these things and chose the life of a humble country clergyman of the Church of England as his vocation. He died of tuberculosis at the age of 39. All four poems (Easter, Love, The Call, and Antiphon) are included in the Religious Poetry Appendix of the Divine Office (1974).


Songs 1 and 2 - Performed by Thomas Allen

1. RISE HEART ('Easter' - Part I)

Rise heart; thy Lord is risen. Sing his praise
          Without delayes,
Who takes thee by the hand, that thou likewise
          With him mayst rise:
That, as his death calcined thee to dust,
His life may make thee gold, and much more, just.
Awake, my lute, and struggle for thy part
          With all thy art.
The crosse taught all wood to resound his name,
          Who bore the same.
His stretched sinews taught all strings, what key
Is best to celebrate this most high day.

Consort both heart and lute, and twist a song
          Pleasant and long:
Or, since all musick is but three parts vied
          And multiplied,
O let thy blessed Spirit bear a part,
And make up our defects with his sweet art.

2. I GOT ME FLOWERS ('Easter' - Part II)

I got me flowers to strew thy way;
I got me boughs off many a tree:
But thou wast up by break of day,
And brought’st thy sweets along with thee.

The Sunne arising in the East,
Though he give light, and th’ East perfume;
If they should offer to contest
With thy arising, they presume.

Can there be any day but this,
Though many sunnes to shine endeavour?
We count three hundred, but we miss:
There is but one, and that one ever.


Songs 3, 4, and 5 - Performed by Thomas Allen

3. LOVE BADE ME WELCOME

Love bade me welcome, yet my soul drew back,
          Guilty of dust and sin.
But quick-ey'd Love, observing me grow slack
          From my first entrance in,
Drew nearer to me, sweetly questioning
          If I lack'd anything.

'A guest,' I answer'd, 'worthy to be here';
          Love said, 'You shall be he.'
'I, the unkind, the ungrateful? ah my dear,
          I cannot look on thee.'
Love took my hand and smiling did reply,
          'Who made the eyes but I?'

'Truth, Lord, but I have marr'd them; let my shame
          Go where it doth deserve.'
'And know you not,' says Love, "who bore the blame?'
          'My dear, then I will serve.'
'You must sit down,' says Love, "and taste my meat.'
          So I did sit and eat.

4. THE CALL

Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life, as killeth death.

Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart:
Such a Joy, as none can move:
Such a Love, as none can part:
Such a Heart, as joyes in love.

5. ANTIPHON

Chorus: Let all the world in ev’ry corner sing,
                         My God and King.

Verse: The heav’ns are not too high,
           His praise may thither flie:
           The earth is not too low,
           His praises there may grow.

Chorus: Let all the world in ev’ry corner sing,
                        My God and King.

Verse: The church with psalms must shout,
           No doore can keep them out:
           But above all, the heart
           Must bear the longest part.

Chorus: Let all the world in ev’ry corner sing,
                         My God and King.

Poem: Antiphon

Let All the World in Ev'ry Corner Sing, My God and King!

Antiphon is a poem by George Herbert (1593–1633). It was published posthumously in 1633 as part of the collection, The Temple. In 1911, the British composer Ralph Vaughan Williams (1872-1958) published Five Mystical Songs, a setting of five of Herbert's poems from The Temple. Williams' Antiphon (featured in the following video), along with three other poems from Five Mystical Songs: The Call, Easter, and Love are included in the Religious Poems Appendix of the Divine Office (1974).


From Five Mystical Songs - "Antiphon" begins at 7:40

ANTIPHON I by George Herbert, 1633 (Public Domain)

Chorus: Let all the world in ev’ry corner sing,
                         My God and King.

Verse: The heav’ns are not too high,
           His praise may thither flie:
           The earth is not too low,
           His praises there may grow.

Chorus: Let all the world in ev’ry corner sing,
                        My God and King.

Verse: The church with psalms must shout,
           No doore can keep them out:
           But above all, the heart
           Must bear the longest part.

Chorus: Let all the world in ev’ry corner sing,
                         My God and King.

Poem: Love Bade Me Welcome

Love Bade Me Welcome, Yet My Soul Drew Back

Love is a poem by George Herbert (1593–1633). It was published posthumously in 1633 as part of the collection, The Temple. None of his poems were published during his lifetime and much of his other writings are believed to have been lost as a result of the English Civil War (1642–1651). In 1911, the British composer Ralph Vaughan Williams (1872-1958) published Five Mystical Songs, a setting of five of Herbert's poems from The Temple. Williams' Love Bade Me Welcome (featured in the following video), along with two other of Herbert's poems from Five Mystical Songs: The Call (Come, My Way), and Easter are included in the Hymns and Religious Poems (Eastertide) Appendix of the Divine Office (1974).
 

