God Rest You Merry, Gentlemen (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "God Rest You Merry, Gentlemen" in English language version.

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  • Crum, Margaret, ed. (1969). First-Line Index of English Poetry, 1500-1800, in Manuscripts of the Bodleian Library, Oxford. Vol. ii. Oxford: Oxford University Press. p. 782. ISBN 978-0-19-951323-9.
  • Wulstan, David (1986). Tudor Music. Iowa City, IA: University of Iowa Press. p. 67. ISBN 0-87745-135-4.
  • Hutchinson Softback Encyclopedia. Oxford: Helicon. 1992. p. 154. ISBN 009177134X. Many carols such as 'God Rest You Merry, Gentlemen' and 'The First Noel', date back at least as far as the 16th century
  • Bradley, Ian (1999). Penguin Book of Carols. Penguin. p. 101. ISBN 0140275266.
  • n.a. [William Hone] (1820). The Political House that Jack Built. London: William Hone. God rest you, merry gentlemen,
    Let nothing you dismay,
    Remember we were left alive
    Upon last Christmas Day,
    With both our lips at liberty
    To praise Lord C[astlereag]h
    With his 'practical' comfort and joy!.
  • Chappell, William (n.d.) [1855]. Popular Music of the Olden Time. Vol. ii. London: Cramer, Beale & Chappell. pp. 752–753. The words of this carol are in the Roxburghe Collection (iii. 452), together with three other 'choice Carols for Christmas Holidays', for St. Stephen's, St. John's, and Innocents' days. The tune was printed by Hone, in his Facetiæ, to a "political Christmas Carol," ... I have seen no earlier copy of the tune than one in the handwriting of Dr. Nares, the cathedral composer, in which it is entitled 'The old Christmas Carol'; but I have received many versions from different sources, for no carol seems to be more generally known. In the Halliwell Collection of Broadsides, No. 263, Chetham Library, is 'The overthrow of proud Holofernes, and the Triumph of virtuous Queen Judith; to the tune of Tidings of comfort and joy.'
  • "Remarks on the Holiday Times of Old". Gentleman's Magazine. xciv. London: John Harris: 228. March 1824.
  • Dickens, Charles (1843). A Christmas Carol. London: Chapman & Hall. p. 16. The owner of one scant young nose, gnawed and mumbled by the hungry cold as bones are gnawed by dogs, stooped down at Scrooge's keyhole to regale him with a Christmas carol: but at the first sound of —
    'God bless you merry gentleman!
    May nothing you dismay!'
    Scrooge seized the ruler with such energy of action, that the singer fled in terror, leaving the keyhole to the fog and even more congenial frost.
  • Eliot, George (1861). Silas Marner. Edinburgh: William Blackwood. p. 169. Aaron was not indisposed to display his talents, even to an ogre, under protecting circumstances; and after a few more signs of coyness, consisting chiefly in rubbing the backs of his hands over his eyes, and then peeping between them at Master Marner, to see if he looked anxious for the 'carril', he at length allowed his head to be duly adjusted, and standing behind the table, which let him appear above it only as far as his broad frill, so that he looked like a cherubic head untroubled with a body, he began with a clear chirp, and in a melody that had the rhythm of an industrious hammer, —
    'God rest you merry, gentlemen,
    Let nothing you dismay,
    For Jesus Christ our Saviour
    Was born on Christmas-day.'
    Dolly listened with a devout look, glancing at Marner in some confidence that this strain would help to allure him to church.

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  • "God Rest Ye, Merry Christians" in Mildred Gauntlett, Fifty Christmas Carols (London, 1906), p. 39 The use of ye may go back to alternative words written by Dinah Craik (1826–1887) given in Charles Lewis Hutchins, Carols Old and Carols New (Boston: Parish Choir, 1916) with the title God Rest Ye Merry, Gentlemen. This particular version has the incipit God rest you merry, gentlemen, but verses 2 and 3 begin God rest ye little children and God rest ye all good Christians, respectively.
  • "On Christmas Carrols" in The Beauties of the Magazines, and Other Periodical Works, Selected for a Series of Years (Vol. 2 of 2; 1775), printed for Gottlob Emanuel Richter, 87f.; OCLC 557616863, 83384270, 311914328
    "Beauties" in the series title is intended to denote works of literary merit. The author, identified as "C." (likely George Colman the Elder), rejects non-liturgical Christmas music by expounding the carol as an example of how
    "... an ignorant zeal in religion has occasioned many shocking sentiments to be broached that the greatest scoffers of Christianity would not dare to have uttered"
    He complains of
    "... having my ears pestered in every street this last week, by numberless women and children singing what they called Christmas carrols, but what, if I had heard them in an alehouse, or if they had been sung by drunken people in a night-cellar, I should have thought the most bare-faced reflections and the grossest buffoonry upon the most sacred subject that could be devised by the devil himself."
    C. says he bought the song-sheets of a woman singer –
    "[a] poor woman with two children bundled at her back and one in her arms, and who, I am persuaded, was very far from knowning what she said"
    to prevent her from continuing in her –
    "profane treatment of sacred subjects"
    and sends the text he found on the sheets to the magazine as an illustration of
    "the same carrols I have heard sung about the streets in this season for above these thirty years"
    (viz., since the 1740s).
  • William Sandys, Christmas Carols, Ancient and Modern; Including the Most Popular in the West of England, and the Airs which They are Sung. Also Specimens of French Provincial Carols, London, Beckley (1833), 102–104 (hymnsandcarolsofchristmas.com).

