Not familiar with this one at all, but there's a lot going on here! Text is by the excellent name "Venantius Honorius Fortunatus." There's a refrain, which sounds as if it's about Easter; "day when our Lord was raised." And then there are verses it alternates with. So far so good.

The verses, however, don't all have the same melody; 1/3/5 have their own melody, and 2/4/6 have a different one with lots of triplets. Both tunes have essentially the same meter (I would call it 7977), but apparently there are enough doubled-up notes that it goes with "irregular." So technically, it doesn't qualify as a "double hymn tune," but I would call it an honorable mention in that category.

But even weirder, there are actually three different versions of verse 1, for Easter, Ascension, and Pentecost respectively! Ascension sort of fits in this mini-section, Pentecost is its own thing. We get Northern hemisphere bias with "from the death of the winter arising" in the Easter section.

And then there's an Easter-specific verse 2, and also an alternate verse 2 for Ascension or Pentecost...but they print it twice, because there were three verse 1s so we have to have three verse 2s. I guess. The category of "choose verse depending on what week it is" is probably too small to warrant its own tag, but it's a thing!

Anyway, maybe the fact that it's this complicated is the reason I can't remember actually singing it.

We have a little Ascension mini-section to close out "Easter," commemorating Jesus' departure into heaven prior to Pentecost. This is a full-blown case of "final verse same as the first."

I like the image of "earth your footstool, heaven your throne," as if Jesus' body could literally stretch from heaven to earth, connecting the mundane with the divine. Verse 4 also contains some repetition with rhyming "great high priest" and "...priest and victim in the eucharistic feast." (Usually the Gospel imagery of the curtain of the temple being torn in two signifies "we no longer need a special leader to go inside the holy place and speak to God for us, Christ has already brought God close.")

Music composer's name is "Walter Greatorex" which I think is pretty cool--"Great" and "Rex" sounds imposing.

The imagery of Christ still being wounded after the resurrection is usually alluded to in the story of Thomas--Jesus confirms that he has a real, physical body and is not a ghost. In this case, it seems to be linked with describing the church as the body of Christ, who need to serve like he did. Which is fine, as long as you didn't claim Teresa of Ávila said so.

This is another repetitive Taizé chant; however, it is in a major key and syncopated/fast-moving, so pretty upbeat by Taizé standards. I'm posting this on my phone because my touchpad is on the fritz, but fortunately there is not much to say about this one.

This is a case of "with alleluias" (rather than "and alleluias"!). Each verse ends with an "Alleluia!" that doesn't count towards the meter, and in addition, there's a series of alleluias before the first verse and after the last verse. (But not in between, so the verses are written with a repeat sign to make it clear you just do that part over again, not the extras.)

We get the rare grave (backwards) accent; in English, this is pretty much only used to say "pronounce the -ed at the end of this word as if it was its own syllable, otherwise it won't scan." So Jesus describes his "piercèd side" to Thomas. (Sometimes Shakespeare's works, or over-the-top imitations of that style, get the same treatment.)

This is the other hymn that got mashed up in the extremely over-the-top Easter anthem our choir sang a couple times. Slightly different translation: this one has "O Christ, you are the Lord of all in this our Easter festival" (yes, that's supposed to be a rhyme). The anthem version is a bit old-fashioned, but it improves on that line with "O Lord of all, with us abide in this our joyful Eastertide."

This has a couple unison-y measures that would probably go well with brass accompaniment (common on Easter). And it has the nice rhyme "dejection/resurrection" which is not quite masculine-in-disguise (how often do you see "deject" as a standalone verb?)

But what I want to talk about is the title. Specifically, these are some of the neighbors when you go to look this up in the index:

• Christ has arisen, alleluia (364)
• Christ is alive! Let Christians sing (389)
• Christ is arisen (372)
• Christ is risen! Alleluia! (this one)
• Christ is risen! Shout Hosanna! (383)
• Christ the Lord is risen today! (373)
• Christ the Lord is risen today; Alleluia! (369)

And then we also have:

• Alleluia! Christ is arisen (375)
• Alleluia! Jesus is risen! (377)
• Hallelujah! Jesus lives! (380)
• Jesus Christ is risen today (365)

Not that any one of these is a bad title on their own, they all very directly get the point across. But I feel like, taken as a group, they might lead to some problems finding the hymn you want. (There are a couple more groups in this genre, I'll try to get to them eventually, but it might require some extra posts if I've missed them so far.)

Some shifting use of second person here. In verse 2, we have "why do you weep?" quoting the angels at the empty tomb to the women who were looking for Jesus' body. In verse 3, the narrator addresses their soul: "life eternal waits for you." Which seems an interesting kind of dualism, but actually there are several hymns that do this, going back to the Psalms ("bless the Lord, O my soul!"). And then by the last verse, the humans-to-angels conversation has reversed; the narrator is "us" humans, instructing the angels ("your chorus") to join in praising God.

I'm not sure if this one qualifies as a classic, but it should be, it's one of those I've always liked for some reason. The rhymes are kind of a stretch, but the commitment to repeating the "grain/lain/pain/slain, again/been, seen/green" motif is impressive, and the extended metaphor between Jesus as a seed extending to "fields of our hearts" is lovely. The tune is minor-ish, which is incongruous for an Easter song, but that's one of the reasons it stands out. (Actually it's not strictly minor; it ends on the 2nd note of the scale.) It might be better known as a Christmas song--the French melody "Noël nouvelet," or "Sing We Now of Christmas."

This is a composer famous for other things--Handel wrote the "Messiah," and several other oratorios, including one about Judas Maccabaeus (led the Maccabean rebellion which is where the Hanukkah story comes from). This melody was taken from that and turned into an Easter song. Since the music is in the public domain, I actually stole it myself to write a text for a hymn contest earlier this year!

Meanwhile on hymns in the wild: I came across a plaque with some of the lyrics from "God of Grace and God of Glory." Only problem is, it merged verse 1 (rhymes "power/flower/hour") with verse 2 ("ways/praise/days"), so it goes power/flower/days! I guess they didn't want to sound like they were limiting their focus to one specific hour, but still, I feel like we could have inferred the more poetic meaning from context.