Good King Wenceslas

Christmas-time is generally regarded as the season of giving--and today in Western countries, sadly, the season of buying. But how many of our Christmas gifts involve real sacrifice on our part, beyond the mere purchase price? How often, at this (or any) time of year, do we venture outside our comfort zone and emulate Jesus' example of bestowing real help, person-to-person, upon someone of society's lowliest, poorest individuals? Do we set examples to our young people of real charity, or only of tokenistic materialism?

The repertoire of traditional Christmas hymns and carols includes at least one that exemplifies, in the most endearing way, what Christmas--and being Christian--is all about. You've almost certainly heard the carol Good King Wenceslas, and maybe even sung it. But do you know the compelling story behind the carol?  Have you carefully read and thought about the words' meaning and significance?

BACKGROUND AND ORIGINS OF THE CAROL

Good King Wenceslas tells the story of a king who, with his page, ventures out of the palace to bring alms to a poor peasant whom he has seen gathering firewood on the Feast of Stephen (the day after Christmas, December 26). During the journey, the page is about to give up the struggle against the cold and stormy weather, but is enabled to continue by the warmth miraculously emanating from the king's footprints in the snow.

This legend is in turn based on the life of the historical Saint Wenceslaus I, Duke of Bohemia (907–935 A.D.). He presided over Bohemia (which today forms part of the Czech Republic) from 921 until his assassination in 935, purportedly in a plot by his own brother, Boleslav the Cruel (c. 915-972 A.D.). During his short reign, Wenceslas strove to alleviate the oppression of serfs, reform the judicial system, and spread Christianity throughout his country. Wenceslas' martyrdom (his brother was backed by pagan factions), and the popularity of several biographies of him that circulated widely within a few decades of his death, gave rise to a reputation on his part for heroic goodness, resulting in his being elevated to sainthood, posthumously declared king, and seen as the patron saint of the Czech state. Wenceslas came to personify the High Middle Ages concept of the rex justus, or "righteous king"—that is, a monarch whose power stems mainly from his great piety, as well as from his princely vigor.

But how did this legend become a famous Christmas carol?

John Mason Neale

Thomas Helmore

In 1853 the British ambassador to Sweden, G. J. R. Gordon, returned to England with a copy of the 16th-century song book Piae Cantiones, which he presented to Anglican clergyman John Mason Neale (1818–1866), who was known for his interest in early music. Neale in turn passed the book on to Rev. Thomas Helmore (1811-1890), whom he knew to an expert interpreter of the mensural notation in which the tunes were given. Helmore adapted the carol melodies, while Neale translated the words of the songs into English, or in a few cases wrote completely new texts for them. He and Helmore published 12 of these tunes in the same year as Carols for Christmastide. This set included Good King Wenceslas, consisting of Neale's original words set to the tune of the 13th century Finnish carol Tempus adest floridum ("The time is near for flowering"), which had been included in the Piae Cantiones.

As noted by one researcher, Neale's new carol was not well received by literary critics of the day, one calling it "poor and commonplace to the last degree" and others "doggerel." But the public wasn't influenced by the critics, and they made it "the hit of the century." The carol's popularity grew in Great Britain, and it was soon sung in the New World as well. Eventually, it became the signature carol for St. Stephen's Day (or Boxing Day as it is known in the British Commonwealth and some Scandinavian countries), December 26, when alms boxes often kept in churches were traditionally opened so that the contents could be distributed to poor people. One can see why from Neale's text:

Good King Wenceslas looked out on the Feast of Stephen,
When the snow lay round about, deep and crisp and even.
Brightly shone the moon that night, though the frost was cruel,
When a poor man came in sight, gathering winter fuel.

Hither, page, and stand by me, if you know it, telling,
Yonder peasant, who is he? Where and what his dwelling?
Sire, he lives a good league hence, underneath the mountain,
Right against the forest fence, by Saint Agnes’ fountain.

Bring me food and bring me wine, bring me pine logs hither,
You and I will see him dine, when we bear them thither.
Page and monarch, forth they went, forth they went together,
Through the cold wind’s wild lament and the bitter weather.

Sire, the night is darker now, and the wind blows stronger,
Fails my heart, I know not how; I can go no longer.
Mark my footsteps, my good page, tread now in them boldly,
You shall find the winter’s rage freeze your blood less coldly.

In his master’s steps he trod, where the snow lay dinted;
Heat was in the very sod which the saint had printed.
Therefore, Christian men, be sure, wealth or rank possessing,
You who now will bless the poor shall yourselves find blessing.

WHY WAS THE CAROL WRITTEN?