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  • Brown, Cedric C. (2003). "Recusant Community and Jesuit Mission in Parliament Days: Bodleian MS Eng. Poet. b. 5". Yearbook of English Studies. 33. Modern Humanities Research Association: 290–315. doi:10.2307/3509032. JSTOR 3509032. S2CID 191475587.. At page 291, Brown notes that "the main part of the collection, that is, what is transcribed between pages 1 and 119, was put together in a few years in the early 1650s".

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  • "Almena: an English Opera". Monthly Review. xxxi. London: R. Griffiths: 395. November 1764. hdl:2027/njp.32101064253832. If Persia's shining had not been mentioned, would not this choral lay be a good deal in the style of a Christmas carol?
    God rest you, merry Gentlemen,
    Let nothing you dismay, &c.

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hymnsandcarolsofchristmas.com

  • William Sandys, Christmas Carols, Ancient and Modern; Including the Most Popular in the West of England, and the Airs which They are Sung. Also Specimens of French Provincial Carols, London, Beckley (1833), 102–104 (hymnsandcarolsofchristmas.com).

jstor.org

  • Brown, Cedric C. (2003). "Recusant Community and Jesuit Mission in Parliament Days: Bodleian MS Eng. Poet. b. 5". Yearbook of English Studies. 33. Modern Humanities Research Association: 290–315. doi:10.2307/3509032. JSTOR 3509032. S2CID 191475587.. At page 291, Brown notes that "the main part of the collection, that is, what is transcribed between pages 1 and 119, was put together in a few years in the early 1650s".

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ox.ac.uk

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  • Brown, Cedric C. (2003). "Recusant Community and Jesuit Mission in Parliament Days: Bodleian MS Eng. Poet. b. 5". Yearbook of English Studies. 33. Modern Humanities Research Association: 290–315. doi:10.2307/3509032. JSTOR 3509032. S2CID 191475587.. At page 291, Brown notes that "the main part of the collection, that is, what is transcribed between pages 1 and 119, was put together in a few years in the early 1650s".

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  • Jury for Jewry, i.e. "in Judaea".
  • The use of deface in the final verse of the 1833 and 1961 versions has the archaic meaning of "efface; outshine, eclipse"; because of the now more familiar meaning of "spoil, vandalize", the New English Hymnal of 1986 and other more recent versions replace it with efface.

worldcat.org

  • "On Christmas Carrols" in The Beauties of the Magazines, and Other Periodical Works, Selected for a Series of Years (Vol. 2 of 2; 1775), printed for Gottlob Emanuel Richter, 87f.; OCLC 557616863, 83384270, 311914328
    "Beauties" in the series title is intended to denote works of literary merit. The author, identified as "C." (likely George Colman the Elder), rejects non-liturgical Christmas music by expounding the carol as an example of how
    "... an ignorant zeal in religion has occasioned many shocking sentiments to be broached that the greatest scoffers of Christianity would not dare to have uttered"
    He complains of
    "... having my ears pestered in every street this last week, by numberless women and children singing what they called Christmas carrols, but what, if I had heard them in an alehouse, or if they had been sung by drunken people in a night-cellar, I should have thought the most bare-faced reflections and the grossest buffoonry upon the most sacred subject that could be devised by the devil himself."
    C. says he bought the song-sheets of a woman singer –
    "[a] poor woman with two children bundled at her back and one in her arms, and who, I am persuaded, was very far from knowning what she said"
    to prevent her from continuing in her –
    "profane treatment of sacred subjects"
    and sends the text he found on the sheets to the magazine as an illustration of
    "the same carrols I have heard sung about the streets in this season for above these thirty years"
    (viz., since the 1740s).

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