play

As on the cross the Savior hung, and wept and bled and died,

He pour’d salvation on a wretch that languish’d at his side;

That languish’d at his side,

That languish’d at his side,

He pour’d salvation on a wretch that languish’d at his side.

His crimes, with inward grief and shame, the penitent confess’d;

Then turn’d his dying eyes to Christ and thus his prayer address’d:

“Jesus, thou son and heir of heaven! Thou spotless lamb of God!

I see thee bathed in sweat and tears and welt’ring in thy blood.

“Yet quickly from those scenes of wo, in triumph thou shalt rise,

Burst through the gloomy shades of death and shine above the skies.

“Amid the glories of that world, dear Savior, think on me,

And in the vict’ries of thy death let me a sharer be.”

His prayer the dying Jesus hears and instantly replies:

“Today thy parting soul shall be with me in paradise.”

The tune is found also UH 89, SOC 249, HOC 93, OSH 44. It is reminiscent of ‘Little Musgrave and Lady Barnard’, Sharp, i., 166; ‘Lord Thomas and Fair Eleanor’, Sharp, i., 118; and ‘O Land of Rest’ in this collection.

No. 36
SALUTATION or GOOD MORNING BROTHER PILGRIM, GOS 298

Hexatonic, mode 2 A (I II 3 IV V — 7)


play

Good morning, brother pilgrim, What, bound for Canaan’s coast?

March you to Jerusalem To join the heav’nly host?

Pray, wherefore are you smiling, While tears run down your face?

We soon shall cease from toiling And reach that heav’nly place;

And reach that heav’nly place,

We soon shall cease from toiling And reach that heav’nly place.

To Canaan’s coast we’ll hasten, to join the heavenly throng;

Hark, from the banks of Jordan, how sweet the pilgrims’ song!

Their Jesus they are viewing, by faith we see him, too,

We smile and weep and praise him, and on our way pursue;

(repeated as above)

Though sinners do despise us and treat us with disdain,

Our former comrades slight us, esteem us low and mean;

No earthly joy shall charm us while marching on our way,

Our Jesus will defend us in the distressing day.

The frowns of old companions we’re willing to sustain,

And, in divine compassion, to pray for them again;

For Christ, our loving Savior, our Comforter and Friend,

Will bless us with his favor and guide us to the end.

With streams of consolation, we’re filled as with new wine,

We die to transient pleasures, and live to things divine,

We sink in holy raptures, while viewing things above,

While, glory to my Savior, my soul is full of love.

This is evidently a marching tune and from the eighteenth century vintage. It occurs also OSH 153, SOC 216, HH 387. ‘Walking on the Levy’ (Newell, Games and Songs of American Children, p. 231) has a similar beginning. Echoes of the text are found in Dett, p. 8:

Good mornin’, brother trav’ler,

Pray tell me where you’re bound,

I’m bound for Canaan’s happy land,

And de enchanted ground.

Stephen Foster’s ‘Farewell My Lily Dear’ and ‘The Soldier’s Home’ show relationship to the tune. (See my article in The Musical Quarterly, vol. xxii., No. 2.) For the English source of this dialogue type of song, see the note under ‘Warrenton’ in this collection.

No. 37
HEAVENLY UNION or EXPERIENCE, REV 42

Heptatonic aeolian, mode 1 A + b (I II 3 IV V 6 7)


play

Come, saints and sinners, hear me tell,

The wonders of Immanuel

Who saved me from a burning hell,

And brought my soul with him to dwell,

And gave me heav’nly union.

Union, union,

Who sav’d me from a burning hell,

And brought my soul with him to dwell,

And gave me heav’nly union.

When Jesus saw me from on high,

Beheld my soul in ruin lie,

He looked on me with pitying eye,

And said to me as he passed by:

“With God you have no union.”

Then I began to weep and cry;

And looked this way and that to fly;

It grieved me so that I must die;

I strove salvation then to buy,

But still I had no union.

But when I hated all my sin,

My dear Redeemer took me in,

And with his blood he washed me clean;

And oh! what seasons I have seen

Since first I felt this union.

I now with saints can join to sing,

And mount on faith’s triumphant wing

And make the heavenly arches ring

With loud hosannas to our King,

Who brought our souls to union.

The tune seems dorian in character. If so classed, the key signature should be natural. A variant of tune and text is in CHI 30 and SWP 69.