Sung by baritone, Shreyas Patel

LOVE by George Herbert, 1633 (Public Domain)

Love bade me welcome, yet my soul drew back,
          Guilty of dust and sin.
But quick-ey'd Love, observing me grow slack
          From my first entrance in,
Drew nearer to me, sweetly questioning
          If I lack'd anything.

'A guest,' I answer'd, 'worthy to be here';
          Love said, 'You shall be he.'
'I, the unkind, the ungrateful? ah my dear,
          I cannot look on thee.'
Love took my hand and smiling did reply,
          'Who made the eyes but I?'

'Truth, Lord, but I have marr'd them; let my shame
          Go where it doth deserve.'
'And know you not,' says Love, "who bore the blame?'
          'My dear, then I will serve.'
'You must sit down,' says Love, "and taste my meat.'
          So I did sit and eat.


Reading by Edmund Matyjaszek

Poem: Easter (Ride Heart, Thy Lord is Risen)

Awake My Lute, And Struggle For Thy Part With All Thy Art.

Easter is a poem by George Herbert (1593–1633). It was published posthumously in 1633 as part of the collection, The Temple. None of his poems were published during his lifetime and much of his other writings are believed to have been lost as a result of the English Civil War (1642–1651). In 1911, the British composer Ralph Vaughan Williams (1872-1958) published Five Mystical Songs, a setting of five of Herbert's poems from The Temple. Williams' Easter (featured in the following video), along with two other of Herbert's poems from Five Mystical Songs: The Call (Come, My Way), and Love are included in the Hymns and Religious Poems (Eastertide) Appendix of the Divine Office (1974).


Sung by baritone, Malcolm J. Merriweather

EASTER by George Herbert, 1633 (Public Domain)

Rise heart; thy Lord is risen. Sing his praise
          Without delayes,
Who takes thee by the hand, that thou likewise
          With him mayst rise:
That, as his death calcined thee to dust,
His life may make thee gold, and much more, just.
Awake, my lute, and struggle for thy part
          With all thy art.
The crosse taught all wood to resound his name,
          Who bore the same.
His stretched sinews taught all strings, what key
Is best to celebrate this most high day.

Consort both heart and lute, and twist a song
          Pleasant and long:
Or, since all musick is but three parts vied
          And multiplied,
O let thy blessed Spirit bear a part,
And make up our defects with his sweet art.

I got me flowers to straw thy way;
I got me boughs off many a tree:
But thou wast up by break of day,
And brought’st thy sweets along with thee.

The Sunne arising in the East,
Though he give light, and th’ East perfume;
If they should offer to contest
With thy arising, they presume.

Can there be any day but this,
Though many sunnes to shine endeavour?
We count three hundred, but we miss:
There is but one, and that one ever.

Reading

Poem: The Call (Come, My Way)

The Call (Come, My Way) is a poem by George Herbert (1593–1633). It was published posthumously in 1633 as part of the collection, The Temple. In 1911, the British composer Ralph Vaughan Williams (1872-1958) published Five Mystical Songs, a setting of five of Herbert's poems from The Temple. The Call (Come, My Way), along with two other of Herbert's poems from Five Mystical Songs: Easter, and Love are included in the Hymns and Religious Poems (Eastertide) Appendix of the Divine Office (1974).


Produced by Blackfriar Films

THE CALL by George Herbert, 1633 (Public Domain)

Come, my Way, my Truth, my Life:
Such a Way, as gives us breath:
Such a Truth, as ends all strife:
Such a Life, as killeth death.

Come, my Light, my Feast, my Strength:
Such a Light, as shows a feast:
Such a Feast, as mends in length:
Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart:
Such a Joy, as none can move:
Such a Love, as none can part:
Such a Heart, as joyes in love.

