One of the best known of our Christmas carols is “The First Noel (or Nowell).” This traditional carol originated from the Cornwall region in southwest England sometime in the 1400 or 1500s. Like so many carols, its author is unknown, having developed probably as a folk song that was passed along in oral tradition long before it was ever written down. Its current form was first published in two carol collections by William Sandys (1792-1874) in 1823 and 1833. At about the same time, it was Davies Gilbert who wrote the additional stanzas that we recognize today.
The song has come to us from the period that led into the Renaissance. It was part of the history of “Miracle (or Mystery) Plays,” outdoor dramas of biblical stories that were among the earliest forms of theater. The story of Jesus’ birth would have been among the most popular of these. Citizens of Cornwall would have learned this song from one of the Miracle Plays, and thereafter sung it in festive popular processions through the streets of their towns, or outside of their churches. This was during the time that congregational singing was forbidden in the worship of Roman Catholic churches. It was not until Martin Luther began to write hymns that the singing of the common folk was re-introduced in the early 16th century in Germany. In England, it was not until IsaacWatts (“the father of English hymnody”) began to write such songs in the early 18th century for English-speaking churches, including in America. And even with his songs, it was almost a century before these were widely accepted and official permitted.
The word “Nowell” is an Early Modern English synonym for “Christmas,” based on the French “Noël,” which comes from the Latin “natalis,” referring to the day of one’s birth. It became common in carols of the Middle Ages. The melody is unusual among English folk tunes in that it consists of one musical phrase repeated twice, followed by a refrain that is a variation of that same phrase. All three phrases end on the third note of the scale, rather than the first (“tonic”). Most medieval poetry was written to be sung, so it is reasonable to presume that the words to this carol were written with an existing tune in mind. That means that the music, whether English or French, is probably even older than the words.
After its introduction into English by Sandys, all subsequent versions of “The First Noël” have been based on the version found in his collection. The Methodist denomination also helped to spread the song. In the areas of England where Methodism was strongest, music and singing were prominent, especially during Christmas time. And so“The First Noël” spread throughout the land by way of Methodist churches. By 1918 at the first service of Nine Lessons and Carols in Cambridge, “The First Nowell” was chosen as the final hymn, being sung by the congregation alone.
While we typically think of a “carol” as a Christmas song, the word actually refers to any Christian song that has originated in folk traditions from unknown authorship. There are carols that we sing in every season of the church’s life, including Easter as well as Christmas. Many of them flourished from medieval times. A hymn, on the other hand, is a worship song whose author is known to us. Many of these are of even earlier origin than the medieval carols. The practice of singing praise to God certainly had its origins in Scripture, with the Psalms of the Old Testament and with the hymns we find in the text of the New Testament (Luke’s four nativity carols, the hymn quotations in Paul’s epistles, and the songs of heaven recorded in the book of Revelation).
Christmas hymns can be traced back to the fourth century during the Council of Nicea (325 A.D.) and subsequent councils, where the adoption of the Nicene Creed defined the nature of Christ in what became orthodox theology. Early Latin hymns from this time were polemical statements that explained the doctrine of the incarnation in opposition to Arianism, a concept that asserted that Jesus Christ, the Son of God, was created by God at a specific point in time and was an entity distinct from God the Father, and therefore subordinate to the Father. “Corde natus de Parentis” (“Of the Father’s Love Begotten”) is one of the most famous hymns from this era that is still sung. The author, Spanish judge Aurelius Clemens Prudentius (c. 348–c. 413), left a legacy for the church’s sung faith that has lasted for centuries.
Sir John Stainer (1840–1901) standardized the melody as we know it and provided a harmonization that has become the customary one today. Sandys published Stainer’s arrangement in “Christmas Carols New and Old” (1876). The eight-measure melody appears twice for each stanza, plus the refrain variant. Stainer enhanced the refrain by allowing the tenors to soar to a high F-sharp on the final “Noel,” giving it a sense of climax, while the soprano maintains the repetition throughout. Tenors look forward to taking the spotlight at that point, leaving the sopranos on the original tune that becomes a less interesting countermelody.