No. 38
MARION or I’LL RAMBLE AND I’LL ROVE, SOC 228

Pentatonic, mode 2 (I — 3 IV V — 7)


play

I have a loving old father at home,

I’ve cost him many a tear;

And to make lament to him,

I’ll travel ten thousand year.

I’ll ramble and I’ll rove and I’ll call upon my God.

They may all say what they will,

Resolv’d as I am so long as I live,

For to be a rover still.

Further stanzas are made merely by the substitution of “mother” etc. for “father”. The song, tune and words, was probably parodied from ‘Seven Long Years’. See Sharp, ii., 79. From the latter song I quote the second stanza.

I have a good old father at home,

And I’ve cost him many a pound,

And now to make amends for this,

I’ll travel the whole world round.

Chorus

I’ll romp and I’ll rave, and I’ll call for my bode,

They may all say what they will;

Resolved as I am, just as long as I can,

For to drink good liquor still.

Compare also ‘Lord Thomas and Fair Eleanor’, Sharp, i., 124, tune ‘N’. ‘Marion’ belongs to the ‘Babe of Bethlehem’ group of tunes. See the song by that title in this collection. ‘Kingsfold’, No. 270 in the Christian Science Hymnal is the same. In the English Methodist Hymn Book, ‘Kingsfold’ is given as a traditional melody of England. See also Petrie, Nos. 193 and 863.

No. 39
UNION, OSH 116

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)


play

Come, brothers and sisters who love one another

And have done for years that are gone;

How often we’ve met him in sweet heav’nly union

Which opens the way to God’s throne;

With joy and thanksgiving we’ll praise him who loved us,

While we run the bright shining way;

Though we part here in body we’re bound for one glory,

And bound for each other to pray.

There was Joshua and Joseph, Elias and Moses,

That pray’d, and God heard from his throne;

There was Abraham, and Isaac, and Jacob, and David,

And Solomon, and Stephen, and John,

There was Simeon, and Anna, and I don’t know how many,

That pray’d as they journey’d along;

Some cast among lions, some bound with rough irons,

Yet glory and praises they sung.

Some tell us that praying, and also that praising

Is labor that’s all spent in vain;

But we have such a witness that God hears with swiftness,

From praying we will not refrain.

There was old father Noah, and ten thousand more,

That witness’d that God heard them pray;

There was Samuel and Hannah, Paul, Silas, and Peter,

And Daniel and Jonah, we’ll say.

That God, by his spirit, or an angel doth visit

Their souls and their bodies while praying,

Shall we all go fainting, while they go on praising,

And glorify God in the flame?

God grant us to inherit the same praying spirit,

While we are journeying below,

That when we cease praying, we shall not cease praising,

But round God’s white throne we shall bow.

James, editor of the Original Sacred Harp, 1911, says: “The hymn is from a very old edition, 1820. It is not in any of the hymn books found since that date.” The quick triple time of the tune indicates Irish influence and, probably, source. Similar is ‘Royal Band’, OSH 360.

As to the remarkable rhyme or assonance in the text—see for example the repeated “o” assonance in the first lines—I am reminded of what Cecil Sharp said of this feature in Anglo-Irish ballads of this sort, namely, that “They imitate with more or less success in an alien tongue the assonantal Gaelic rhymes with which their makers, whether hedge-schoolmasters or peasants, were doubtless familiar.” The same metrical trend is in ‘Green Grows the Laurel’, Sharp, ii., 211.

No. 40
POOR WAYFARING STRANGER, GOS 714

Pentatonic, mode 2 minorized (I — 3 IV V — VII)


play

I am a poor wayfaring stranger

While trav’ling through this world of woe,

Yet there’s no sickness, toil nor danger

In that bright world to which I go.

I’m going there to see my father,

I’m going there no more to roam;

I’m only going over Jordan,

I’m only going over home.

I know dark clouds will gather round me,

I know my way is rough and steep;

Yet beauteous fields lie just before me

Where God’s redeem’d their vigils keep.

I’m going there to see my mother,

She said she’d meet me when I come;

I’m only going over Jordan,

I’m only going over home.

I’ll soon be freed from every trial,

My body sleep in the church-yard;

I’ll drop the cross of self-denial

And enter on my great reward.

I’m going there to see my class-mates,

Who’ve gone before me one by one;

I’m only going over Jordan,

I’m only going over home.

I want to wear a crown of glory,

When I get home on that good land;

I want to shout salvation’s story,

In concert with the blood-wash’d band;

I’m going there to see my Savior,

To sing his praise forever more;

I’m only going over Jordan,

I’m only going over home.