Come Down, O Love Divine

Seek Thou, This Soul Of Mine

Come Down, O Love Divine is a translation of the Italian poem, Di­scen­di, Amor San­to (The Holy Spirit Desired) by Bi­an­co of Si­e­na (c.1350-1434). He was an early member of the Jesuates, a penitent lay order founded by Giovanni Colombini (c.1300-1367) in 1360. Bi­an­co da Si­e­na wrote some 92 poems called laudi spirituali. He knew Catherine of Siena (1347-1380) and sent her one of these poems along with a lengthy letter. In 1867 Di­scen­di, Amor San­to was translated into English by the Anglo-Irish clergyman and writer, Dr. Richard Frederick Littledale (1833–1890). In 1906 Ralph Vaughan Williams (1872-1958) composed the tune, Down Ampney specifically for the text. It is named after his birthplace of Down Ampney. In the Divine Office, Come Down, O Love Divine is used during Morning and Evening Prayer.


Tune: Down Amp­ney

COME DOWN, O LOVE DIVINE by Ri­chard Lit­tle­dale, 1867 (Public Domain)

Come down, O love divine,
seek Thou this soul of mine,
And visit it with Thine own ardor glowing.
O Comforter, draw near,
within my heart appear,
And kindle it, Thy holy flame bestowing.

O let it freely burn,
til earthly passions turn
To dust and ashes in its heat consuming;
And let Thy glorious light
shine ever on my sight,
And clothe me round, the while my path illuming.

Let holy charity
mine outward vesture be,
And lowliness become mine inner clothing;
True lowliness of heart,
which takes the humbler part,
And o’er its own shortcomings weeps with loathing.

And so the yearning strong,
with which the soul will long,
Shall far outpass the power of human telling;
For none can guess its grace,
till he become the place
Wherein the Holy Spirit makes His dwelling.

Who Would True Valor See

To Be A Pilgrim

Who Would True Valor See was written by the English writer and lay preacher, John Bunyan (1628-1688). The text of the hymn is drawn from Part 2, 8th Stage of his famous work of Christian allegory, The Pilgrim's Progress (1678). It is set to the tune Monk's Gate, a traditional Sussex melody adapted for Bunyan's text by the English composer, Ralph Vaughan Williams (1872-1958). Vaughan Williams returned to this hymn throughout his career, culminating in one of his last major works: the opera, The Pilgrim's Progress (1951). The first video below features Vaughan William's 1906 adaption, while the second is by Maddy Prior with The Carnival Band from the album, Sing Lustily and with Good Courage (1990). Both of these versions feature one of the true (and arguably endearing) curiosities of Christian hymnody: the appearance of a 'hobgoblin', a friendly but troublesome creature found in English folklore. Bunyan's opening line of the 3rd stanza: "Hobgoblin nor foul fiend" is sometimes altered to something less mythical, such as "No power of evil fiend", as it is in the Office. In the Liturgy of the Hours, Who Would True Valor See is used in the Common of Holy Men.



WHO WOULD TRUE VALOUR SEE by John Bunyan, 1678 (Public Domain)

Who would true valour see,let him come hither;
One here will constant be, come wind, come weather
There’s no discouragement shall make him once relent
His first avowed intent to be a pilgrim.

Whoso beset him round With dismal stories
Do but themselves confound; his strength the more is.
No lion can him fright, he’ll with a giant fight,
He will have a right to be a pilgrim.

Hobgoblin nor foul fiend can daunt his spirit,
He knows he at the end shall life inherit.
Then fancies fly away, he’ll fear not what men say,
He’ll labor night and day to be a pilgrim.

Performed by Maddy Prior and the Carnival Band

Now Let Us Praise / Fortem Virili Pectore

A Woman Noble, Great

Now Let Us Praise is a 1967 Sr. Jane Marie Perrot (1916-1998) paraphrase of the the Latin hymn, Fortem Virili Pectore by Cardinal Silvio Antoniano (1540-1603). In the Roman Breviary, Fortem Virili Pectore was sung at Vespers and Lauds in the Common of a Holy Woman. Cardinal Antoniano was a member of the commission called by Pope Clement VIII to revise the Breviary. Sister Perrot, a Daughter of Charity was actively involved in Catholic music education and liturgical reform. In 1975 she conducted the choir at the Vatican for the canonization of Elizabeth Ann Seton, America's first native-born saint. Sr. Perrot was the first woman ever to conduct a choir for a Eucharistic liturgy at St. Peter's Basilica. After conducting for over two hours, she said: "I'm joyfully exhausted!". Now Let Us Praise is sung to the 1906 tune, Sine Nomine by Ralph Vaughan Williams (1872-1958). In the Liturgy of the Hours it is used in the Common of Holy Women, the Common of Virgins, and the Common of Doctors of the Church.



