Once in royal David's city Stood a lowly cattle shed Where a mother laid her baby In a manger for his bed Mary was that mother mild Jesus Christ her little child He came down to Earth from Heaven Who is God and Lord of all And his shelter was a stable And his cradle was a stall With the poor, and mean, and lowly Lived on Earth our savior holy I don't suppose there's a person in this room that doesn't find that, in some way, just extremely nostalgic, and there are various different reasons for it. It's mostly to do with our own association, but partly, it's to do with these wonderful words, which were written, or published in 1848 by Fanny Humphreys, later Mrs. Alexander, in her publication "Hymns for Little Children." And some of you here know I love my memorabilia, this is one of the copies, and I love the size of it. This is taken from this copy, but that's exactly it,"Hymns for Little Children," this is just one of them. And I think it's partly those words, they were designed for children, they're designed to promote nostalgia in the adults, as it were, although they're primarily written for children. And as a teenager herself, Mrs. Alexander loved children, indeed she ended up having four of her own. The priest-poet John Keble praised Fanny Alexander's poetry for its primitive devotion, it's primitive devotion, I think that's beautifully put. You may also know her hymns"All Things Bright and Beautiful" and "There Is a Green Hill Far Away," again, beautiful, child-like, not childish, but child-like texts. And the child-friendly nature of Mrs. Alexander's words promotes nostalgia for our own childhood. Any carol service or carol concert is a nostalgic thing anyway, it signals the birth of a new Christmas, and with it, the passing of another year. And for many Christians around the world, celebration of Christmas is a nostalgic reminder of an event that happened over 2,000 years ago in Bethlehem. Some refer to this feeling of longing for a past time that one hasn't lived through as proto-nostalgia. I'm not sure the term is necessarily terribly useful, but it's designed to show that you weren't actually there, so proto-nostalgia is for a time that you didn't yourself live through, a longing maybe for a simpler world, no frills, for instance the stable in Bethlehem. Two millennia on, Bethlehem looks a bit different. This the view from the little town of Bethlehem to the fields where the angel sang to the shepherds, and it's moved with the times. I won't comment on that view, but if you know what you're looking at, you know what you're looking at. Here's "O Little Town of Bethlehem" in the handwriting of the American Phillips Brooks, who wrote the words in the mid-19th century, and in 1903, the composer Ralph Vaughan Williams collected a folk tune that he thought would fit to the words of "O Little Town of Bethlehem." The man who sang the tune to Vaughan Williams in 1903 used to live in the village of Forest Green, near Leith Hill, in Surrey, where the young Vaughan Williams had grown up, so the tune itself, even though you didn't know it, had nostalgia for Vaughan Williams in terms of its provenance, and you know it. O little town of Bethlehem How still we see thee lie- And the tune is called "Forest Green" because the person that sang it to Vaughan Williams came from Forest Green. In 1905, so at the same time that Vaughan Williams was compiling tunes for"The English Hymnal," Vaughan Williams' musical rival, Henry Walford Davies, composed a tune for "O Little Town of Bethlehem." Walford Davies, you may know, was later master of the king's music, but much more importantly, he was a Gresham professor of music. Walford Davies' tune for "O Little Town" was so well respected that it was used in the Festival of Nine Lessons and Carols from King's from 1920 all the way through to 1948. O little town of Bethlehem How still we see thee lie- I think it's easy for us here to be nostalgic about Christmas tunes written by Henry Walford Davies, or collected and harmonized by Ralph Vaughan Williams, but let's see if I can promote nostalgia in something that a British audience in particular may not know. Reverend Phillips Brooks, who wrote these words, was rector of the Church of the Holy Trinity in Philadelphia. Brooks took a sabbatical and traveled to Palestine, where he attended an overnight service at the Church of the Nativity in Bethlehem on Christmas Eve of 1865. So first off, Brooks experienced gospel nostalgia just from being in Bethlehem and musing on the birth of Christ, but he also experienced nostalgia for the American children in his Sunday school back in Philadelphia, whose voices he still carried with him in his memory. The hymn's present tense readily conjures up a feeling of nostalgia. More than that, the hymn itself wasn't written as Brooks gazed out over the little town of Bethlehem, but almost three years later, when Brooks was back in America with his beloved Sunday school children, nostalgically relating to them the details of his visit to the Holy Land, so there are many levels of nostalgia just in the composition of the words. The organist at Reverend Brooks' church was Lewis Redner, who wrote the tune in a hurry.

