‘Blessed be the time that apple taken was!’

A contribution to a virtual Advent Calendar of art, music and poetry compiled by members of Deo Gratias, a circle of Catholics in their twenties & thirties meeting fortnightly in London to discuss artistic and cultural expressions of the Christian faith.

Adam lay ybounden,
Bounden in a bond;
Four thousand winter
Thought he not too long.

And all was for an apple,
An apple that he took.
As clerkës finden 
Written in their book.

Ne had the apple taken been,
The apple taken been,
Ne had never our ladie
Abeen heav’ne queen.

Blessed be the time
That apple taken was:
Therefore we moun singen
Deo gratias.

This carol is one of several medieval lyrics, sacred and secular, that are preserved in a remarkable and unique fifteenth-century manuscript, possibly originating from Bury St. Edmunds, and now held at the British Library (Sloane MS 2593).  Like many medieval verses it is macaronic, combining Latin and the vernacular, and, as well as offering an aching glimpse into medieval Catholic England, it expresses in a nutshell one of Christianity’s great theological paradoxes, the ‘felix culpa’ or ‘happy fault’ — the realisation that, in so far as Adam’s sin led to our redemption by Christ, we may actually rejoice that the sin occurred, so wonderful is that redemption.  We hear it in the Exsultet at the Easter Vigil: ‘O happy fault; O necessary sin of Adam, which won for us so great a Redeemer!’

Wearing its learning lightly, and with (I think) a particularly English humour, this carol expresses the same idea, but this time with respect to Mary.  The carol begins with Adam ‘bounden in a bond’, an allusion to the medieval idea that he lay in limbo until Christ’s Harrowing of Hell on Holy Saturday.  I love the wry humour of the lines ‘Four thousand winter / Thought he not too long,’ which strike me almost as brotherly teasing; the same with ‘And all was for an apple, / An apple that he took’.  It is an acknowledgement of a kind of solidarity with Adam; an admission that he and we are all in the same pickle.

And yet — the poet says — if the apple had never been taken, if Adam had not sinned, Mary would never have been Queen of Heaven (since, implicitly, we would have had no need for Christ to save us).  Hence, strange to say,  ‘Blessed be the time / That apple taken was!’  This is the ‘felix culpa’, and a (surely deliberate) echo of the Exsultet.  And so, one senses to his own amazement, the catechist declares, ‘Therefore we moun singen [may sing] / Deo gratias.’  It is one of the most marvellous paradoxes of Christianity, and here is expressed concisely and with winsome humour, and also with the Marian devotion for which medieval England was renowned.

Several composers have set the carol to music. The best-known setting is probably Boris Ord’s, which has regular outings at the Festival of Nine Lessons and Carols at King’s College, Cambridge.  Benjamin Britten also included a version in his Ceremony of Carols.  But I think my favourite is the setting by Philip Ledger, with the words ‘Deo Gratias’ as a haunting refrain.