2026 — Lectionary primer

The Second Sunday after the Epiphany

The Good Wine Kept until Now · The Beginning of Signs

One-year lectionary  ·  Amos 9:11–15  ·  Romans 12:6–16  ·  John 2:1–11

Epiphany is the season in which the Church celebrates the manifestation of Christ’s divine glory to all nations. In the fifth century Coelius Sedulius gathered the season’s historic manifestations into a single hymn: the Magi before Herod, the Baptism in the Jordan, and the water made wine at Cana. On the Second Sunday after the Epiphany the one-year lectionary gives the Church the last of these, the wedding at Cana, which St. John calls the beginning of Jesus’ signs (John 2:11). The Altar Book offers alternate lessons (Exodus 33 or Amos 9; Ephesians 5 or Romans 12). This primer follows Amos 9:11–15 and Romans 12:6–16. The day turns on the steward’s surprise at the feast: why would anyone keep the good wine until now?

Lectionary Primer PDF
Coming this Sunday: The Second Sunday after the Epiphany
Coming this Sunday: The Second Sunday after the Epiphany.

The shape of the service

The Introit (Psalm 66) calls the whole earth to worship: “All the earth worships you and sings praises to you; they sing praises to your name.” Its middle verse sets the tone for the Gospel: “Come and see what God has done.”

The Collect of the Day addresses the God “who governs all things in heaven and on earth,” asking Him to hear the prayers of His people and to “grant us Your peace through all our days.”

The Gradual (Psalm 107:20–21) answers the Old Testament: “He sent out his word and healed them, and delivered them from their destruction.” The Alleluia Verse (Psalm 148:2) calls all His angels and hosts to praise Him.

The Setting. Divine Service, Setting Three (LSB p. 184). The paraments are green, and the minister uses the Proper Preface for the Epiphany.

The readings at a glance

Old Testament
Amos 9:11–15

Throughout Amos the phrase “on that day” (bayyôm hahû’) announces judgment; only here does it open a promise of salvation. Yahweh vows, “I will raise up the falling tabernacle of David.” A sukkah is a temporary booth, the word used for the Feast of Booths, and the participle hannōfelet pictures David’s house in ongoing collapse, which God alone will raise. Edom (’Ĕdôm) is a play on ’ādām, “mankind”; the Septuagint reads it so, and James quotes that reading at the Jerusalem Council (Acts 15:16–17) to show that God always meant to gather the Gentiles as Gentiles, without the yoke of Moses. Then the curses of the Law run backward. The plower overtakes the reaper, “the mountains will drip with sweet wine,” and the vineyards that Amos 5:11 had withheld now yield their wine to God’s people. Reed Lessing reads the raising of David’s booth as the resurrection of Jesus, the true Son of David, whose body “tabernacled” among us (John 1:14), and he hears in the wine of Cana the announcement that this promised banquet had arrived in His person. God plants His people, “and they will never again be uprooted.”

The Old Testament for The Second Sunday after the Epiphany: Amos 9:11–15
The Old Testament: Amos 9:11–15.
Epistle
Romans 12:6–16

Paul’s appeal rests on “the mercies of God” (12:1) set out in chapters 1–11, so the life described here answers mercy and never earns it. The gifts are charismata, concrete expressions of charis, grace: prophecy, serving (diakonia), teaching, encouraging, sharing “with simplicity,” leading “with eagerness,” and showing mercy “with cheerfulness” (hilarotēs). Prophecy must keep to “the analogy of faith” (analogia tēs pisteōs), the standard of Christian doctrine. Paul then fires off a rapid chain of exhortations: “Let love be genuine” (anypokritos, without hypocrisy), cling as if glued to the good, be “boiling over” (zeontes) in the Spirit, chase after hospitality, “Bless the ones who persecute you,” and “Rejoice with those who rejoice, weep with those who weep.” No gift belongs to its owner for display. Each serves the neighbor in the one body of Christ, where, as Luther writes, the Christian gives himself “as a sort of Christ” to his neighbor, as Christ has given Himself to him.

The Epistle for The Second Sunday after the Epiphany: Romans 12:6–16
The Epistle: Romans 12:6–16.
Holy Gospel
John 2:1–11

“On the third day” completes a creation week counted from the Baptist’s first testimony, and it also points ahead to the resurrection (2:19–22). At a wedding feast that could last seven days, the wine runs out, a public shame for the bridegroom’s family. Jesus answers, “My hour has not yet come.” In John the hour (hōra) is His cross and glorification, where the true Bridegroom sheds His blood for His bride. Mary leaves the matter with Him: “Whatever He tells you, do it.” Six stone jars stand ready for the Jewish rites of purification; stone could not contract uncleanness, yet six falls short of the sabbath seven. Jesus has the jars of the old washings filled to the brim, and 120 to 180 gallons of water become wine. The steward’s verdict, “you have kept the good wine until now,” is the Gospel in a sentence. Luther contrasts the world, which serves its good wine first, with Christ, who gives the water of the Law and the cross first and the good wine of forgiveness after. John calls this the archē of His signs (sēmeia), the pattern for all that follow: He “revealed His glory, and His disciples believed in Him.”

