About We Three Kings
- Tune Name: KINGS OF ORIENT
- Composer: John Henry Hopkins Jr.
- Lyricist: John Henry Hopkins Jr.
- Meter: 8.8.4.4.6. with refrain (irregular)
- Hymnbook Source: Carols, Hymns and Songs (1863)
We Three Kings Lyrics
Verse 1: We three kings of Orient are;
Bearing gifts we traverse afar,
Field and fountain, moor and mountain,
Following yonder star.
Refrain:
O star of wonder, star of light,
Star with royal beauty bright,
Westward leading, still proceeding,
Guide us to thy perfect light.
Verse 2:
Born a King on Bethlehem's plain
Gold I bring to crown Him again,
King forever, ceasing never,
Over us all to reign.
Refrain
Verse 3:
Frankincense to offer have I;
Incense owns a Deity nigh;
Prayer and praising, voices raising,
Worshipping God on high.
Refrain
Verse 4:
Myrrh is mine, its bitter perfume
Breathes a life of gathering gloom;
Sorrowing, sighing, bleeding, dying,
Sealed in the stone cold tomb.
Refrain
Verse 5:
Glorious now behold Him arise;
King and God and sacrifice;
Alleluia, Alleluia,
Sounds through the earth and skies.
Refrain
Chronological History of We Three Kings
| Date | Historical development | Significance |
|---|---|---|
| First century | Matthew 2:1–12 records the visit of the Magi. | Biblical foundation of the carol. |
| Fourth–fifth centuries | Christian interpretation increasingly associates the Magi with royal and prophetic imagery. | Establishes the theological background of the Three Kings tradition. |
| Sixth century | Ravenna's Sant'Apollinare Nuovo mosaic depicts three Magi bearing gifts. | Early visual evidence of the established three-Magi tradition. |
| Sixth–eighth centuries | Names of the Magi develop in Western Christian traditions. | Melchior, Caspar and Balthazar become familiar figures. |
| Tenth–twelfth centuries | Medieval liturgical dramas, including the Office of the Star, dramatize the Magi's journey. | Develops the theatrical presentation of the Wise Men. |
| Thirteenth–fifteenth centuries | Epiphany celebrations, religious poetry and visual representations continue to popularize the Magi. | Strengthens the Christmas and Epiphany traditions. |
| Sixteenth–eighteenth centuries | The Magi remain important subjects in European religious art, hymnody and worship. | Provides the wider Christian cultural background. |
| 1820 | John Henry Hopkins Jr. is born. | Birth of the future author and composer. |
| 1857 | Hopkins composes We Three Kings. | Traditional date of composition for a Christmas pageant at General Theological Seminary. |
| 1863 | Published in Carols, Hymns and Songs. | First major printed publication of the carol. |
| Late nineteenth century | The carol circulates more widely in American Christmas musical culture. | Moves beyond its original seminary setting. |
| Twentieth century | The carol becomes established in English-language Christmas hymnals and recordings internationally. | Becomes a standard Christmas carol. |
| Twenty-first century | Continues to appear in church services, Christmas concerts and recordings. | Remains one of the best-known carols about the Magi. |
About The Gifts In We Three Kings:
| Wise Man | Gift | Symbolic meaning | Significance |
|---|---|---|---|
| Melchior | Gold | Kingship | Represents Christ as King and the promised Messiah. |
| Caspar (Gaspar) | Frankincense | Divinity and worship | Represents Christ's divine nature and the worship due to Him. |
| Balthazar | Myrrh | Suffering and death | Foreshadows Christ's suffering, death and burial. |
| All three | Combined gifts | Recognition of Christ | Their offerings collectively acknowledge Jesus as King, Divine Lord and Saviour. |
Musical Characteristics of We Three Kings:
| Musical feature | Description | Significance |
|---|---|---|
| Strophic structure | The same basic melody is repeated for each verse. | Allows the congregation to follow the song easily. |
| Refrain | Each verse concludes with a recurring musical declaration. | Unites the individual verses into a collective expression of worship. |
| Individual characterization | Each of the three gifts receives its own verse. | Gives each Wise Man a distinct theological identity. |
| Processional character | The melody has a stately, measured quality. | Reflects the journey and royal presentation of the Magi. |
| Congregational accessibility | Repeated melodic and lyrical patterns. | Makes the carol suitable for communal singing. |
| Tune name | KINGS OF ORIENT | Identifies the traditional tune associated with Hopkins's lyrics. |
| Composer and lyricist | John Henry Hopkins Jr. | The same individual wrote both the words and music. |
