Psalter Hymnal (Gray) ‎#393

393. O Sons and Daughters

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Alleluia, alleluia,
alleluia, alleluia!

1 O sons and daughters of the King,
whom heavenly hosts in glory sing,
today the grave has lost its sting.
Alleluia!

2 That Easter morn at break of day,
the faithful women went their way
to seek the tomb where Jesus lay.
Alleluia!

3 An angel clad in white they see,
who sat and spoke unto the three,
"Your Lord has gone to Galilee."
Alleluia!

4 When Thomas first the tidings heard
that some had seen the risen Lord,
he doubted the disciples' word.
Lord, have mercy!

5 At night the apostles met in fear;
among them came their Master dear
and said, "My peace be with you here."
Alleluia!

6 "My pierced side, O Thomas, see,
and look upon my hands, my feet;
not faithless but believing be."
Alleluia!

7 No longer Thomas then denied;
he saw the feet, the hands, the side.
"You are my Lord and God!" he cried.
Alleluia!

8 How blest are they who have not seen
and yet whose faith has constant been,
for they eternal life shall win.
Alleluia!

Final Ending:
Alleluia, alleluia,
alleluia, alleluia!

Text Information

• First Line: O sons and daughters of the King
• Title: O Sons and Daughters
• Translator: John M. Neale (1851, alt.)
• Meter: 888 with alleluias
• Language: English
• Publication Date: 1987
• Scripture:
  Matthew 28:1-7
  ;
  John 20:19-29
  ;
  1 Corinthians 15
• Topic: Biblical Names & Places: Thomas; Doubt; Profession of Faith; Easter; Alleluias; Eternal Life
• Source: Early 16th cent.

Tune Information

• Name: O FILII ET FILIAE
• Meter: 888 with alleluias
• Key: g minor
• Source: Airs sure les hymnes sacrez, odes et noëls, Paris, 1623

Text Information:

Scripture References:
st. 1 = 1 Cor. 15:55
st. 2 = Matt. 28:1
st. 3 = Matt. 28:2-7
st. 4 = John 20:24-25
st. 5 = John 20:26
st. 6 = John 20:27
st. 7 = John 20:28
st. 8 = John 20:29

This hymn was written in Latin by Franciscan (Minorite) friar Jean Tisserand (b. France, 15th century; d. 1494); it was found in an untitled booklet printed in Paris between 1518 and 1536. Tisserand's text, which began "O filii et filiae, Rex coelestis," was preceded by three "alleluias" and concluded by one. Several additional Latin stanzas were added at a later date. A popular preacher, Tisserand also composed other hymns in French and Latin. In 1492 he founded the Refuge of St. Madeleine, an institution for the rehabilitation of prostitutes.

John M. Neale (PHH 342) translated the text into twelve stanzas, which were published in his Medieval Hymns and Sequences (1851). That translation appeared in an altered form in Hymns Ancient and Modern (1861) and in various other hymnals. Neale's stanzas 1, 3, 5-7, and 8-10 form the present text.

Like 211, this hymn is a narrative Easter carol; it begins with the Easter gospel from Matthew 28:1-10 (st. 1-3) and concludes with the doubting Thomas story from John 20:19-29 (st. 4-8). This hymn and 394 are the two Easter hymns dealing with Thomas.

Liturgical Use:
Because the narrative covers two Easter season Sundays, the stanzas can be divided as follows: for Easter Sunday morning, stanzas 1-3, 5, and 8; for Easter evening, stanzas 1-4 and 8; for the Sunday after Easter (which usually includes the doubting Thomas story), Stanzas 1 and 4-8. Stanza 8 is appropriate at any time as a sung beatitude.

--Psalter Hymnal Handbook

Tune Information:

Although it was not published until 1623 in the Parisian collection Airs sur les hymnes sacrez, odes et noels in four parts, O FILII ET FILIAE is thought to be contemporaneous with the text. The tune appears with small variations in a number of later songbooks and hymnals.

A joyful tune, O FILII ET FILIAE is appropriate for unison singing, but some of the stanzas and the final set of "alleluias" could easily be sung in parts. Sing the opening "alleluias,” which frame the entire carol, once at the beginning and once again at the conclusion. Use strong accompaniment for the "alleluias" and lighter accompaniment for the stanzas. This folk-dance tune needs to proceed with one pulse per bar. Harmony singing and accompaniment must not slow down the tune's dance-like character.

--Psalter Hymnal Handbook