Lullay, mine liking

Middle English lyric poem or carol

Madonna and Child in a 14th century wall painting, Oxfordshire. "Lullay, mine liking" is a Middle English lyric poem or carol of the 15th century which frames a narrative describing an encounter of the Nativity with a song sung by the Virgin Mary to the infant Christ. The refrain is an early example of an English lullaby; the term "lullaby" is thought to originate with the "lu lu" or "la la" sound made by mothers or nurses to calm children, and "by" or "bye bye", another lulling sound (for example in the similarly ancient Coventry Carol). There are a number of surviving medieval English verses associated with the birth of Jesus which take the form of a lullaby, of which this is probably the most famous example. Written by an anonymous hand, the text is found uniquely in Sloane MS 2593, a collection of medieval lyrics now held in the British Library. Originally intended to be sung, no evidence of the work's musical setting survives, and since its rediscovery and the musical possibilities suggested by the text have led to diverse interpretations by numerous composers including Philip Stopford, Edgar Pettman, Peter Warlock, R. R. Terry, Gustav Holst, Ronald Corp, David Willcocks, Philip Lawson, Thomas Hewitt Jones, and Richard Rodney Bennett. These are sometimes titled "I saw a fair maiden" whereas "Myn Lyking" is used in the versions by R.R. Terry and Ronald Corp (as the first of the latter's Three Medieval Carols).

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Middle English original spelling

Middle English converted

English modernisation

Refrain Lullay, myn lykyng, my dere sone, myn swetyng, Lullay, my dere herte, myn owyn dere derlyng.

Refrain Lullay, mine Liking, my dere sone, mine sweting, Lullay, my dere herte, mine own dere derling.

Refrain Lullay, mine Liking, my dear Son, mine Sweeting, Lullay, my dear heart, mine own dear darling.

I saw a fayr maydyn syttyn and synge, Sche lullyd a lytyl chyld, a swete lordyng, Refrain

I saw a fair maiden, sitten and singe, Sche lulled a litel child, a swete lording. Refrain

I saw a fair maiden, sitting and sing, She lulled a little child a sweet lording: Refrain

That eche lord is that that made alle thinge, Of alle lordis he is lord, of alle kynges kyng. Refrain

That eche lord is that that made alle thinge; Of alle lordes he is Lord, of alle Kinges king. Refrain

That very lord is He that made all things Of all lords He is Lord (and) King of all king. Refrain

Ther was mekyl melody at that chyldes berthe, Alle tho wern in hevene blys thei made mekyl merthe, Refrain

There was mekel melody at that childes berthe; Alle tho wern in hevene bliss, they made mekel merthe. Refrain

There was mickle (much) melody at that Child's birth, All that were in heaven's bliss, they made mickle mirth. Refrain

Aungelebryt thei song that nyt and seydyn to that chyld, "Blyssid be thou, and so be sche that is bothe mek and myld". Refrain

Aungele bright they song that night, and seiden to that child, "Blessed be thou, and so be sche that is bothe meke and mild." Refrain

Angels bright they sang that night and saiden to that Child, "Blessed be Thou, and so be she that is both meek and mild." Refrain

Even though the melody is lost, the gentle cadence of the verses makes "Lullay, mine liking" a natural fit for modern festive programmes. Its soothing "lu lu" refrain echoes the way we still hush babies in the church nativity scene, creating a quiet counter‑point to the fanfare of sleigh bells. The poem’s perspective – a mother singing to the newborn Christ – gives it an intimacy that many later carols lack, inviting listeners to imagine the Holy Family in a humble stable rather than a grand concert hall. That personal touch is why choirs often tuck it into Advent concerts: it reminds us that Christmas began as a tender, private moment, not a public spectacle.

With dozens of modern settings on offer, pick a rendition that matches your ensemble’s size and skill. Philip Stopford’s arrangement, for example, favours a fuller SATB choir with organ accompaniment, ideal for parish choirs seeking a lush sound. For smaller groups, Peter Warlock’s piano version works well with just four voices, allowing the text’s natural rhythm to shine. If you prefer an instrumental take, Gustav Holst’s orchestral sketch captures the lullaby’s medieval flavour without vocal lines, perfect for background music at a Christmas dinner. Always check the key signature and vocal range – some settings sit low for a warm baritone lead, while others require a bright soprano to carry the lull.

Many assume "Lullay, mine liking" was a popular folk tune handed down through generations, but the reality is more academic. The only surviving manuscript is a single 15th‑century codex (Sloane MS 2593), and no musical notation accompanied the words. This means the lullaby’s fame rests on later composers recreating a melody they imagined would suit the text. Consequently, each modern version is essentially a new composition, not a faithful restoration of a medieval song. Recognising this helps listeners appreciate the creative dialogue between past and present, rather than expecting an “authentic” medieval sound that never existed.