The text of the song tells the gospel nativity narrative. It begins with the shepherds in the field, and continues on to the wise men, and then even to us in our praise. It’s easy to see how this would have arises as the musical text of one of those medieval mystery plays, perhaps acted out with singing in the town square. It’s one of those hymns that are so consecutive in the narrative that it makes no sense when just a few stanzas are haphazardly chosen for singing, ignoring the clearly continuous narration that flows from beginning to end.
Stanza 1 begins the telling of the story by describing the Bethlehem shepherds on that first noel. The text conveys the simplicity of the event by telling how ordinary was this night and these shepherds. There was nothing to make it any different from any other night, except for what God had planned and for what had happened at a manger in the nearby village. We don’t know if it was winter or if it was cold, but there is a legitimate dimension of liberty afforded to poetry.
The first Nowell the angel did say
was to certain poor shepherds in fields as they lay,
in fields where they lay keeping their sheep,
on a cold winter’s night that was so deep.
Refrain: Each stanza concludes with the same refrain. The melodic line repeatedly rises to a high climax, before settling back down to the third note of the scale.
Nowell, Nowell, Nowell, Nowell,
born is the King of Israel.
Stanza 2 carries the narration on to what happened to those shepherds. Alfred Edersheim suggests that if it was winter, the only shepherds keeping flocks out in the fields at that time of year would have been guarding sheep destined for sacrifice in the temple. If so, how appropriate that the birth of the Lamb of God who would be the sacrifice for the sins of His elect would be heralded to such shepherds and such sheep. The song suggests a star that is not mentioned in the biblical account. But it is not unreasonable to imagine that the angelic appearance was preceded by such a light. It is surprising that the text passes over the song of the angelic host.
They looked up and saw a star
shining in the east beyond them far;
and to the earth it gave great light,
and so it continued both day and night. [Refrain]
Stanza 3 suggests, without biblical warrant, that the same star that appeared with the angels also provided guidance to the wise men from east. It seems more likely that since the Scriptures say that the Magi came to a house, not a stable, and since Herod ordered the slaughter of male children under two, it would be more probable that their arrival did not take place that same night, but rather about two years later. But whenever they came, we do know that they were seeking the King of the Jews.
And by the light of that same star
three wise men came from country far;
to seek for a king was their intent,
and to follow the star wherever it went. [Refrain]
Stanza 4 points again to that star. It is fascinating to wonder how this might have been portrayed in the medieval town square with the mystery play that included this song. But the theological significance is powerful. The incarnation of the Light of the world was very appropriately illumined by a stellar brilliance. How fitting also since His birth in our hearts brings a redemptive brilliance to our existence.
This star drew nigh to the northwest;
o’er Bethlehem it took its rest,
and there it did both stop and stay,
right over the place where Jesus lay. [Refrain]
Stanza 5 matches the traditional nativity scene in our minds, one of Mary and Joseph, and the Baby in the manger, surrounded by cattle and shepherds, as the Three Wise Men entered the stable and knelt before the Child as they offered their costly gifts. We have come to associate those gifts with prophetic insights into the Savior’s identity and purpose. The gold points to His royalty as the King of kings, the frankincense points to His deity as the one through whom our prayers arise to heaven’s throne, and the myrrh points ahead to His body being anointed for burial.
Then entered in those wise men three,
full reverently upon their knee,
and offered there in His presence
their gold, and myrrh, and frankincense. [Refrain]
Stanza 6 completes the story by bringing the singer into the picture. We join our voices with those of the angels, shepherds, and Wise Men, singing the praise of our heavenly Lord. And what fine Christology is contained in the final lines. This is the one who has made heaven and earth out of nothing, merely by the word of His power at the time of creation. And He has done even greater wonders in the new creation as He has purchased us as His own by the shedding of His precious blood at the cross.
Then let us all with one accord
sing praises to our heavenly Lord,
that hath made heaven and earth of nought,
and with His blood our life hath bought. [Refrain]
Here is a singing of this carol from 2010 the in classic service of Lessons and Carols from King’s College, Cambridge.