"Reverend Brooks came to me on Friday, and said,"'Redner, have you ground out that music yet"'to "O Little Town of Bethlehem"?'"On the Saturday evening,"my brain was all confused about the tune."I thought more about my Sunday school lesson," good for him,"I thought more about my Sunday school lesson"than I did about the music,"but I was roused from sleep late in the night,"hearing an angel strain whispering in my ear,"and seizing a piece of music paper,"I jotted down the treble of the tune as we now have it."And on Sunday morning, before going to church."I filled in the harmony."Neither Mr. Brooks nor I"ever thought the carol, or the music to it,"would live beyond that Christmas of 1868." I mean why would you, but of course it has. And so now, in an attempt to engage you in some proto-nostalgia, we will sing you the original tune of "O Little Town of Bethlehem," which probably most of you don't know, and see if we can conjure up some mid-19th century nostalgia for this original tune, which, as Redner said, was dictated to him by angels. Oh little town of Bethlehem How still we see thee lie Above thy deep and dreamless sleep The silent stars go by Yet in thy dark streets Shineth the everlasting light The hopes and fears of all the years Are met in thee tonight- I don't suppose it will replace the Vaughan Williams tune, or indeed the Walford Davies, but I do think it's utterly beautiful, and it's very, very mid-19th century, and very American, and all the better for that. The famous Festival of Nine Lessons and Carols at King's, Cambridge is itself a nostalgic event. As I've rehearsed here many times, the first Festival of Nine Lessons and Carols at King's was in 1918, and while it was the first carol service of its type, it was primarily, at King's, a remembrance of those that had died in the First World War. King's College, like every other institution in Britain, lost an awful lot of people. I think, in King's, it was 101 people, which, given the size of the college at the time, is an enormous amount, but that's World War I, as you know. So King's lost a lot of people, so the service itself was a nostalgic event, and designed to be so, to commemorate those from King's College who had lost their lives in the war. But itself, it was also based on a service that was designed in 1880 at Truro Cathedral, there it is, the Nine Lessons with Carols, this is from that first service in 1880. And I've also given you the last page there, and you can see that, at the end of the service, there is the canticle, "The Magnificat," and in 1880, at this point, that canticle would have sounded as we'll sing to you in a moment, but I want to tell you how it got there. The Truro service had this"Magnificat" at the end, but it wasn't "The Magnificat" to the prayer book words you'd hear now if you went to evensong, but it was in the 16th century rhyming translation by Sternhold and Hopkins, the so-called old version of"The Whole Book of Psalms." This "Magnificat" itself was nostalgic because it was based on a very old tune from the 16th century. Here's the tune. This was a tune that was published first in 1562 in "Day's Psalter" as a tune to both Psalm 77 and Psalm 81, you're looking here at Psalm 81, and this is how it sounded in the 16th century. Be light and glad, in God rejoice, Which is our strength, our stay Be joyful and lift up your voice To Jacob's God, I say Prepare your instruments most meet Some joyful psalm to sing Strike up with harp and lute so sweet, On every pleasant string- I know, it's a very catchy tune from the 16th century, first published in 1562, and sung there to Psalm 81. That tune was widely used until the 19th century, when it appeared in "Hymns Ancient and Modern" in 1861 under its editor William Monk. William Monk was a London church musician who composed to the tunes to, you will know,"All Things Bright and Beautiful" and "Abide With Me." And this 16th century tune came to be applied to "The Magnificat," and it had 19th century harmonies put to it. My soul doth magnify the Lord My spirit evermore rejoiceth in the Lord my God Which is my savior And why, because he did regard And gave respect unto So base estate of his handmaid And let the mighty go- That is the tune to which "The Magnificat" would have been sung in the Truro Festival of Carols from 1880 onwards, and so that would have been the tune that was associated with "The Magnificat" for carol services in people's heads. So when Charles Wood, from the neighboring Caius College, just next door to King's College, was asked to write a setting of "The Magnificat" for that first 1980 carol service, of course, he based his"Magnificat" setting on the tune that everybody knew. But what he did, in a very subtle way, he just made it a little bit more interesting, bits unaccompanied, changed the harmonies here and there, had little bits of imitation between the singers. This is just how the first verse sounds, but what you should now