FORTEM VIRILI PECTORE by Silvio Antoniano

Fortem virili pectore
laudemus omnes feminam,
quæ sanctitatis gloria
ubique fulget inclita.

Hæc sancto amore saucia,
huius caduca sæculi
dum calcat, ad cælestia
iter peregit arduum.

Carnem domans ieiuniis,
dulcique mentem pabulo
orationis nutriens,
cæli potitur gaudiis.

Rex Christe, virtus fortium,
qui magna solus efficis,
huius precatu, quæsumus,
audi benignus supplices.

Iesu, tibi sit gloria,
qui nos beatæ servulæ
sperare das suffragia
et sempiterna præmia.


FORTEM VIRILI PECTORE (from the Roman Breviary)

1. Fortem virili pectore
Laudemus omnes feminam,
Quae sanctitatis gloria
Ubique fulget inclyta.

2. Haec sancto amore saucia,
Dum mundi amorem noxium
Horrescit, ad coelestia
Iter peregit arduum.

3. Carnem domans jejuniis,
Dulcique mentem pabulo
Orationis nutriens,
Coeli potitur gaudiis.

4. Rex Christe virtus fortium,
Qui magna solus efficis,
Hujus precatu, quaesumus,
Audi benignus supplices.

5. Deo Patri sit gloria,
Ejusque soli Filio,
Cum Spiritu Paraclito,
Nunc, et per omne saeculum.

For All the Saints

O Blest Communion, Fellowship Divine

For All the Saints was written by William W. How (1823-1897), the first Anglican Bishop of Wakefield, England. It was composed in 1864 as a processional hymn. It is sung to the tune, Sine Nomine (literally 'without name') by Ralph Vaughan Williams (1872-1958). It was first published in 1906, and was composed specifically for Bishop How's text. In the Liturgy of the Hours, For All the Saints, Who From Their Labor Rest is used in the Common of One Martyr, the Office for the Dead, and the Common of  Several Martyrs.



FOR ALL THE SAINTS by William W. How, 1864 (Public Domain)

1. For all the saints, who from their labors rest,
Who Thee by faith before the world confessed,
Thy Name, O Jesus, be forever blessed.
Alleluia, Alleluia!

2. Thou wast their Rock, their Fortress and their Might;
Thou, Lord, their Captain in the well fought fight;
Thou, in the darkness drear, their one true Light.
Alleluia, Alleluia!

3. For the Apostles’ glorious company,
Who bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee:
Alleluia, Alleluia!

4. For the Evangelists, by whose blest word,
Like fourfold streams, the garden of the Lord,
Is fair and fruitful, be Thy Name adored.
Alleluia, Alleluia!

5. For Martyrs, who with rapture kindled eye,
Saw the bright crown descending from the sky,
And seeing, grasped it, Thee we glorify.
Alleluia, Alleluia!

6. O blest communion, fellowship divine!
We feebly struggle, they in glory shine;
All are one in Thee, for all are Thine.
Alleluia, Alleluia!

7. O may Thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them the victor’s crown of gold.
Alleluia, Alleluia!

8. And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave, again, and arms are strong.
Alleluia, Alleluia!

 9. The golden evening brightens in the west;
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blessed.
Alleluia, Alleluia!

 10. But lo! there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The King of glory passes on His way.
Alleluia, Alleluia!

 11. From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
And singing to Father, Son and Holy Ghost:
Alleluia, Alleluia!

Hail, This Festival Day

Ave Maria, the Maid Who Bore Us the Redeemer

Hail, This Festive Day is a John Dunn adaption of the 1906 Maurice Frederick Bell (1862-1947) translation of the Latin hymn: Salve, Festa Dies by the poet and priest of the Merovingian Court, Venantius Fortunatus (530-609). It remains a custom in some monasteries to go in procession through the cloister singing Salve, Festa Dies on the way to Chapel for the praying of Lauds on Easter morning. Hail, This Festive Day is sung to the original tune, Salve Festa Dies. First published in the English Hymnal of 1906 with Bell's translation, the melody was originally credited to "Anonymous", but later publications named the English composer, Ralph Vaughan Williams (1872-1958) as the writer. In the Liturgy of the Hours it is used for the Solemnity of the Annunciation of the Lord and in the Commons of the Blessed Virgin Mary.



HAIL THEE, FESTIVAL DAY by Maurice F. Bell (Public Domain)

Refrain: Hail thee, festival day!
              Blest day that art hallowed forever;
              Day wherein Christ arose,
              Breaking the kingdom of death.

