Originally possessing a French text written by the composer, this arguably nearly-ultimate wedding song, with new words in English by Edward Teschemacher, was published in New York by Boosey and Co. in 1903, in an arrangement by Charles J. Roberts. The song's fame spread quickly, not in the least due to the popularity of one of its first recordings by the legendary Enrico Caruso.

Even an over-the-top sentimental tune like this one will work when created and delivered with art and conviction. The song is beautifully constructed to very gradually build up an irresistible emotional pull. After a four-measure introduction based on an ordinary, symmetrical version of the theme, the structure of the song exhibits an unusual yet effective asymmetry drawn along by the prose.

The first two lines, "Because you came to me with naught but love/and hold my hand and lift mine eyes above," cover five measures. The melody of this A section begins by a simple upbeat leap from the dominant (V) to the tonic (I), and then gently rolls downward to the V. The next line ascends again scalewise and with a skip.

The B section, covering only three measures, sets the lines "A wider world of hope and joy I see/Because you come to me." The melody again opens with a V to I interval, and gradually accelerates, ending in a simple Baroque "turn" toward the tonic. A sub-apex is reached in the next measure. The instrumental introduction is then repeated as an interlude, but only covers three measures this time.

Instead of beginning another A section verse, the composer opts to go immediately to the B section repeating it in three two-measure phrases (B, B1, B2), each of which modulates upward (melodically by whole step transpositions). A subtle increase in restrained excitement is experienced throughout this section which sets the lines "Because you speak to me in accents sweet/I find the roses waking 'round my feet/And I am led through tears and joy to thee." A second sub-climax ends this phrase (B3) as a high dominant note is reached by an ascending chromatic scale. This note is held while the accompaniment plays a re-harmonization of the main melody beneath that inverted pedal point.

The A and B sections are then repeated to set the concluding lyrics "Because God made thee mine I'll cherish thee through light and darkness through all time to be,/And pray His love may make our love divine." A shortened version of phrase B3 is then used for a thrilling two-measure coda with high vocal notes on the words "Because God made thee mine."

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