be hearing is a 16th century tune that was very well known until the 19th century, which then had 19th century harmonies applied to it, which were then applied to "The Magnificat," people were happy with that, and then Charles Wood came along and, in my opinion, in an extraordinary way, respecting the nostalgia of all the earlier material, just made it a little bit more exciting, and it is the first King's College Cambridge commission for the Festival of Nine Lessons and Carols. My soul doth magnify the Lord My spirit evermore rejoiceth in the Lord my God Which is my savior And why, because he did regard And gave respect unto So base estate of his handmaid And let the mighty go- A remarkable achievement, respecting its roots and showing that less is more, just enough change to make it a new piece, but absolutely respecting its tradition. Staying with the First World War, but going to the beginning rather than the aftermath, there was the Christmas truce of 1914, which you all will be familiar with. This is a perfect example of proto-nostalgia: none of us was there, but we can feel nostalgia for that story of the Christmas truce, when they played football together, famously, and sang together. A key player in the Christmas truce was Walter Kirchhoff, a German officer and some-time member of the Berlin Opera, and Kirchhoff's singing of the carol "Silent Night," in both German and English, is credited with setting off the exchange of songs between the enemy soldiers, and the effect might have been something like this. Stille Nacht, holy night Alles schlaft, all is bright Nur das traute hochheilige Paar Holder Kanbe im lockigten Haar Sleep in heavenly peace Schlaf in himmlischer Ruh- 10 years ago, UNESCO declared "Silent Night" an intangible cultural heritage, which indeed it is. The hymn, carol"While Shepherds Watched Their Flocks by Night" is loaded with nostalgia. Tate and Brady published their "New Version of the Psalms" in 1696, their rhymed psalms, in 1696, and it had a supplement four years later,"The Supplement to the New Version of the Psalms." And "While Shepherds Watched" was one of the 16 hymns printed in that 1700 supplement, so what you're looking at here is the words as they appeared in 1700 for the first time.

between 1700 and 1782, it was the only Christmas hymn authorized for use by the Church of England. Between 1700 and 1782, the only Christmas hymn you could sing in the Church of England was "While Shepherds Watched," so that's eight decades as the only Christmas hymn. And when those words were published in 1700, there was no tune attached, so obviously, it ended up attracting a huge variety of tunes. The one that's most common today is known as "Winchester Old." While shepherds watched their flocks by night All seated on the ground- But in the 18th century, when you've got over eight decades of it being the only tune, it's not surprising what happened, which was that every little village, every particular area had its own tune, they wrote these tunes for themselves, and loyalty to that tune, like anything local, was often very deeply rooted. This tune particularly had currency with the so-called west gallery choirs. These west gallery choirs sang from the west gallery, and they began to be disbanded in the mid-19th century. If you have read, or know about the first of Thomas Hardy's Wessex novels,"Under the Greenwood Tree," written in 1871-2, about an earlier time, then you'll know what's being depicted here. Originally, "Under the Greenwood Tree" was known as "The Mellstock Choir," and Mellstock was a fictional representation of Stinsford, and Stinsford was Hardy's birthplace. In the 1830s, and we have Thomas Hardy's drawing of it, drawing how the west gallery looked, who was standing where, which voice parts were standing where, and also proudly showing his father, confusingly also Thomas Hardy, and his uncle, James Hardy, playing violins, and his grandfather, even more confusingly also Thomas Hardy, playing the cello. So we'll reconstruct our own west gallery choir, which is a mixture of instruments and voices. Interestingly, in Stinsford, in Thomas Hardy's choir, they didn't have woodwind instruments, as we're about to have, they eschewed everything that wasn't catgut apparently, so it was just strings for Thomas Hardy, but we're going to use some woodwind instruments as well. And we'll sing you a couple of carols that are found in Thomas Hardy's grandfather's book, so these are the sort of carols that we know were sung. We'll segue them together, but here are just two versions, just two of many, many hundreds of versions, of "While Shepherds Watched." The thing to listen for in particular, because this absolutely personifies what west gallery carols were about, is that there's repeated words at the end, and dotted rhythms at the end, so that's the thing to look out for. Anyway, here's our west gallery choir as it might have been heard at the beginning of the 19th century.