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401. I Want to Be Ready

Hymn 401Words: Traditional African American spiritualTune: Traditional

Lyrics

Verse 1

I want to be ready, I want to be ready,
I want to be ready, to walk in Jerusalem just like John.

Verse 2

John said the city was just four-square,
Walk in Jerusalem just like John;
And He declared he'd meet me there,
Walk in Jerusalem just like John.

Verse 3

O John, O John, what do you say?
Walk in Jerusalem just like John;
That I'll be there at the coming day,
Walk in Jerusalem just like John.

Public domain hymn text. Traditional African American spiritual, author unknown.

The Story Behind the Hymn

'I Want to Be Ready' is a traditional African American spiritual with no known single author, passed down orally within Southern Black church communities before being written down and collected by folklorists and hymnal compilers in the years following the Civil War.

Its repeated central image, drawn from Revelation 21, pictures the apostle John's vision of the New Jerusalem as a real 'four-square' city with fixed dimensions, and the singer's stated wish is not merely to enter heaven abstractly but to 'walk' through that same city 'just like John' once did in his vision.

That choice to model the hope of heaven directly on a specific biblical figure's own reported experience, rather than describing heaven in the singer's own invented imagery, is somewhat distinct from many spirituals, which more often speak in general pictures of rivers, ships, or crowns.

The song's title phrase, 'I want to be ready,' frames heaven's arrival as something requiring present preparation rather than something simply granted, giving the spiritual a forward-leaning, watchful tone rather than one of settled assurance.

Its short, heavily repeated refrain, 'walk in Jerusalem just like John,' anchors every verse to the same fixed image, allowing new lines to be added or varied around that steady, unchanging center, a structure typical of spirituals meant for communal and often improvised singing.

The song has remained a familiar concert and congregational spiritual through the twentieth and twenty-first centuries, often performed in choral arrangements that preserve its call-and-response character even in formal concert settings far removed from its original church context.

Its enduring appeal lies in that same forward posture: rather than describing heaven as already secured, it holds it as a hope still being prepared for, one the singer actively wants, and works toward, rather than passively expects.

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