This is a comparatively recent recording (around the beginning of the present century) of an extremely widely sung folk-tune. It appears in Good Old Songs as a bare melody, no harmonic parts. I suggest, as an explanation of the d-flat in the fifth measure from the end, the intrusion of dorian influence. The earliest known recording among the fasola folk was in the first edition of the Sacred Harp, 1844. The negro adoptions and adaptations are reviewed WS 251ff.

The tune is quite evidently borrowed from secular environment. I list here a number of secular songs whose tunes are variously related: ‘Barbara Allen’, Sharp, i., 194 and 195; ‘In Old Virginny’, Sharp, ii., 232-234; ‘Come All Ye Fair and Tender Ladies’, Sharp, ii., 128-136; ‘Katie Morey’, Sharp, ii., 120; ‘Dear Companion’, Sharp, ii., 109; ‘George Reilly’, Sharp, ii., 26; ‘Awake, Awake’, Sharp, i., 358-364, and Petrie, Nos. 1222 and 265.

A note on this song in the Social Harp says that the compiler, John G. McCurry, Hartwell, Georgia, “when eight years old, learned the air of this tune from Mrs. Catherine Penn.” That was therefore in the year 1829.

Text passages in the secular ballads which remind of those in the fasola song are seen in ‘In Old Virginny’, where we read:

I am a man of constant sorrow,

I have seen troubles all my days.

I’ll bid farewell to old Virginia,

The place where I was partly raised.

We see also in ‘Awake, Awake’, how the poor wayfaring stranger appears as “your true love” who “is going away.”

No. 41
ZION’S SOLDIER, SWP 118

Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7).


play

Christ is set on Zion’s hill; He receiveth sinners still:

Who will serve this blessed King? Come, enlist, and help me sing.

This soldier sure will be Happy in eternity,

This soldier sure will be Happy in eternity.

I by faith enlisted am in the service of the Lamb;

Present pay I now receive, future happiness he’ll give.

This soldier etc.

Zion’s King my Captain is, conquest I shall never miss;

Let the fiends of hell engage, fret and fume and roar in rage.

Let the world their forces join, with the fiends of hell combine;

Greater is my King than they, through him I shall win the day.

Wicked men I scorn to fear, though they persecute me here;

True, they may my body kill, but my King’s on Zion’s hill.

What a Captain I have got! Is not mine a happy lot?

Hear, ye worldlings, hear my song, this the language of my tongue.

When this life’s short space is o’er, I shall live to die no more;

Therefore will I take the sword, fight for Jesus Christ, my Lord.

Come, ye worldlings, come enlist; ’tis the voice of Jesus Christ:

Whosoever will may come; Jesus Christ refuseth none.

Jesus is my Captain’s name, now, as yesterday, the same;

In his name I notice give, all who come he will receive.

Be persuaded, take his pay, all your sins he’ll wash away;

Now in Jesus’ name believe; future happiness he’ll give.

(last chorus)

Yes! in heaven you sure will be praising God eternally. (repeat)

For a related chorus text see ‘O Ye Young and Gay and Proud’ in this collection. The tune, claimed by William Walker, is keyed in the natural minor (aeolian) of a. I suggest the signature of one sharp, bringing the tune into the dorian mode, as more natural.

No. 42
FEMALE CONVICT, SOH (1835) 160

Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)


play

O sleep not my babe, for the morn of tomorrow

Shall soothe me to slumber more tranquil than thine;

The dark grave shall shield me from shame and from sorrow,

Tho’ the deed and the doom of the guilty are mine.

Not long shall the arm of affection enfold thee;

Not long shalt thou hang on thy mother’s fond breast;

And who with the eye of delight shall behold thee,

And watch thee and guard thee when I am at rest?

And yet it doth grieve me to wake thee, my dearest,

The pangs of thy desolate mother to see;

Thou wilt weep when the clank of my cold chains thou hearest;

And none but the guilty should weep over me.

And yet I must wake thee, and whilst thou art weeping,

To calm thee I’ll stifle my tears for a while.

Thou smil’st in thy dreams whilst thus placidly sleeping,

And O how it wounds me to gaze on thy smile.

Alas, my sweet babe, with what pride I had press’d thee

To the bosom that now throbs with terror and shame,

If the pure tie of virtue’s affection had bless’d thee,

And hail’d thee the heir of thy father’s high name.

But now with remorse that avails not I mourn thee,

Forsaken and friendless as soon thou wilt be,

In a world, if they cannot betray, that will scorn thee,

Avenging the guilt of thy mother on thee.