(jolly bassoon riff) While shepherds watched their flocks by night All seated on the ground The angel of the Lord came down And glory shone around, and glory shone around And glory shone around While shepherds watched their flocks by night All seated on the ground The angel of the Lord came down And glory, glory, glory shone around And glory shone around, around And glory shone around, around And glory shone around- I think that's a very good representation of a village choir, me.(audience laughs) That business of the repeated words at the end of the verses, and those dotted rhythms at the end of the verses, that was exactly the thing that "Hymns Ancient and Modern" cut out. The editor, William Monk, it became known as the Rule of Monk, basically anything that's interesting won't do, in particular, repeated things and dotted rhythms, and if there's more than one note to a syllable, that won't do, that was the job of "Ancient and Modern," to clear out all that kind of music-making. And, as I say, if you haven't read it, do read "Under the Greenwood Tree," it's a beautiful novel, but a very sad novel because it's about getting rid of these people, the west gallery choirs, and bringing in the horrors of a harmonium, or even worse, a pipe organ."While Shepherds Watched" creates different nostalgia in the North of England. Even though the tune "Cranbrbook" was composed by a Canterbury cobbler, it's now championed in the North of England. As we know it in the South here, it's "On Ilkley Moor Baht 'at" but in the North, it's known as "While Shepherds Watched." While shepherds watched their flocks by night Flocks by night All seated on the ground The angel of the Lord came down, of the Lord came down The angel of the Lord came down Glory be to God on high And glory shone around, and glory shone around And glory shone around- We've never yet had the nerve to do that at St. Luke's, Chelsea. We'll slip it in one day, when we're ready to leave, when we think it's on the cards, we'll put that in, it is a wonderful, wonderful hymn. The earliest carol is itself nostalgic almost by definition, and I'll get Ruth to read it to you now, but I'll get her to read it in modern English, and it will generally work for you. Some of the rhymes won't be great, the word wam means sin, in the second verse, just so you know. But anyway, this is the earliest surviving Christmas carol.- "Hand by hand we shall us take,"and joy and bliss shall we make,"for the Devil of Hell, man hath forsake,"and God's Son is made our make."A child is born amongst man,"and in that child was no wam."That child is God, that child is man,"and in that child our life began."Hand by hand we shall us take"and joy and bliss shall we make,"for the Devil of Hell, man hath forsake,"and God's Son is made our make."- I'm always talking about the time machine, I really need it for this one, I need to go back to the mid-14th century and find what the tune was to that carol, because, sadly, it doesn't survive. But what I can do is show you the earliest Christmas carol that survives with its music, here it is,"Lolay, Lolay, As I Lay on Yule's Night." It dates from around the same period, from 1350, but brilliantly, not in the same manuscript, but we have the words, and at this point,

"Lolay, lolay, as I lay on Yule's Night,"alone in my longing,"methought I saw a well fair sight,"a maid, her child rocking." On the basis of the dialect of its text, it hails from the East Midlands, and this carol is picturesque, almost filmic. The first verse sees the poet lying in bed on Christmas Night. As his imagination wanders, he conjures up the image of a young woman rocking her newborn baby to sleep. The young woman is Mary, and the infant is Jesus. From the second verse onwards, the drama is played out in the mind's eye of the poet. Mary tries to bed Jesus down, but without singing to him. Jesus, the baby, remember, Jesus asks that Mary sing him a song about himself, as other mothers do to their children. Mary readily acquiesces, but maintains that, apart from being told by the Angel Gabriel that she was to give birth to the messiah, she knows very little, nevermind that some of us might think that was quite a lot. Mary recounts to Jesus how she gave birth painlessly on Midwinter Night, and how the shepherds heard angels singing of the glorious birth. Jesus then takes over the story, and foretells the events of his life, from the visit of the three kings after 12 days, through crucifixion and resurrection. At the final verse, we pan back to see the poet in a holiday haze, intent on convincing us that his Christmas vision was indeed real. In his words,"Certainly this sight I saw,"this song I heard sung,"as I lay on Christmas Day alone in my longing." We'll perform, not every verse, we'll perform some of this carol, because it's a beautiful carol, and as I say, nostalgic by definition, it's the earliest surviving Christmas carol in English, with music.