The Holy Gospel for The Second Sunday after the Epiphany: John 2:1–11
The Holy Gospel: John 2:1–11.

The hymns and their stories

Opening Hymn
“The Star Proclaims the King Is Here”  ·  LSB 399
Our opening hymn reaches back to the fifth century and Coelius Sedulius, a poet active in Rome around 425–450. Sedulius wrote A solis ortus cardine (“From where the rising sun ascends”), a twenty-three-stanza poem that told the life of Christ from A to Z, each stanza beginning with the next letter of the alphabet. Medieval breviaries lifted out the stanzas that begin Hostis Herodes impie for use in Epiphanytide, and those stanzas became this hymn. It is one of the fullest Epiphany hymns the Church owns, since it sings all three of the season’s historic manifestations. Herod panics for nothing, since Christ comes to bestow a heavenly kingdom rather than to seize an earthly one; the sinless Lamb enters the Jordan to sanctify the waters of Baptism; and at Cana the water blushes into wine at His command. The English comes from The Hymnary (London, 1872), modeled on John Mason Neale’s 1851 translation, and the tune, WO GOTT ZUM HAUS, comes from Joseph Klug’s Wittenberg hymnal. Our Saviour’s bulletins show it opening this Sunday’s service in 2024 and in 2025.
Hymn of the Day
“Come, Join in Cana’s Feast”  ·  LSB 408
Herman G. Stuempfle Jr. (1923–2007), president of the Lutheran Theological Seminary at Gettysburg, wrote this hymn in January 1993 on the wedding at Cana itself. Stuempfle regarded hymnody as an extended form of preaching, a way to teach the biblical narratives and the Sacraments to a culture losing its scriptural vocabulary. The hymn moves the way a sermon on John 2 would move. It opens by inviting the Church to the table where Jesus is the divine Guest who turns water into wine. The steward’s praise of the new wine becomes a picture of the New Covenant in Christ surpassing the Old. A later stanza carries Cana straight to the altar, where Christ gives His own body and blood under bread and wine, and the final stanzas look ahead to the marriage feast of the Lamb (Revelation 19:6–9), confessing Christ as Host, Guest, and the crucified and risen Bridegroom. The tune, FRANCONIA, first appeared in Johann Balthasar König’s Harmonischer Liederschatz (Frankfurt, 1738) and was adapted by William Henry Havergal in 1847.
Hymn
“Soul, Adorn Yourself with Gladness” (LSB 636, st. 1–5)
Johann Franck (1618–1677), a lawyer who became mayor of Guben in Brandenburg, wrote this hymn as the Thirty Years’ War was drawing to its close, after war, famine, and plague had swept through his town. He wrote it to prepare communicants for the Lord’s Supper and to give thanks after it. The German opens with a command, Schmücke dich, o liebe Seele: “Adorn yourself, O dear soul.” The believer puts on the festal garment of gladness to come to the banquet the King has set (Matthew 22:1–14). In the second stanza Christ knocks at the door of the heart and asks to come in (Revelation 3:20). The stanzas that follow confess what is given at the altar: in, with, and under the bread and wine, Christ bestows His true body and His true blood shed for sinners. Johann Crüger composed the tune SCHMÜCKE DICH and published it in his Praxis Pietatis Melica. Catherine Winkworth translated the opening stanzas in 1863, and John Caspar Mattes translated stanzas four and five in the early twentieth century.
Closing Hymn
“Songs of Thankfulness and Praise”  ·  LSB 394
Christopher Wordsworth (1807–1885), the Anglican bishop of Lincoln and a nephew of the poet William Wordsworth, published this hymn in 1862 in The Holy Year; or, Hymns for Sundays and Holydays. He wrote it under the heading “Sixth Sunday after the Epiphany” and designed it to sum up every Gospel of the season in a single hymn. The first stanza follows the Magi and the star; the second recalls the Baptism in the Jordan and the first miracle at Cana; the next stanzas remember Christ’s healings and His power over demons and nature, then turn to the Last Day, when He will appear in power to gather His wheat and judge the world. The opening stanza names the theme of the whole: “God in man made manifest.” The last stanza prays that as Christ became like us in our flesh, He would grant us grace to become like Him in purity and glory. George J. Elvey composed the tune, ST. GEORGE’S, WINDSOR, in 1858.