And when the dark thought of my fate shall awaken

The deep blush of shame on thy innocent cheek,

Then by all but the God of the orphan forsaken,

A home and a father in vain thou wilt seek.

I know that the base world will seek to deceive thee

With falsehood like that which thy mother beguiled;

Deserted and helpless, with whom can I leave thee?

O God of the fatherless, pity my child!

The tune shows remarkable similarity to ‘As I Was A-Walking’ or ‘Grenadier and the Lady’, see JFSS viii., 194; also to ‘Westron Wynde’ from the early 16th century, see Jackson, English Melodies from the 13th to the 18th Century, p. 11. ‘Female Convict’ was widely sung in the early nineteenth century. The full title reads: “A Female Convict, After receiving pardon in the sight of God, thus addrest her infant. Set to music by R. Boyd.”

No. 43
WEDLOCK (B), OSH 115

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)


play

When Adam was created, he dwelt in Eden’s shade,

As Moses has related, before a bride was made.

Ten thousand times ten thousand of creatures swarm’d around,

Before a bride was formed or any mate was found.

He had no consolation, but seemed as one alone,

Till, to his admiration, he found he’d lost a bone.

This woman was not taken from Adam’s head, we know;

And she must not rule o’er him, ’tis evidently so.

This woman she was taken from near to Adam’s heart,

By which we are directed that they should never part.

The book that’s called the bible, be sure you don’t neglect,

For in every sense of duty, it will you both direct.

The woman is commanded to do her husband’s will,

In everything that’s lawful, her duty to fulfill.

Great was his exultation to see her by his side;

Great was his elevation to have a loving bride.

This woman she was taken from under Adam’s arm;

And she must be protected from injury and harm.

This woman was not taken from Adam’s feet, we see;

And she must not be abus-ed, the meaning seems to be.

The husband is commanded to love his loving bride,

And live as does a Christian, and for his house provide.

The woman is commanded her husband to obey,

In everything that’s lawful, until her dying day.

Avoiding all offenses, not sow the seed of strife,

These are the solemn duties of every man and wife.

A variant of the third line of the first stanza, found in SOC 188, reads:

Ten thousand times ten thousand things wheel-ed all around.

The tune is especially announced in the Sacred Harp as “original” and by Elder E. Dumas, a Primitive Baptist. And it is dated 1869. An older tune to the same text is given in this collection as ‘Wedlock (A)’. See also ‘Wedlock’, Sharp, ii., 272. ‘The Banks of Newfoundland’, a capstan shanty, is essentially the same tune. See JFSS, v., 300.

No. 44
LEP’ROUS JEW, SWP 43

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)


play

Behold the lep’rous Jew, Oppress’d with pain and grief,

Pouring his tears at Jesus’ feet, For pity and relief,

For pity and relief.

“O speak the word,” he cries, “and heal me of my pain:

Lord, thou art able, if thou wilt, to make a leper clean,

To make a leper clean.”

Compassion moves his heart, he speaks the gracious word;

The leper feels his strength return, and all his sickness cured,

And all his sickness cured.

To thee, dear Lord, I look, sick of a worse disease;

Sin is my painful malady, and none can give me ease,

And none can give me ease.

But thy almighty grace can heal my lep’rous soul;

O bathe me in thy precious blood and that will make me whole,

And that will make me whole.

A tune quite similar to the one above, though cast in two-four time, is ‘Dependence’, HH 250.

No. 45
SPRING PLACE or CHURCH OF MY YOUTH, GOS 44

Hexatonic, mode 2 b (I — 3 IV V 6 7)


play

I’m thinking today of the church of my youth,

Where first I rejoic’d at the sound of the truth,

Where oft I assembled with those that I love,

And join’d them in praising our Father above.

Ah! well I remember, when youthful and gay,

In mirthfulness sporting while time sped away,

With my parents went to the house of the Lord,

And wonder’d what made them rejoice in His word.

But when my dear Savior, so precious to me,

My blind eyes did open, my sins all to see,

With fearfulness, trembling, too great to express,

I went to that house fill’d with woe and distress.

When Jesus, my blessed Redeemer and Friend,

Reveal’d that He was the Beginning and End,

I long’d for the season of worship once more,

That I might join His saints, His dear name adore.

And when in that dear place of worship and praise,

My voice with His saints I endeavor’d to raise,

My heart fill’d with love and my hope bright and clear,

I thought surely trouble could no more appear.

