Now Sing We, Now Rejoice
Now sing we, now rejoice
Now Sing We, Now Rejoice is a hymn text by Unknown (1400) in L.M. (8.8.8.8) meter. Translated by Martin Luther. Found in elw 282, lbw 55, lsb 386, lw 47. Sung to GOTT SEI DANK.
The hymn celebrates the incarnation as God's greatest act of mercy toward sinful humanity, emphasizing joy as the proper response to gospel truth. It reflects Lutheran emphasis on Christ's redemptive work made accessible to all believers.
History & Background
This carol originated in 15th-century German tradition as a Christmas hymn. Martin Luther translated and adapted it for the Reformation era, establishing its prominent place in Lutheran hymnody.
Hymnal Appearances
- Evangelical Lutheran Worship — 282
- Lutheran Book of Worship — 55
- Lutheran Service Book — 386
- Lutheran Worship — 47
- The Lutheran Hymnal — 92
Translation
Bulletin Note
A gem from fifteenth-century hymnody, this carol centers the incarnation as God's definitive act of mercy. Its straightforward theology—sin demands a savior; Christ is born—captures Lutheran confidence in grace made accessible to all believers through the Word made flesh.
Preaching Connection
This hymn makes audible the Gospel's answer to the Law: our sinfulness calls for salvation, and Christ's birth is God's resounding 'yes' to our desperate need for grace.
Stanza Arc
The narrative or theological arc traced by this tune's stanzas: Law to Gospel: human sinfulness and bondage under Satan → God's mercy in Christ → Christ's substitutionary atonement → faith's response and eschatological hope
In the Church Year
Suggested in the one-year series
- Christmas Day (3×)
- Christmas 1 (1×)
- Christmas 2 (1×)
- Epiphany (1×)
- St. John (1×)
Suggested in the three-year series
- Christmas Day (4×)
- Christmas Eve (3×)
From LCMS Worship's published hymn suggestions, 2014–2026. The count is how many of those yearly lists suggested this hymn for that day.
Overview
A medieval macaronic carol (Latin and German mixed) that Lutherans kept and sang with great affection. TLH uses Russell's all-English version, which preserves its movement: joy at the infant who outshines the sun (st. 1), a cry for him to come down to us because we cannot rise to him (st. 2), the Father's grace shining through the Son against death's reign (st. 3), and a longing for the joys of heaven (st. 4). Each stanza ends with a doubled refrain that intensifies personal faith: 'Thou my Savior art!' 'Draw me unto Thee!' 'May we praise Him there!' 'Oh, that we were there!'
Central theme: Joy in the Christ Child, who comes down to us and draws us up to heavenly joy
Structure
Four eight-line stanzas with a doubled closing line. Joy (1) — petition (2) — doctrine of grace (3) — longing for heaven (4). The original German-Latin stanzas: In dulci jubilo; O Jesu parvule; O Patris caritas; Ubi sunt gaudia.
Law & Gospel Shape
St. 3 names death's reign through sin (Law) and Christ's obtaining eternal joy (Gospel); elsewhere pure Gospel and longing.
Confessional Connections
St. 2 'I cannot rise to Thee' expresses the Lutheran conviction that we cannot ascend to God by reason or strength (Small Catechism, Third Article: 'I cannot by my own reason or strength…'); God must come down. St. 3: death reigns through sin (Rom 5; AC II) and Christ 'obtained' eternal joy — his merit, not ours (AC IV).
Liturgical Use (Study Notes)
Christmas Eve and Day; the Twelve Days; ideal for choir and congregation in alternation.
Historical Notes
The carol is traditionally linked with the mystic Heinrich Seuse (Suso, d. 1366), who was said to have learned it from angels in a vision; the attribution is legendary. Luther's circle printed it (Klug, 1533/35), and Lutheran use kept it alive. Bach and Praetorius set it.
About the Tune
IN DULCI JUBILO, the 14th-century melody of the carol.
Scripture References
Luke 2:10-14 Luke 2:7 Mal 4:2 John 8:12 John 6:44 John 12:32 Rom 5:12-21 2 Cor 4:6 Ps 16:11 Rev 7:9-12 Phil 1:23
Stanza by Stanza
Now let us sing and rejoice and lift our voices to heaven; the One from whom joy flows lies poor in a manger, and the sun does not shine as brightly as he; you are my Savior!
