The Lord at first did Adam make

Classical music portalChristianity portal The Lord at first did Adam make, alternatively The Lord at first had Adam made is a traditional English Christmas carol which was collected and first published in 1822 in Davies Gilbert's collection Some Ancient Christmas Carols...Formerly Sung in the West of England. The carol relates the events of Genesis, Chapter 3, relating the evils that have befallen humanity since that first fall and humanity's subsequent redemption; during Advent, a traditional theme is of the birth of Jesus being the coming of the "Second Adam". The carol was sung in the West Country of England on Christmas Eve. In Davies Gilbert's preface to his 1822 publication, he writes

The following Carols or Christmas Songs were chanted to the Tunes accompanying them, in Churches on Christmas Day, and in private houses on Christmas Eve, throughout the West of England, up to the latter part of the late century ... The Editor is desirous of preserving them in their actual forms, however distorted by false grammar or by obscurities, as specimens of times now passed away, and of religious feelings superseded by others of a different cast. It was popularised by its inclusion in John Stainer and Henry Ramsden Bramley's Christmas Carols, New and Old of 1877, albeit in a Victorianised non-modal form, with a grammatically corrected text. In this version, the carol was chosen by Edward White Benson to be the opening carol at the original Festival of Nine Lessons and Carols at Truro Cathedral in 1880. In addition to Gilbert Davies' collected version, another tune also exists and there are numerous textual variations, including additional verses.

Unlike the glitter of modern pop tunes, this West Country hymn anchors the night with a deep theological thread. Its focus on the "first Adam" and the promised "Second Adam" frames the birth of Christ as a cosmic reversal of the fall, a narrative that resonated with rural congregations who marked Advent with solemn reflection. Today, the carol offers a contemplative counter‑point to the festive bustle, reminding listeners that Christmas is as much a story of redemption as of celebration. Playing it in a candle‑lit living room or as the opening hymn at a service re‑introduces that ancient sense of awe, linking contemporary festivities to centuries of English worship.

When selecting a version to sing or stream, consider the balance between historic modal flavour and the smoother Victorian setting popularised by Stainer and Bramley. Recordings that retain the original Dorian mode preserve the carol's plaintive colour, but they can sound stark to untrained ears. A middle‑ground arrangement—such as a gentle choral harmonisation with a subtle organ or acoustic guitar accompaniment—keeps the ancient mood while fitting comfortably into a mixed‑generation programme. For home use, look for versions that stay true to the original metre; they will blend well with other traditional carols and avoid the jarring shifts sometimes introduced by over‑orchestrated modern adaptations.

Many assume the carol is a simple retelling of the Genesis story, but its purpose is far more nuanced. The verses juxtapose the first man's disobedience with the promised fulfilment in Christ, casting the Christmas narrative as the climax of salvation history. The phrase "The Lord at first did Adam make" is not a grammatical error; it reflects an early 19th‑century dialect where "did" functions as an auxiliary for past action. Modern editors often 'correct' this, but the original wording retains the hymn's rhythmic integrity and its connection to the West Country oral tradition. Understanding this helps listeners appreciate the carol's authentic voice rather than dismissing it as antiquated language.