1. Lo, the fair beauty of earth,
from the death of the winter arising,
every good gift of the year
now with its Master returns.

2. He who was nailed to the Cross
 is God and the Ruler of all things;
all things created on earth
worship the Maker of all.

3. God of all pity and power,
let thy word be assured to the doubted;
light on the third day returns:
rise, Son of God, from the tomb!

4. Ill doth it seem that thy limbs
 should linger in lowly dishonor;
ransom and price of the world,
veiled from the vision of men.

5. Loosen, O Lord, the enchained,
the spirits imprisoned in darkness;
rescue, recall into life those
who are rushing to death.

6. Ill it beseemeth that thou,
by whose hand all things are encompassed,
captive and bound shouldst remain,
deep in the gloom of the rock.

7. Rise now, O Lord, from the grave
and cast off the shroud that enwrapped thee;
thou art sufficient for us;
nothing without thee exists.

8. Mourning they laid thee to rest,
who art Author of life and creation;
treading the pathway of death,
life thou bestowedst on man.

9. Show us thy face once more,
that the ages may joy in thy brightness;
give us the light of day,
darkened on earth at thy death.

10. Out of the prison of death
thou art rescuing numberless captives;
freely they tread in the way
whither their Maker has gone.

11. Jesus has harrowed hell;
he had led captivity captive;
darkness and chaos and death
flee from the face of the light.

Hail Thee, Festival Day / Salve, Festa Dies

Blest Day!

Hail Thee, Festival Day is a 1906 Anglican minister, Maurice F. Bell (1862-1947) translation of the Latin processional hymn for Easter, Sal­ve Fes­ta Di­es (sung by Schola Gregoriana Mediolanensis in the 2nd video) by Venan­ti­us For­tu­na­tus (c.530-c.609). After recovering from an eye ailment, in 565 he embarked on a pilgrimage from his native Italy to the Shrine of St. Martin of Tours, from whose intercession he attributed the healing. He became an important poet in the Merovingian Court and was eventually appointed Bishop of Poitiers. Although often referred to as a "Saint", he has never been formally canonized by the Church. The tune, Salve, Festa Dies was composed for Bell's text in 1906 by Ralph Vaughan Williams (1872-1958). In the Liturgy of the Hours, Hail Thee, Festival Day is used at Easter, Ascension, and Pentecost.

Tune: Salve, Festa Dies

HAIL THEE, FESTIVAL DAY by Maurice Bell, 1906 (Public Domain)

EASTER REFRAIN:
Hail thee, festival day!
Blessed day to be hallowed forever;
Day when our Lord was raised,
Breaking the kingdom of death.

ASCENSION REFRAIN:
Hail thee, festival day!
Blessed day to be hallowed forever;
Day when our risen Lord
Rose in the heavens to reign.

PENTECOST REFRAIN:
Hail thee, festival day!
Blessed day to be hallowed forever;
Day when the Holy Ghost
Shone in the world full of grace.

2. Lo, the fair beauty of the earth,
From the death of the winter arising!
Every good gift of the year
Now with its Master returns.

3. He who was nailed to the cross
Is Ruler and Lord of all people.
All things created on earth
Sing to the glory of God.

4. Daily the loveliness grows,
Adorned with glory of blossom;
Heaven her gates unbars,
Flinging her increase of light.

5. Rise from the grave now,
O Lord, The author of life and creation.
Treading the pathway of death,
New life You give to us all.

6. God the Almighty Lord,
The Ruler of earth and the heavens,
Guard us from harm without;
Cleanse us from evil within.

7. Jesus the health of the world,
Enlighten our minds, great
Redeemer, Son of the Father supreme,
Only begotten of God.

8. Spirit of life and of power,
Now flow in us, fount of our being,
Light that enlightens us all,
Life that in all may abide.

9. Praise to the giver of good!
O lover and author of concord,
Pour out your balm on our days;
Order our ways in your peace.