The question remains why John Mason Neale would choose an obscure medieval figure from a far-away country, who was not widely revered in England at the time, upon whom to base a carol about charity at Christmas. Some understanding about this may be gleaned from Neale's own life and character, which--apart from scholarship--were centered largely on alleviating the distress of poverty and illness.

Ordained in the Church of England during the middle of the 19th century, Neale's health was so frail that he could not supervise a parish. Instead, he was assigned to be warden of a poorhouse named Sackville College. In the course of his duties, Neale had many opportunities to see the misery of the poor in rural villages, some of whom died unattended. Neale also denounced churches that allowed the wealthy to box off sections of the church to separate themselves from commoners. In 1854, Neale co-founded the Society of Saint Margaret, an order of women in the Anglican Church dedicated to nursing the sick.

As one observer suggests:

Perhaps Neale found in Wenceslas the symbol of Christian charity and servitude which had become Neale's own most important principle of Christian life. Neale connected Wenceslas to Christmas, a season of special "good will." By setting his touching story of a medieval Saint to a catchy, medieval tune, he created a hybrid carol that has become a classic. Through this song, Neale's own spirit of charity lives on, and has encouraged people, generation after generation, to practice this Christian virtue.

(Margaret Vainio, Good King Wenceslas--An "English" Carol: The Appearance of Piae Cantiones Melodies in 19th Century England (1999), p. 37).

MEANING AND SIGNIFICANCE OF THE CAROL

What is especially inspiring about Good King Wenceslas--and makes it so fitting for the Christmas season--is the spirit of love, giving, and self-sacrifice that infuses it. The King is touched by the plight of the peasant he sees braving the elements to provide for his family, and willingly steps out of his comfortable, privileged world and into the raging storm himself, carrying provisions in his own arms to bring help to the poor man. There is also great love and trust between the King and his page, whom he encourages and enables, through a wonderful miracle,to endure the challenge before them. Is this story an allegory of Christ, the Good King who lowers Himself to succor the wretched and helpless, and the faithful but self-doubting servant, his page?

PERFORMANCES

Because Good King Wenceslas is so widely known and loved in its traditional form, rather few recordings of it really stand out. One that surely does is a December 18, 2012 performance by the Mormon Tabernacle Choir, with actress Jane Seymour narrating the Wenceslas story to delightful dance, music, and song.



Perhaps the most famous recording of Good King Wenceslas is one made in the 1940s or 50s by Bing Crosby. Here's a video version, with images taken from an engaging old comic book telling of the story.



Perhaps reflecting the tune's origins as a spring dance, here is a sprightly, Renaissance-tinged version of Good King Wenceslas sung by American vocalist/lyricist Candice Night with the folk-rock band Blackmores Night:

* * * * * * *

May we all emulate the Good King's example this Christmas--and all year--by extending ourselves to share our blessings with others less fortunate.

       

But when thou makest a feast, call the poor, the maimed, the lame, the blind:

and thou shalt be blessed; for they cannot recompense thee:

for thou shalt be recompensed at the resurrection of the just.  Luke 14:13-14

O Come, O Come, Emmanuel

The term "Advent"  is an anglicized version of the Latin word adventus, meaning "coming." The Advent season is popularly thought of as the period (generally, the preceding month) during which Christians anticipate and prepare for the coming Christmas holiday. On a deeper level, though, it is a time for reflection on the central thread of all human history: the need of mankind for redemption from sin, and the promised coming of the Messiah to lead us out of its darkness and reconcile the world to our loving Creator.

The Messiah's coming into the world, and His miraculous work of redemption, were foretold in a host of prophecies set forth in the Hebrew Scriptures later incorporated into the Old Testament.  It is truly breathtaking to see how fully and accurately they point to Jesus Christ as the promised Messiah!  His birthplace, family history, nature, deeds, and even the time, manner, and purpose of his death--and His resurrection--were all foretold many hundreds of years before they became accomplished fact (at least as far back as the Jewish captivity in Babylon, 605 to 538 B.C.). They also reveal the tragic fact that he would not be recognized or accepted by the very people he came to save (Isaiah 53:3), and that His glorious kingdom would be established on Earth as well as in Heaven only upon Israel's delivery at the last battle by "me whom they have pierced." (Zechariah 12:10)  Thus, there would be not one Advent, but two. But for a precious few disciples and followers, mankind "missed" the First Advent, though it led to our spiritual salvation. Ever since Christ's death, resurrection, and ascension into Heaven, we have been engaged in the "Second" Advent, looking forward to that "great and awesome" day (Joel 2:31 (ESV))  when the Lord comes to us again in person, to establish His righteous kingdom here on Earth. And we've done so even as we've looked back, year after year,  to that precious First Coming in Bethlehem.