basically, if you hum along the refrain with us, the burden with us, the thing that occurs at the beginning and after every verse, I think that will help the lullaby effect. First of all, I'll just sing you the tune so you know what it is you're going to hum along to. Lolay, lolay, lolay, lolay My dear mother, sing lolay I'll just sing you the first half, and then you copy that. Lolay, lolay, lolay, lolay Hum with me. Lolay, lolay, lolay, lolay

My dear mother, sing lolay Hum along. My dear mother, sing lolay What a wonderful thing to have a Gresham audience, terrific. So you join in every time that burden, in other words, that refrain at the beginning and after each verse occurs. So the characters here are the poet, Henry, who's going to introduce it, and then, at the end, claim that he really did see what he saw, then we have the baby Jesus, portrayed by Helly, we have the Virgin Mary, portrayed by Billie, and then Henry will come in at the end. Anyway, be involved in a performance of the earliest surviving carol in English with music. Lolay, lolay, lolay, lolay My dear mother, sing lolay As I lay on Yule's Night alone in my longing I thought I saw a well fair sight A maid, her child rocking Lolay, lolay, lolay, lolay My dear mother, sing lolay Sing thou mother, said the child What shall to me befall Hereafter when I come 'til old For so do mothers all Lolay, lolay, lolay, lolay My dear mother, sing lolay He greet me goodly on his knee And said, hail Mary Hail, full of grace God is with thee Thou bearen shalt messiah Lolay, lolay, lolay, lolay My dear mother, sing lolay I answered blithely For that his word we paid Lo, God's servant here am I Be it as thou me said Lolay, lolay, lolay, lolay My dear mother, sing lolay The shepherds waked in the wold They heard a wundermirth Of angels there As them they told the tiding of thy birth Lolay, lolay, lolay, lolay My dear mother, sing lolay Certainly this sight I saw This song I heard sing As I me lay this Yule's Day Alone in my longing Lolay, lolay, lolay, lolay My dear mother, sing lolay- Thank you. As we've heard, the original tune of "O Little Town of Bethlehem" was apparently dictated by angels to Lewis Redner. A running thread through Christmas carols is the angel's refrain, as it appears in the second chapter of St. Luke's Gospel,"And suddenly, there was with the angel"a multitude of the heavenly host"praising God, and saying,"'Glory to God in the highest,"'and on Earth, peace,"'goodwill to all men.'" If you recognize those words, it may promote nostalgia for Handel's "Messiah" in the first place, it may promote nostalgia for the King James Version of the Bible, but what it does tell us is that the angel's refrain, the earliest Christmas carol, if you will, is, "Glory to God in the highest,"and on Earth, peace,"goodwill to all," or in Latin, "Gloria in excelsis Deo,"et in terra pax hominibus bonae voluntatis." And I've just made a list of just a very few carols that involve that angel's refrain in some way. so in other words,"Angels from the Realms of Glory," the refrain there is"Gloria in excelsis Deo,""Ding Dong Merrily on High," the refrain there is "Gloria hosanna in excelsis,""A Great and Mighty Wonder," at the top there, that's "To God on high be glory, and peace on Earth to men,""Hark! The Herald Angels Sing," the refrain there is "Glory to the newborn king,""The Sussex Carol" ends,"Glory to God and peace to men"now and forevermore, amen,""While Shepherds Watched," as we've heard, ends, "All glory be to God on high"and to the Earth be peace, goodwill henceforth"from Heaven to men"begin and never cease." And the one I've left out is"See Amid the Winter's Snow," and this is very important to us because its composer, John Goss, was director of music at St. Luke's, Chelsea in the 1820s and the 1830s. Indeed, he was our first director of music. The angel refrain here, in his wonderful carol "See Amid the Winter's Snow," is simply "Peace on Earth." Say, ye hold shepherds say What your joyful news today Wherefore have ye left your sheep On the lonely mountain steep Hail thou ever-blessed morn Hail redemption's happy dawn Sing through all Jerusalem Christ is born in Bethlehem As we watched at dead of night Lo, we saw a wondrous light Angels singing peace on Earth Told us of the savior's birth Hail thou ever-blessed morn Hail redemption's happy dawn Sing through all Jerusalem Christ is born in Bethlehem- As I say, obviously a