Come, All Ye Saints of Zion
38

Text: William W. Phelps (1792–1872; LDS)
Music: John E. Tullidge (1806–1873; LDS)
Tune name: TEASDALE

This hymn text, part of Latter- day Saint hymnody since Emma Smith’s first hymnal in 1835, expresses the gratitude of the Lord’s chosen people in these latter days and promises rich blessings to all who will hear his word and become one with the Saints. At that early point in the history of the Church, William W. Phelps foresaw a great movement of preaching, conversion, and gathering.

This hymn follows an interesting pattern. Verses one and four address those who have already heard the gospel message. As is true with so many of our early hymn texts, the author saw missionary work as not only a process of conversion but also a process of gathering— a literal coming together of all Saints into one location. The two verses that come between these messages of exhortation to the Saints are a call to the “dispersed of Judah,” to those whose hearts are searching for the truth.

The terms Judah and Israel can have quite a general meaning in a context such as this, as Elder Bruce R. McConkie explained:

“Those who accept the gospel become of the house of Israel regardless of what their literal blood ancestry may have been. Because the blood of Israel has been scattered among the Gentile nations, nearly all who come into the Church are in greater or lesser degree of the house of Israel literally. But if someone whose blood was wholly of Gentile lineage were converted, he would be adopted into the lineage of Abraham and Jacob and become of the house of Israel” (Mormon Doctrine, 2d ed. [Salt Lake City: Bookcraft, 1966], 389–90).

In this hymn, the house of Israel is gathered from its scattered state or released from bondage, just as in the time of the Babylonian captivity, so that these men and women may enjoy the blessings of righteousness in the promised land.

Originally titled “Come, All Ye Sons of Zion,” the title and first line were changed to make the language more inclusive. It is now arranged as a congregational hymn instead of for men’s voices, as in previous hymnals.