When deeply impress’d with a sense of His love,

When this world could no more a resting place prove,

I went with a feeling I could not control,

And told what my Savior had done for my soul.

With loving caresses they welcomed me home,

And bade me no longer in darkness to roam;

The great joy of that hour I never can tell,

When I with such friends was permitted to dwell.

Though now sunder’d far from that blessed abode,

I feel, that I’m still with the children of God.

Dear brethren, I love you in deed and in truth,

Yet my heart oft goes to the church of my youth.

Ah! well I remember their kindness to me,

In my memory now their kind deeds I can see;

Wherever my lot is to publish the truth,

I’ll never forget the church of my youth.

The oldest occurrence of the text seems to be in the Hesperian Harp, 1848. This song is a parody (words and music) of ‘In the Days of My Youth’, Beggars Opera, No. 42; Act 3, Scene 1. The tune there was that sung earlier to ‘A Shepherd Kept Sheep’.

No. 46
REDEMPTION (B), OSH 501

Hexatonic, mode 2 A (I II 3 IV V — 7)


play

Come, friends and relations, let’s join hearts and hands;

The voice of the turtle is heard in the land.

Let’s all walk together and follow the sound,

And march to the place where redemption is found.

The place it is hidden, the place it is seal’d,

The place it is hidden till it is reveal’d;

The place is in Jesus, to Jesus we’ll go,

And there find redemption from sorrow and wo.

That place it is hidden by reason of sin;

Alas! you can’t see the sad state you are in!

You’re blind and polluted, in prison and pain;

O how can such rebels redemption obtain!

But if you are wounded and bruised by the fall,

Then up and be doing! For you he doth call;

And if you are tempted to doubt and despair,

Then come home to Jesus, redemption is there.

And you, my dear brethren, that love my dear Lord,

Have witness for pardon, thro’ faith in his blood;

Let patience attend you wherever you go,

Your Savior has purchased redemption for you.

The tune of ‘Redemption (C)’ is a variant of the above, as is also that of ‘Redemption (A)’. See the last named song for mention of its tune relationship to the ‘Grenadier and the Lady’.

No. 47
WEEPING MARY (B), SWP 102

Hexatonic, mode 2 A (I II 3 IV V — 7)


play

When weeping Mary came to seek

Her loving Lord and Savior,

’Twas early in the morning she

In tears to gain his favor.

With guards and soldiers placed around

The tomb that held the body

Of him whom she thought under ground,

By wicked hands all bloody.

But how her aching heart was torn,

To find the tomb was empty,

In solemn silence did she mourn,

As onward she did venture.

’Twas angels in bright raiment shone,

Anticipate [imagine?] her sorrow,

And said, why doth this creature mourn,

And why this gloomy horror.

Whom seek’st thou, Mary, they did say,

And why this solemn mourning?

Because they’ve took my Lord away,

I thought to see this morning.

He, standing by her, though unknown,

She thought it was the gardener;

In flowing tears she made her moan,

Not knowing ’twas her partner.

I’ll grieve, and my poor Mary said,

’Till I know where they laid him;

And quickly turning round her head,

Began for to upbraid him.

Whom seek’st thou, Mary? said the Son;

She then perceived her Savior,

And quickly to his feet she run,

Not fearing harm or danger.

And now, like Mary, let us go

And kiss the feet of Jesus,

That we may hear his word also,

Which he delights to give us.

From God we have the word of life,

Through Christ the Mediator;

Like him we hope to die and rise,

And dwell with the Creator.

A version of both tune and words is found in Ingalls’ Christian Harmony of 1805, p. 73. Its seventh and eighth stanzas, reminding of the above text, are:

When weeping Mary came to seek

Her Lord with a perfume,

The napkin and the sheet she found

Together in the tomb.

The angels said, he is not here;

He’s risen from the dead;

And streams of grace to sinners flow,

As free as did his blood.

The tune shows unmistakable family resemblance to a number of secular folk-melodies. See for example the score of ‘Daemon Lover’ tunes, Sharp, i., pp. 244-258; ‘Lady Maisry’, Sharp, i., 97; ‘Locks and Bolts’, Sharp, ii., 17; ‘Betty Anne’, Sharp, ii., 37; ‘Swing a Lady’, Sharp, ii., 379.

No. 48
REDEMPTION (A), WH 101

Heptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)


play

Come, friends and relations, let’s join heart and hand,

The voice of the turtle is heard in our land.

Let’s all join together and follow the sound,

And march to the place where redemption is found.

