Come O Thou Traveller Unknown

Originally set out in 1740 over 14 verses, to this day we keep

12 verses in our hymn book – today we’re talking about “Come

O Thou Traveller Unknown”, Charles Wesley’s retelling and

interpretation of Jacob’s wrestling adventure. Highly

praised by hymn writer Isaac Watts, this hymn has frequently

been presented with a choice of tunes.

Across these verses we find a broad range of expression – so

the preacher will first want to select their verses (unless

you’re brave enough to ask a congregation to sing all 12!).

There is a turning point midway through, with verse 6 posing the

question “tell me if thy name is Love” ? and the following verses

all confidently declaring “thy nature and thy name is Love”.

The first tune has long been Wrestling Jacob, written by

Charles Wesley’s grandson, which moves along lightly and

highlights the end of the fourth line by dipping into the minor

key. This contrasts helpfully with the forthright melody and

declarations of lines 5 and 6. Here’s the first verse as an

example:

♫ To Wrestling Jacob: v1

The final pair of lines in each verse have a character of their

own, and various tunes have highlighted them. Hymns and

Psalms has a version of the older tune David’s Harp –

written by Robert King sometime before 1713 and adapted by John

Wilson. It gives a musically adventurous congregation the

option to split lower and upper voices for the final two lines.

An alternative from our friends in the USA, Ye Banks and Braes –

a Scottish folk tune, lends emphasis to the final two lines

in two ways. The first encounter with the final two lines is the

highest point in the tune, with larger leaps punctuating the

phrasing. To finish the tune, we then need to repeat these two

lines, giving an extra opportunity to appreciate their

meaning. Hear how that works in verse 9:

♫ To Ye Banks and Braes: v9

A modern tune, Poole, written by Nicola Morrison offers a

distinct take on these classic words. The opening 3 lines float

a delicate, wondering melody over a simple accompaniment.

The 4th line is given added strength by the upwards leap,

and the final two lines drive forward and lend a weight to the

closing declarations of each verse. Unusually, the tune

remains in the minor key, even for the undoubtedly positive

message of the final line. It’s a serious message, and the short

bridging phrase between the verses offers a chance to wonder

at the nature and name of our God. We’ll finish today with

verse 7 to Poole – which was the closing verse selected for the

1933 Methodist Hymn Book’s abbreviated version.

♫ To Poole: v7 (‘Tis Love! ‘Tis Love! Thou diedst for me!)

Thanks for listening to songs we sing and how we sung them. A

podcast by Jennifer Radke. Acknowledgments links and a

transcript for this episode can be found in the show notes at

podcasts dot stray song.co.uk And if you've enjoyed this

episode, you can subscribe wherever you get your podcasts