Good King Wenceslas

“Good King Wenceslas” is a Christmas carol that tells a story of a Bohemian king (modern-day Czech Republic) who goes on a journey, braving harsh winter weather, to give alms to a poor peasant on the Feast of Stephen (December 26, the Second Day of Christmas). During the journey, his page is about to give up the struggle against the cold weather, but is enabled to continue by following the king’s footprints, step for step, through the deep snow. The legend is based on the life of the Saint Wenceslaus I, Duke of Bohemia (907–935), who was not a king but a duke. In 1853, English hymnwriter John Mason Neale translated the lyric from a Czech poem by Václav Alois Svoboda, in collaboration with his music editor Thomas Helmore, and the carol first appeared in Carols for Christmas-Tide, published by Novello & Co the same year. Neale’s lyric was set to the melody of the 13th-century spring carol “Tempus adest floridum” (“Eastertime Is Come”) first published in the 1582 Finnish song collection Piae Cantiones. Wenceslas was considered a martyr and a saint immediately after his death in the 10th century, when a cult of Wenceslas rose up in Bohemia and in England. Within a few decades of Wenceslas’s death, four biographies of him were in circulation. These hagiographies had a powerful influence on the High Middle Ages conceptualization of the rex iustus, or “righteous king”—that is, a monarch whose power stems mainly from his great piety, as well as from his princely vigor. Sheet music of “Good King Wenceslas” in a biscuit container from 1913, preserved at the Victoria and Albert Museum.Referring approvingly to these hagiographies, a preacher from the 12th century wrote: But his deeds I think you know better than I could tell you; for, as is read in his Passion, no one doubts that, rising every night from his noble bed, with bare feet and only one chamberlain, he went around to God’s churches and gave alms generously to widows, orphans, those in prison and afflicted by every difficulty, so much so that he was considered, not a prince, but the father of all the wretched. Several centuries later the legend was claimed as fact by Pope Pius II, who himself also walked ten miles barefoot in the ice and snow as an act of pious thanksgiving.
Although Wenceslas was, during his lifetime, only a duke, Holy Roman Emperor Otto I (962–973) posthumously “conferred on [Wenceslas] the regal dignity and title” and that is why, in the legend and song, he is referred to as a “king.” The usual English spelling of Duke Wenceslas’s name, Wenceslaus, is occasionally encountered in later textual variants of the carol, although it was not used by Neale in his version. Wenceslas is not to be confused with King Wenceslaus I of Bohemia (Wenceslaus I Premyslid), who lived more than three centuries later.
A statue of Saint Wenceslas on horseback can be found at the Wenceslas Square, in Prague. “Tempus adest floridum” in the 1582 Finnish song collection Piae Cantiones. The melody formed the basis for the carol.
The tune is that of “Tempus adest floridum” (“Eastertime has come”), a 13th-century spring carol in 76 76 Doubled Trochaic metre, first published in the Finnish song book Piae Cantiones in 1582. Piae Cantiones is a collection of seventy-four songs compiled by Jacobus Finno, the Protestant headmaster of Turku Cathedral School, and published by Theodoric Petri, a young Catholic printer. The book is a unique document of European songs intended not only for use in church, but also schools, thus making the collection a unique record of the late medieval period.A text beginning substantially the same as the 1582 “Piae” version is also found in the German manuscript collection Carmina Burana as CB 142, where it is substantially more carnal; CB 142 has clerics and virgins playing the “game of Venus” (goddess of love) in the meadows, while in the Piae version they are praising the Lord from the bottom of their hearts.[15][16] The tune has also been used for the Christmas hymn Mary Gently Laid Her Child, by Joseph S. Cook (1859–1933); GIA’s hymnal, Worship uses “Tempus Adest Floridum” only for Cook’s hymn. In 1853, English hymnwriter John Mason Neale wrote the “Wenceslas” lyric, in collaboration with his music editor Thomas Helmore, and the carol first appeared in Carols for Christmas-Tide, published by Novello & Co the same year.The text of Neale’s carol bears no relationship to the words of “Tempus Adest Floridum”. In or around 1853, G. J. R. Gordon, the British envoy and minister in Stockholm, gave a rare copy of the 1582 edition of Piae Cantiones to Neale, who was Warden of Sackville College, East Grinstead, Sussex and to the Reverend Thomas Helmore (Vice-Principal of St. Mark’s College, Chelsea).The book was entirely unknown in England at that time. As a member of the Tractarian Oxford Movement, Neale was interested in restoring Catholic ceremony, saints days and music back into the Anglican church. The gift from G. J. R. Gordon gave him the opportunity to use medieval Catholic melodies for Anglican hymn writing.In 1849 he had published Deeds of Faith: Stories for Children from Church History which recounted legends from Christian tradition in Romantic prose. One of the chapters told the legend of St Wenceslas and his footsteps melting the snow for his page: “My liege,” he said, “I cannot go on. The wind freezes my very blood. Pray you, let us return.””Seems it so much?” asked the King. “Was not His journey from Heaven a wearier and a colder way than this?”
The hymn’s lyrics take the form of five eight-line stanzas in four-stress lines.
In the music the two-syllable rhymes in lines 2, 4, and 6 (e.g.