The tune was perhaps the inspiration of R. Boyd in making the melody for ‘Female Convict’, which is in this collection. (Or did the influence flow in the opposite direction?) The ‘Grenadier and the Lady’, as sung in England, is practically the same tune. See JFSS, viii., 194. Full text and a variant melody are given under ‘Redemption (B)’. An ancestor of all these tunes seems to be ‘Westron Wynde’ of the early part of the sixteenth century. See Jackson, English Melodies from the 13th to the 18th Century, p. 11.

No. 49
PRODIGAL, SKH 35

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)


play

Afflictions, tho’ they seem severe, Are oft in mercy sent;

They stopt the prodigal’s career And caused him to repent,

Altho’ he no relenting felt Till he had spent his store;

His stubborn heart began to melt When famine pinch’d him sore.

What have I gain’d by sin, he said, but hunger, shame and fear;

My father’s house abounds with bread, while I am starving here.

I’ll go and tell him all I’ve done, fall down before his face;

Unworthy to be called his son, I’ll seek a servant’s place.

The father saw him coming back, he looked, he ran, he smiled;

He throws his arms around the neck of his rebellious child.

Father, I’ve sinned, but O forgive; enough, the father said.

Rejoice, my house, my son’s alive for whom I mourn’d as dead.

Now let the fatted calf be slain, go spread the news around;

My son was dead, but lives again, was lost but now is found.

’Tis thus the Lord his love reveals, to call poor sinners home.

More than a father’s love he feels and welcomes all that come.

Davisson, the compiler of the SKH, claimed this tune. It functioned as the melodic material out of which the “fuguing” tune ‘Alabama’, in the Sacred Harp, was built.

No. 50
HAPPY SOULS (A), OL 145

Hexatonic, mode 4 A (I II — IV V VI 7)


play

O happy souls, how fast you go,

And leave me far behind!

Don’t stay for me, for now I see,

The Lord is good and kind.

Go on, go on, my soul says go;

And I’ll come after you;

Tho’ I’m behind, I feel inclin’d

To sing hosanna too.

God give you strength your race to run

And keep your footsteps right;

Though fast you go and I so slow,

You are not out of sight.

When you get to that world above,

And all God’s glory see,

On that bright shore, your journey o’er,

Then look you out for me.

I’m coming on fast as I can.

Nor toil nor danger fear;

God give me strength!—may I at length

Be one among you there.

Then all together we shall meet—

Together we will sing;

Together we will praise our God

And everlasting King.

The tune is one of the comparatively few correct dorian recordings—not minorized—in the fasola song books. The compiler of the Olive Leaf gives the following note below the song: “I learned this air of Rev. Samuel Anthony, of Georgia, more than thirty years ago, Wm. Hauser, M. D., March, 1878.” See Introduction, p. 14, as to the ‘Babe of Bethlehem’ tune family to which ‘Happy Souls’ belongs. An Irish variant is ‘The Peevish Child’, Petrie, No. 591.

No. 51
BABE OF BETHLEHEM, SOH 78

Hexatonic, mode 4 a (I II — IV V 6 7)


play

Ye nations all, on you I call,

Come hear this declaration,

And don’t refuse this glorious news,

Of Jesus and salvation.

To royal Jews came first the news

Of Christ the great Messiah,

As was foretold by prophets old, Isaiah, Jeremiah.

To Abraham the promise came,

And to his seed forever,

A light to shine in Isaac’s line,

By scripture we discover;

Hail, promised morn, the Savior’s born,

The glorious Mediator—

God’s blessed word made flesh and blood,

Assumed the human nature.

His parents poor in earthly store,

To entertain the stranger

They found no bed to lay his head,

But in the ox’s manger;

No royal things, as used by kings,

Were seen by those that found him,

But in the hay the stranger lay,

With swaddling bands around him.

On the same night a glorious light

To shepherds there appeared,

Bright angels came in shining flame,

They saw and greatly feared;

The angels said, “Be not afraid,

Although we much alarm you,

We do appear good news to bear,

As now we will inform you.

“The city’s name is Bethlehem,

In which God hath appointed,

This glorious morn a Savior’s born,

For him God hath anointed;

By this you’ll know, if you will go

To see this little stranger,

His lovely charms in Mary’s arms,

Both lying in a manger.”

When this was said, straightway was made

A glorious sound from heaven,

Each flaming, tongue an anthem sung,

“To men a Savior’s given,

In Jesus’ name, the glorious theme,

We elevate our voices,

At Jesus’ birth be peace on earth,

Meanwhile all heaven rejoices.”