Behold, the Bridegroom Cometh

"Behold, the Bridegroom Cometh in the Middle of the Night" is a solemn Advent and Second Coming hymn translated by Gerard Moultrie from an ancient Greek hymn of the Eastern Church. Moultrie's English translation was published in 1864 in Lyra Messianica, and a fuller version appeared in his Hymns and Lyrics for the Seasons and Saints' Days of the Church in 1867. The original Greek text comes from the Midnight Office of the Greek Church and is traditionally associated with the eighth century.

The hymn draws its central imagery from Christ's parable of the ten virgins in Matthew 25:1-13. The Bridegroom represents Christ, while the midnight arrival recalls the unexpected cry announcing His coming. The wise servants are those who remain spiritually prepared, with their lamps burning brightly. The foolish servants, by contrast, are caught unprepared. Moultrie's translation therefore turns the biblical parable into a personal exhortation, repeatedly calling the individual soul to wakefulness, sobriety, and readiness for the appearing of Christ.

The opening stanza presents the dramatic contrast between the blessed servant whose lamp is burning and the careless servant whom the Master finds sleeping. This imagery is deeply rooted in Christ's repeated commands to watch and be ready. The precise time of the Bridegroom's coming is unknown, and the darkness of midnight emphasizes the unexpected nature of His arrival. The hymn therefore warns against spiritual complacency. The Christian life is portrayed as a continual preparation for the moment when the Lord shall return.

The second stanza makes the message intensely personal by addressing the worshiper's own soul. Instead of merely describing the foolish virgins, Moultrie urges the singer to examine his or her own spiritual condition. The soul must not sink into spiritual sleep or become careless about eternal things. The prayer, "Holy, holy, holy God, have mercy upon us," gives the hymn a penitential character. Readiness for Christ's coming is not presented as self-confidence, but as watchfulness accompanied by dependence upon divine mercy.

The third stanza looks toward the day of judgment, calling it "the day of fear." Yet the warning is also an encouragement to faithful labor. The believer is told to keep the lamp burning and to supply it with oil, echoing the central imagery of the wise virgins. The hymn stresses the uncertainty of the time of Christ's return. Since no one knows when the Bridegroom will come, believers must remain prepared rather than postponing repentance, obedience, and faithful service.

The final stanza returns to the five foolish virgins who discovered too late that they were unprepared. Their exclusion from the wedding feast becomes a solemn warning concerning the consequences of spiritual negligence. Yet the hymn ends with a beautiful image of hope: Christ Himself will gird His faithful servants and clothe them with His "bright wedding robe of light." The ultimate readiness of the believer is therefore connected with Christ's gracious provision and the glory of the Son.

Moultrie's translation is written in 14.14.14.14 meter, although hymnals have sometimes adapted it to other metrical arrangements. It has appeared in numerous hymnals and has been paired with melodies including BRIDEGROOM by George Alexander Macfarren and SECOND MODE MELODY, an ancient melody later associated with the text.

"Behold, the Bridegroom Cometh in the Middle of the Night" is especially appropriate for Advent, services concerning Christ's Second Coming, Lent, and occasions emphasizing spiritual watchfulness. Its message is both warning and hopeful. Christ will come, the hour is unknown, and His people are called to remain awake, faithful, and spiritually prepared. The hymn ultimately directs the believer away from complacency and toward the glorious expectation of meeting the heavenly Bridegroom.