The original's 'In dulci jubilo' — 'in sweet rejoicing' — sets the mood. The theological core is the paradox of the manger: 'He from whom joy streameth' (the fountain of all joy, Ps 36:9) lies 'poor' (2 Cor 8:9). The comparison with the sun alludes to Christ as the 'Sun of righteousness' (Mal 4:2) and the true Light (John 1:9) — the created sun is dim beside its Creator. The refrain 'Thou my Savior art!' turns the carol from description to confession: faith says 'my' (Luther: 'the whole Gospel is in the possessive pronouns').
- Scripture
- Luke 2:10-11, Luke 2:7, Ps 36:9, 2 Cor 8:9, Mal 4:2, John 1:9, Luke 1:47
- Imagery & language
- Joy streaming; the poor manger outshining the sun.
- Law / Gospel
- Gospel — the Savior for me.
- Connection to previous
- Opening.
Come down from on high to me — I cannot rise to you; cheer my weary spirit, pure and holy Child; by your grace and merit, blessed Jesus, gentle Lord, draw me to you!
This stanza is a small summary of Lutheran theology. 'Come from on high to me; I cannot rise to Thee' denies every theology of ascent — mystical, rational or moral — and confesses that salvation moves from God down to us (John 3:13; Small Catechism, Third Article). It is striking that a carol linked to the mystic Suso says this so clearly. The Child is 'pure and holy' — sinless (Heb 7:26), and so able to save the impure. 'Through Thy grace and merit' names the two grounds of salvation: God's favor and Christ's merit (AC IV). 'Draw me unto Thee' echoes John 6:44 and 12:32: even our coming is Christ's drawing.
- Scripture
- John 3:13, Rom 10:6-8, Heb 7:26, John 6:44, John 12:32, Song 1:4, Matt 11:28
- Imagery & language
- Descent versus ascent; weariness; drawing.
- Law / Gospel
- Gospel — grace and merit; Christ draws us.
- Connection to previous
- Joy in the Child (st. 1) becomes petition to him.
Now the Father's divine grace shines through his Son; death had reigned over us through sin and vanity, but he obtained eternal joy on high for us; may we praise him there!
The original 'O Patris caritas, O Nati lenitas' (O love of the Father, O gentleness of the Son). Grace is the Father's, and it 'shines' through the Son (2 Cor 4:6; Heb 1:3) — the Trinity in the economy of salvation. The middle lines summarize Rom 5:12-21: death reigned through sin; now Christ 'for us obtained' eternal joy. 'Vanity' recalls Eccl 1:2 and Rom 8:20 — creation subjected to futility. 'Obtained' is the language of merit and purchase (Heb 9:12, 'having obtained eternal redemption'). The refrain looks forward to praising him in heaven.
- Scripture
- 2 Cor 4:6, Heb 1:3, Rom 5:12-21, Rom 6:23, Rom 8:20, Heb 9:12, 1 Pet 1:3-4
- Imagery & language
- Shining grace; death reigning; joy obtained.
- Law / Gospel
- Law — death's reign through sin; Gospel — eternal joy obtained by Christ.
- Connection to previous
- Gives the doctrinal ground for the petition of st. 2.
Where is true joy found? Nowhere but in heaven, where angels and all the saints sing the sweetest praises in heavenly joy and light; oh, that we were there!
The original 'Ubi sunt gaudia?' The carol ends not in the stable but in heaven. Earthly joy, even Christmas joy, is a foretaste; 'in Thy presence there is fullness of joy' (Ps 16:11). The scene — angels united with saints — is Rev 7 and the Church's liturgy ('with angels and archangels and all the company of heaven'). The refrain 'Oh, that we were there!' is the Christian longing of Phil 1:23. This is not escapism: the angels who sang over Bethlehem (Luke 2:13) are the same who will welcome the saints, so Christmas and the last day belong together.
- Scripture
- Ps 16:11, Rev 7:9-12, Heb 12:22-23, Luke 2:13-14, Phil 1:23, 2 Cor 5:8
- Imagery & language
- Rhetorical question; heavenly light; angels and saints together.
- Law / Gospel
- Gospel — hope of heaven.
- Connection to previous
- The 'May we praise Him there' of st. 3 becomes the longing of the final stanza.
Themes
Incarnation of Christ Joy in salvation Gospel proclamation Angelic witness Divine love made manifest