Rejoice in the Lamb has a duration of about 17 minutes. [20] The beginning lines of the poem state the function of this action when they read, "Let Noah and his company approach the throne of Grace, and do homage to the Ark of their Salvation" (A4). The poem was first published in 1939, under the title Rejoice in the Lamb: A Song from Bedlam, edited by W. F. Stead from Smart's manuscript, which Stead had discovered in a private library. [19] This pairs continue to go on until the poem turns to creatures from Pliny at B245. Alto. Text of Rejoice in the Lamb The piece opens with a hushed but anticipative statement by the boys and organ. [20], The pairing slowly breaks down when later figures, such as political leaders, enter into the poem. [20] Figures, such as Abraham, Balaam, and Daniel are paired with animals mentioned directly in relationship with each other in their Biblical accounts, while others, like Isaac, are slightly more obscure are paired with animals that were involved in an important aspect of their life. 30) is a festival cantata for four soloists, SATB choir, and organ composed by Benjamin Britten in 1943 and based on the poem Jubilate Agno by Christopher Smart (1722-1771). [23] However, the pairing resumes in "Fragment C" when Biblical names from the Book of Ezra and the Book of Nehemiah are combined with various plants and herbs. The image of "horns" in Jubilate Agno is commonly viewed as a sexual image. Innocence of the Lamb “The Lamb” is one of William Blake’s famous poems from his book Songs of Innocence published in 1789. "Smart's Bawdy Politic: Masculinity and the Second Age of Horn in Jubilate Agno. "[10] Reinforcing this view of a parallel between the two sides is the fact that Christopher Smart's influence, Robert Lowth and his Lectures on the Sacred Poetry of the Hebrews, spends a large portion of his work exploring the "parallelism" found in "Hebrew verse. It is based on extracts from the poem Jubilate Agno 1 by Christopher Smart. [20] Biblical priests follow the Patriarchs, and their animal companions are the unclean animals from Deuteronomy. The poem, written while Smart was in an asylum depicts idiosyncratic praise and worship of God by all created beings and things, each in its own way. Rejoice in God, O ye Tongues; give the glory to the Lord, and the Lamb. Let Asaph rejoice with the Nightingale—The musician of the Lord! Rejoice in the Lamb is far more uplifting than its subject matter might suggest. While neither woman has an awareness of the other, both are being forced into unwanted roles and situations by their respective societies. Smart's plan was to arrange the Let and For passages opposite one another antiphonally, following a practice of biblical Hebrew poetry, and that the present MS. represents less than half of Smart's original plan for the poem. [5] He had nothing else but to turn inwards and devote himself to God and his poetry. Rejoice in the Lamb by Kemuel DeMoville “Rejoice in the Lamb” tells the story of two women named Agatha living at opposite ends of the century, yet inhabiting the same rundown house. Listen to Rejoice In The Lamb from Benjamin Britten's Britten: Saint Nicolas, Hymn To St Cecilia & Rejoice In The Lamb for free, and see the artwork, lyrics and similar artists. [15] Jubilate Agno reflects an abandonment of traditional poetic structures in order to explore complex religious thought. Alston based the piece on Benjamin Britten’s cantata adaptation of the work of 18 th century poet Christopher Smart, a man who was incarcerated in an asylum – along with his cat Jeoffry – for religious mania. Literal Standard Version but do not rejoice in this, that the spirits are subjected to you, but rejoice rather that your names were written in the heavens.” NET Bible Nevertheless, do not rejoice that the spirits submit to you, but rejoice that your names stand written in heaven." Smart suffered from a form of religious mania and the words lurch from genius to insanity, verse by verse. [8], Editing the work in 1950, W.H. Network Three, 19 December 1966 16.15. Stream songs including "Te … [36] As such, Smart is attempting to develop a poetic language that will connect him to the "one true, eternal poem" of God. [39] Easton puts particular emphasis on the image of horns as a phallic image and contends that there are masculine and feminine horns throughout Smart's poem. 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