in 1858. Other hymns sung to the same tune include "Jesus, thy blood and righteousness" and "Jesus, thy church with longing eyes", and "Volk Gottes, zünde Lichter an" (GL 374) by , a song for Purification (Darstellung des Herrn). The hymn is part of the German Protestant hymnal Evangelisches Gesangbuch as EG 72. It is part of the German Catholic hymnal Gotteslob of 2013, as GL 485 in the section Ökumene (Ecumenism), omitting the second stanza. It is also part of other hymnals and songbooks. Text "" is in six stanzas of four lines each. Written in the first person plural, it addresses Jesus as the true light and prays for enlightenment and rescue for those outside of the community. The text is given as in modern hymnals, and in Winkworth's translation, which omitted the fourth stanza: "" addresses Jesus as the true light, and prays to enlighten the heathen, or gentiles. The readings for the feast of the Epiphany are from the Book of Isaiah, "Arise, shine; for thy light is come, ... And the Gentiles shall come to thy light" () and the narration of the Three Kings (). Heermann interprets the heathen in the traditional way as those who do not know Jesus ("die dich kennen nicht") in the first stanza, but also, in the following four stanzas, as those who live in error ("Irrtum"), have gone astray ("verlaufen"), are delusioned ("verblendt"), separated ("getrennt"), dispersed ("zerstreuet") and in doubt ("im Zweifel"). His focus is on the latter group, meaning especially those who do not follow the teachings of the Reformation. The poet calls to pray for them, not to fight them. The final stanza is a short doxology, with the vision that all together may praise Jesus on Earth and in Heaven for his grace. Tune and musical settings In early prints, the hymn was indicated to be sung to the melody of "Nimm von uns Herr, du treuer Gott". The text was combined from 1854 with a 1676 anonymous lively melody in triple metre from Nürnberg, which was first used for "Herr Jesu Christ, meins Lebens Licht". It became the tune for other hymns. Felix Mendelssohn used two stanzas in his Paulus oratorio, which were translated by W. Ball for the English libretto in 1836. Max Beckschäfer composed a three-part vocal setting (SSA) with optional organ in 2012, with the melody in the middle voice. References