The fervent longing and anticipation of both Advents is expressed in the great hymn O Come, O Come, Emmanuel.  Like the Christmas holiday itself, this moving work has a long and rich history, winding through many religious, cultural, and musical traditions.

THE HYMN AND ITS HISTORY

This hymn, as we know it today in English, is based on the 12th century Latin poem "Veni Veni Emmanuel," a lyrical paraphrase--with an added chorus--of the famous "O Antiphons."  The antiphons--anthems sung to a short verse--themselves date from at least the 8th century. In the medieval Christian church (and continuing today in many), each night before the Magnificat at Vespers on the seven days before Christmas, monks would sing one of these antiphons. The word "antiphon" implies that the lines of each anthem were sung alternately by two choirs sitting opposite each other in the chancel. Each antiphon featured a prayer beginning with "O Come" and including one of the names or attributes of the Messiah mentioned in Scripture. Here they are in their original order, with reference to their scriptural basis:

• Dec. 17: "O Sapientia, quae ex ore altissimi. . ." (O Wisdom from on high...)  (Isaiah 11:2-3, 28:29)
• Dec. 18: "O Adonai et dux domus Israel. . ." (O Lord and leader of the house of Israel...)   (Isaiah 33:22)
• Dec. 19: "O Radix Jesse qui stas in signum populorum. . ." (O Root of Jesse who stood as a standard of the people)  (Isaiah 11:1, 10)
• Dec. 20: "O Clavis David et sceptrum domus. . ." (O Key of David and scepter of our home...)   (Isaiah  22:22)
• Dec. 21: "O Oriens, splendor lucis aeternae. . ." (O Dayspring, splendor of eternal light...)   (Isaiah  9:2)
• Dec. 22: "O Rex gentium et desideratus. . ." (O longed-for King of the nations...)  (Isaiah 2:4, 9:6)
• Dec. 23: "O Emmanuel, rex et legiter noster. . ." (O Emmanuel, our king and lawgiver...)   (Isaiah 7:14)

(For the full text of the Antiphons, click here.)

The monks who originated these antiphons arranged them with a definite purpose: if one starts with the last title and takes the first letter of each one in ascending order—Emmanuel, Rex, Oriens, Clavis, Radix, Adonai, Sapientia—the Latin phrase ero cras is formed, meaning, "Tomorrow, I will come."

The Prophet Isaiah

The title of the climactic antiphon, as well as of the 12th century poem and the hymn we know today, is based on the prophecy contained in Isaiah 7:14: "[T]he Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel." Confirming the fulfillment of this prophecy, Matthew observed: "Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us."  (Matthew 1:22-23)

John Mason Neale

Veni Veni Emmanuel apparently remained in obscurity until an unknown editor included it in the 7th edition of the collection Psalteriolum Cantionum Catholicarum, published in Köln, Germany in 1710. Almost a century and a half later, the poem came to the attention of Anglican clergyman and hymn writer John Mason Neale (1818-1866). Despite his evangelical upbringing, Neale was heavily influenced by the Anglo-Catholic Oxford Movement, and endured much opposition from those who thought him a closet Roman Catholic--he was once attacked at the funeral of a sister in a nursing order of Anglican nuns he founded, and at various times unruly crowds threatened to stone him or to burn his house. Kept by ill health (and possibly by resentment of his supposedly "Romish" tendencies) from serving in a parish, Neale divided his time between social ministry and the wardenship of Sackville College. He devoted most of the rest of his time to translating early and medieval Greek and Latin hymns for the holy days and seasons of the Christian year. Indeed, more than anyone else, Neale made English-speaking congregations aware of the centuries-old tradition of Latin, Greek, Russian, and Syrian hymns. His most widely known legacy is probably his contribution to the Christmas repertoire, particularly--in addition to O Come, O Come, Emmanuel--his translation of Good Christian Men, Rejoice and his original Boxing Day carol, Good King Wenceslas.

Henry Sloane Coffin

Thomas A. Lacey

Neale translated five of the seven "O Antiphons" from Latin to English, and first published these stanzas in his Mediaeval Hymns and Sequences, in 1851 (Neale's original translation began, "Draw nigh, draw nigh, Emmanuel").  In later years and compilations, several of these stanzas and the refrain were revised and reordered by others, particularly Rev. Thomas A. Lacey (1853-1931), an editor of the first edition of The English Hymnal (1906) (click here to see his complete revised version), and American Presbyterian minister Henry Sloane Coffin (1877-1954). The first five stanzas below are Neale's translation, while the last two are those most widely associated with Lacey and Coffin:

O come, O come, Emmanuel,
And ransom captive Israel,
That mourns in lonely exile here
Until the Son of God appear.