nostalgic carol for us because it was written by what I grandly like to think of as my predecessor, I wouldn't put it like that, but the first director of music at St. Luke's, Chelsea anyway. And anything that has the angel's refrain in it clearly has some nostalgia associated with it because it refers to that very same Christmas, the angels singing that very first Christmas carol. Also associated with nostalgia, I think, is the whole folk tradition, and there are many folk carols that have been chosen for use as Christmas carols. Here's one that you'll know."What child is this," are the words, the words by William Chatterton Dix, who wrote them in 1865, set to the tune "Greensleeves," here applied by John Stainer in 1867. The tune "Greensleeves" was first published in 1580 as a single tune, no copy survives. I've put here, from the First Folio, an interesting reference in 1597 in Shakespeare's "The Merry Wives of Windsor," Act V, Scene V,"Let the sky thunder to the tune of "Greensleeves."" So at that point, at the end of the 16th century,"Greensleeves" seemed to have been a very vigorous tune, a vigorous dance indeed. Certainly by the time it's come to the 19th century, and Stainer gets his hands on it, and applies it to these words, clearly, it's become a slow ballad. What child is this who, laid to rest On Mary's lap is sleeping Whom angels greet with anthems sweet While shepherds, watch are keeping This, this is Christ the King Whom shepherds guard and angels sing Haste, haste to bring him laud The babe, the son of Mary- Full marks to John Stainer for putting those words to that beautiful folk song. Again, built-in nostalgia. We can also have nostalgia for something with a nice story behind it, and the story of the boar's head is a good story. A 15th century student in Oxford was approached by a wild boar on the outskirts of Oxford, kills it by shoving a book down its gullet, and takes it back to Queen's College, having attended mass, before getting it roasted for all the college to eat. I conducted the music at Queen's College eight years ago for the Boar's Head Ceremony, and I feel annual nostalgia for the event. In fact, there's definitely at least one other here that would have been involved at that time, yes indeed, Ethan was, and I expect you do as well, annual nostalgia for the Boar's Head Ceremony, it's an extraordinary thing. Here are some words that survive from way after the event, but this is from 1521, it doesn't have the music with it, and it's just the last page that survives of a carol book, so it's tantalizing, but at least we've got the date, 1521."Caput apri defero,"reddens laudes Domino,"the head of a board I bring,"giving praises to the Lord." Again, you've got the nostalgia associated with the language of Latin, and the Greek book that the student shoved in the throat of the wild boar. The refrain, you'll see some other Latin there,"Qui estis in convivio,"you who are in the feast,"servite cum cantico,"serve with a song." We'll sing you this, and I make an apology in advance, the fact is, the words don't fit terribly well. As it goes on, the first verse is all right, but as the second and third, the third verse in particular, so if we don't appear quite to know what we're doing, shall we blame it on the poetry, and not on any ability of the basses, shall we say?(audience laughs) Anyway, here is "The Boar's Head Carol." Caput apri defero Reddens laudes Domino The boar's head in hand bring I With garlands gay and rosemary I pray you all sing merrily Qui estis in convivio Caput apri defero Reddens laudes Domino The boar's head, I understand Is the chief service in this land Look wherever it be found Servite cum cantico Caput apri defero Reddens laudes Domino Be glad, lords, both more and less For this hath ordained our steward To cheer you all this Christmas The boar's head with mustard Caput apri defero Reddens laudes Domino- Good effort, well done.(audience laughs) To close, the term nostalgia, as I said in the lecture about music and nostalgia in general, was coined to describe the feeling of homesickness experienced by 17th century Swiss mercenaries, and the nostalgia in their case was often brought on by simple things like the passing of the seasons, e.g. Christmas, and we may experience it from all the Christmas music, but also things, I certainly do experience nostalgia, for instance, for the BBC Television Christmas idents. 