SALVE, FESTA DIES by Venantius Fortunatus (Public Domain)

REFRAIN:
Salve, festa dies, toto venerabilis aevo. qua deus infernum vicit et astra tenet

1. Ecce renascentis testatur gratia mundi omnia cum domino dona redisse suo.

2. Namque triumphanti post tristia Tartara Christo undique fronde nemus, gramina flore favent.

3. Legibus inferni oppressis super astra meantem laudant rite deum lux polus arva fretum.

4. Qui crucifixus erat, deus ecce per omnia regnat, dantque creatori cuncta creata precem. salve, festa dies.

5. Christe salus rerum, bone conditor atque redemptor, unica progenies ex deitate patris.

6. Qui genus humanum cernens mersisse profundo, ut hominem eriperes es quoque factus homo

7. Nec voluisti etenim tantum te corpore nasci, sed caro quae nasci, pertulit atque mori

8. Fexequias pateris vitae auctor et orbis, intras mortis iter dando salutis opem.

9. Tristia cesserunt infernae vincula legis expavitque chaos luminis ore premi.

10. Depereunt tenebrae Christi fulgore fugatae et tetrae noctis pallia crassa cadunt.

11. Pollicitam sed redde fidem, precor, alma potestas: tertia lux rediit, surge, sepulte meus.

12. Non decet. ut humili tumulo tua membra tegantur, neu pretium mundi vilia saxa premant.

13. Lintea, precor, sudaria linque sepulchro: tu satis es nobis et sine te nihil est.

14. Solvecatenatas inferni carceris umbras et revoca sursum quidquid ad ima ruit.

15. Redde tuam faciem, videant ut saecula lumen, redde diem qui nos te moriente fugit.

16. Sed plane inplesti remeans, pie victor, ad orbem: Tartara pressa iacent nec sua iura tenent.

17. Inferus insaturabiliter cava gruttura pandens, qui rapuit semper, fit tua praeda, deus.

18. Evomit absorptam trepide fera belua plebem et de fauce lupi subtrahit agrnus oves.

19. Rex sacer, ecce tui radiat pars magna triumphi, cum puras animas sancta lavacra beant

20. Candidus egreditur nitidis exercitus undis atque vetus vitium purgat in amne novo.

21. Fulgentes animas vestis quoque candida signat et grege de niveo gaudia pastor habet.

At the Name of Jesus

Every Knee Shall Bow

At the Name of Jesus was written in 1870 by Caroline Maria Noel (1817 - 1877). The daughter of an Anglican clergyman, she wrote the hymn for use as a Processional for Ascension Day. It is based upon St. Paul's confession of faith in Philippians 2 - "God also hath exalted him, and hath given him a name which is above all names that in the name of Jesus every knee should bow." (Douay-Rheims). Ralph Vaughan Williams' 1925 tune, King's Weston was written specifically for this text. In the Liturgy of the Hours At the Name of Jesus is used during Ordinary Time for Evening Prayer.



AT THE NAME OF JESUS, EVERY KNEE SHALL BOW by Caroline Noel, 1870 (Public Domain)

1. At the Name of Jesus, every knee shall bow,
Every tongue confess Him King of glory now;
’Tis the Father’s pleasure we should call Him Lord,
 Who from the beginning was the mighty Word.

2. Mighty and mysterious in the highest height,
God from everlasting, very light of light:
In the Father’s bosom with the spirit blest,
Love, in love eternal, rest, in perfect rest.

3. At His voice creation sprang at once to sight,
All the angel faces, all the hosts of light,
Thrones and dominations, stars upon their way,
All the heavenly orders, in their great array.

4. Humbled for a season, to receive a name
From the lips of sinners unto whom He came,
Faithfully He bore it, spotless to the last,
Brought it back victorious when from death He passed.

5. Bore it up triumphant with its human light,
Through all ranks of creatures, to the central height,
To the throne of Godhead, to the Father’s breast;
Filled it with the glory of that perfect rest.

6. Name Him, brothers, name Him, with love strong as death
But with awe and wonder, and with bated breath!
He is God the Savior, He is Christ the Lord,
Ever to be worshipped, trusted and adored.

7. In your hearts enthrone Him; there let Him subdue
All that is not holy, all that is not true;
Crown Him as your Captain in temptation’s hour;
Let His will enfold you in its light and power.

8. Brothers, this Lord Jesus shall return again,
With His Father’s glory, with His angel train;
For all wreaths of empire meet upon His brow,
And our hearts confess Him King of glory now.

When in His Own Image

Let us turn to Jesus.

When in His Own Image was written in 1972 by Congregationalist, Fred Kaan (1929-2009). It is set to the tune, King's Weston written by Ralph Vaughan Williams in 1926. It was named after Kings Weston House near Bristol, England where in 1920 he completed his famous orchestral score of The Lark Ascending. In the Liturgy of the Hours When in His Own Image, God Created Man is used during Ordinary Time for Evening Prayer.


Tune: Kings Weston