        Refrain
        Rejoice! Rejoice! Emmanuel
        Shall come to thee, O Israel.

O come, Thou Rod of Jesse, free
Thine own from Satan's tyranny;
From depths of hell Thy people save,
And give them victory o'er the grave.

Refrain

O come, Thou Day-Spring, come and cheer
Our spirits by Thine advent here;
Disperse the gloomy clouds of night
And death's dark shadows put to flight!

Refrain

O come, Thou Key of David, come,
And open wide our heavenly home;
Make safe the way that leads on high,
And close the path to misery.

Refrain

O come, O come, Thou Lord of Might,
Who to Thy tribes on Sinai's height
In ancient times didst give the law
In cloud, and majesty, and awe.

Refrain

O come, Thou Root of Jesse’s tree,
An ensign of Thy people be;
Before Thee rulers silent fall;
All peoples on Thy mercy call.

Refrain

O come, Desire of nations, bind
In one the hearts of all mankind;
Bid Thou our sad divisions cease,
And be Thyself our King of Peace.

Refrain

Thomas Helmore

The haunting, E-minor-key melody VENI EMMANUEL associated with the hymn was a 15th-century  processional originating in a community of French Franciscan nuns in Lisbon, Portugal (Collins, Stories Behind the Best-Loved Songs of Christmas, p. 128 (Zondervan, 2001)), which was eventually traced to a manuscript in the National Library of Paris. Anglican clergyman Rev. Thomas Helmore (1811-1890) adapted this chant tune and published it in Part II of his The Hymnal Noted (1854), in collaboration with John Mason Neale. It served as the underlying theme music in opening and closing scenes of the 2006 film The Nativity Story (you can hear it in the video linked here).

REFLECTIONS

O Come, O Come, Emmanuel is a matchless expression of our lost and helpless human condition, and our desperate need for deliverance by a loving Power far greater than ourselves. It is also an anthem of hope and confidence that our Messiah will indeed soon return to save us finally from the darkness of this world, and gather us into the eternal light of His presence. In singing it we both look back upon our Lord's first Advent in Bethlehem, and forward to the glorious day He appears in the clouds to take us home. Thus are wedded together all generations of mankind in the greatest story ever told.

Popular author Ace Collins aptly summed up the historical and spiritual significance of the hymn and of the medieval works from which it sprang:

For the people of the Dark Ages--few of whom read or had access to the Bible--the song was one of the few examples of the full story of how the New and Old Testament views of the Messiah came together in the birth and life of Jesus. Because it brought the story of Christ the Savior to life during hundreds of years of ignorance and darkness, "O Come, O Come, Emmanuel" ranks as one of the most important songs in the history of the Christian faith. (Collins, Stories Behind the Best-Loved Songs of Christmas, p. 127 (Zondervan, 2001)).

 VIDEO PRESENTATIONS

There are many worthy video performances of O Come, O Come, Emmanuel. Some of the following have been chosen for this post because the presentation conforms generally to the original text and music and is fairly representative of how the hymn is generally sung. Others are included because they are especially inventive and engaging, while remaining faithful to the hymn's original text, tune, and meaning. An unusually large number of videos are presented here, in order to convey the wide range of moving interpretations that this great work is subject to.

Here is a traditional rendition by an unidentified choir, with a beautiful slide show of stained glass art:



Perhaps you're curious what the hymn sounds like sung in the original Latin--Veni Veni Emmanuel. Here is a lovely example, which includes the Latin text:



The music to O Come, O Come, Emmanuel is indispensable to the hymn's moving power--even without the text, as you'll hear (and see) in this instrumental version by The Piano Guys:



And now for something completely different: a very moving and robustly sung performance by the contemporary duo Sugarland, from the Country Music Association Christmas special on Nov 29, 2010. The hymn comes through, if anything, even more powerfully with the rhythmic presentation and guitar/banjo accompaniment:



Click here for a similarly moving (essentially) and anonymous solo performance accompanied on guitar, with impressive Christian artwork.

Finally, what may be the most engaging rendition of O Come, O Come, Emmanuel you'll see and hear. The hymn is usually performed in a quiet, plaintive way, but Mike Massé and Wendy Jernigan have used percussion instruments and (synthesized?) strings, along with a skillfully edited, stunning presentation of Marian and Nativity art, to transform the piece into an anthem of irresistible urgency and power. Watch and experience His coming in a most compelling way!

MAY YOU KNOW THE JOY AND PEACE OF HIS COMING

IN YOUR OWN LIFE THIS CHRISTMAS!

Presentation in the Temple (Philippe de Champaigne, 1648)

. . . For mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people: to be a light to lighten the Gentiles
and to be the glory of
Thy people Israel.

(Luke 2:29-32)