In the Christian year, Epiphany is usually celebrated on January 6, commemorating the coming of the Magi as being the first manifestation of Christ to the Gentiles. Bishop Christopher Wordsworth first published this Epiphany hymn recounting several manifestations of Christ’s divinity in his Holy Year, 1862, with this heading: “Sixth Sunday after the Epiphany: Recapitulation of the subjects presented in the services of former weeks throughout the season of Epiphany; and anticipation of the future great and glorious Epiphany, at which Christ will appear again, to judge the world.” 

Christopher Wordsworth was born on October 30, 1807, at Lambeth, England, and educated at Winchester and at Trinity College. A brilliant scholar in both the classics and mathematics, he was appointed a fellow, and classical lecturer, at Cambridge. Other career posts were headmaster of Harrow (1836); canon of Westminster (1844); and bishop of Lincoln Cathedral (1869-1884). A prolific writer, he produced a Commentary on the whole Bible. His poetical output was influenced by his uncle, poet laureate William Wordsworth, whom he often visited and corresponded with. 

Christopher Wordsworth’s Holy Year, noted above, contained hymns for every season of the year. Of these, 117 were his own; 82 hymns were from other sources. He considered hymns to be a valuable means of stamping permanently upon the memory the great doctrines of the Christian church. He drew his inspiration from Holy Scripture, and sought and found Christ everywhere in the New Testament. He felt that Gospel history was only the history of what “Jesus began to do and teach” on earth; the Acts of the Apostles and all the Epistles were the history of what He continued to do and to teach from heaven; and the Revelation (perhaps Wordsworth’s favorite book) was the seal of all. Wordsworth also wrote SDAH 382 and SDAH 383, “O Day of Rest and Gladness”; and SDAH 589, “Holy Spirit, Gracious Guest.” He died at Harewood, near Leeds, Yorkshire, on March 20, 1885. 

RILEY was composed by Martin Shaw (1876-1958; see Biographies) and printed in his Additional Tunes and Settings in Use at St. Mary’s, Primrose Hill, London, 1915, where he was the organist. The repeated notes at the ends of phrases give it a definite “Irish” flavor.