20 years ago, the red and orange balloon, remember that? My favorite, the skating penguins of 2007, or the frankly bizarre sprout boy of 2015, all these things, rightly or wrongly, promote nostalgia. Folk carols, as we've heard there in the wonderful application of "Greensleeves" to "What Child Is This," folk carols, with their heritage, promote nostalgia at all. Carol services, carol concerts, with their frequent references to the Victoria era, with its snow and its mistletoe, carol services, carol concerts are full of nostalgia by design. West gallery tunes, taking us back to the west gallery singers of Thomas Hardy's second novel"Under the Greenwood Tree." Nostalgia, or as it's called in the social sciences, atavism, the tendency of modern people to revert to the thinking and acting of a former time, Christmas carols do that very well. Proto-nostalgia, nostalgia for a time you were never alive in, one gets that almost with every carol referring to Bethlehem. Geographical nostalgia, Bethlehem, five us, certainly, here tonight took a trip to Palestine, sang in the West Bank, all around it, and were there in Bethlehem. And Helly and I took our daughter, who was eight months-old at the time, now that's meta-nostalgia, we took a baby, our baby to Bethlehem, we took a baby to Bethlehem, baby-central, that is meta-nostalgia. And gastronomic nostalgia, the famous example of that being Marcel Proust, who eats a bit of cake, sparks off 3,000 pages of nostalgia. I had a proto-gastronomic Christmas nostalgia in the early 1990s, when Andrew Carwood, now director of music at St. Paul's Cathedral, coked a dozen of us wild boar. Wild boar used to be the English meat of choice for Christmas, but when James I came down from Scotland, in Scotland, you weren't allowed to eat swine, so he forbade the eating of swine for Christmas, so we lost the wild boar, and eventually took the turkey from New England, but I had a proto-gastronomic Christmas in the early '90s. Or we might have nostalgia for the Latin language. Several times over the years, I've been asked by members of various congregations if they can sing some carols with the original Latin words,"Puer nobis nascitur," rather than, "Unto us, a boy is born,""Adeste fideles," instead of "O come all ye faithful,""Personent hodie," instead of,"On this day, Earth shall ring,""Quem pastores," instead of,"While their flocks the shepherds tended," and occasionally I have asked congregations to sing in Latin. With some, it goes down very well as a nostalgic remembrance of learning Latin, with others, not so much. One of the best-loved of all carol collections is entirely in Latin, and we'll finish with an extract from that. The "Piae Cantiones" is a retrospective collection designed for use by schoolchildren. It was compiled in 1582 by Jaakko Suomalainen, James the Finn, or Jim the Finn. He was headmaster of the cathedral school at Turku, in Finland. And as we saw right at the beginning with "Once in Royal," Mrs. Alexander's wonderful verses, child material is great for promoting nostalgia, and this is child material that was compiled in 1582 by Jaakko Suomalainen, a headmaster of a cathedral school. Also, some of you here may have secondary nostalgia for this. The carol that we're about to sing, "Gaudete," hit the charts in 1973, sung by the English folk-rock band Steeleye Span, and that promotes nostalgia in people of my age. Referring back to the lecture in September, if you were a girl of 13 in 1973, or a boy of 14 in 1973, that's bang in the middle of your reminiscence bump. I'm fairly close to it, and whether I like it or not, I have nostalgia for this carol, not particularly for the 16th century version of it, which I should do, but for the Steeleye Span version, which hit the charts in the 1970s. Gaudete, gaudete Christus est natus ex Maria virgine, gaudete Tempus adest gratiae Hoc quod optabamus Carmina laetitiae Devote reddamus Gaudete, gaudete Christus est natus ex Maria virgine, gaudete Deus homo factus est Natura mirante Mundus renovatus est A Christo regnante Gaudete, gaudete Christus est natus ex Maria virgine, gaudete Ezechielis porta Clausa pertransitur Unde lux est orta Salus invenitur Gaudete, gaudete Christus est natus ex Maria virgine, gaudete Ergo nostra contio Psallat iam in lustro Benedicat Domino Salus Regi nostro Gaudete, gaudete Christus est natus ex Maria virgine, gaudete Gaudete, gaudete Christus est natus ex Maria virgine, gaudete(audience applauds)