What Child Is This?
A profound meditation on the identity of the Christ Child, set to one of England's oldest and most beloved melodies.
With its haunting melody and probing lyrics, "What Child Is This?" invites deep reflection on the mystery of the Incarnation. The following table summarizes its key details.
| Song Title | Author (Lyricist) | Composer (Music) | Year | Musical Source |
|---|---|---|---|---|
| What Child Is This? | William Chatterton Dix | Traditional English melody | 1865 (lyrics) 16th century (music) |
"Greensleeves" |
Historical Background
The creation of this carol has one of the most remarkable stories in hymnody. In 1865, William Chatterton Dix, a manager at a maritime insurance company in Glasgow, Scotland, was struck down by a sudden and severe illness at age 29. During his extended recovery, he experienced a profound spiritual awakening that led him to write a series of hymns, including "What Child Is This?"
Dix originally wrote a longer poem titled "The Manger Throne" from which three stanzas were extracted to create the carol we know today. He set his words to the familiar tune of "Greensleeves," which had been a popular English folk song since at least the late 16th century.
The carol was first published in Bramley and Stainer's Christmas Carols New and Old in 1871. Its pairing of ancient melody with Victorian-era theological reflection created a perfect fusion that has endured for over 150 years. Interestingly, Dix never considered himself primarily a hymn writer—he wrote hymns as an expression of his faith while working full-time in the insurance business.
Biblical Foundation
The carol asks the central question of the Christmas story and answers it with rich biblical imagery and theology:
- Luke 2:7, 12, 16 – The nativity scene: "She wrapped him in cloths and placed him in a manger... This will be a sign to you: You will find a baby wrapped in cloths and lying in a manger... So they hurried off and found Mary and Joseph, and the baby, who was lying in the manger." This is directly referenced in "Why lies He in such mean estate, Where ox and ass are feeding?"
- Matthew 2:1-2, 11 – The visit of the Magi: "Magi from the east came to Jerusalem and asked, 'Where is the one who has been born king of the Jews?'... On coming to the house, they saw the child with his mother Mary, and they bowed down and worshiped him. Then they opened their treasures and presented him with gifts of gold, frankincense and myrrh." This is the source for "So bring Him incense, gold, and myrrh."
- Isaiah 9:6 – The messianic prophecy: "For to us a child is born, to us a son is given, and the government will be on his shoulders. And he will be called Wonderful Counselor, Mighty God, Everlasting Father, Prince of Peace." This is reflected in the identification of the child as "Christ the King" and "the King of kings."
- Philippians 2:6-11 – The humility and exaltation of Christ: "Who, being in very nature God, did not consider equality with God something to be used to his own advantage; rather, he made himself nothing by taking the very nature of a servant... Therefore God exalted him to the highest place and gave him the name that is above every name." This theological truth underlies the contrast between the humble manger and the call to "peasant, king" to own and bring their tribute.
- Revelation 19:16 – "On his robe and on his thigh he has this name written: KING OF KINGS AND LORD OF LORDS." This is directly quoted in the refrain: "This, this is Christ the King."
- Luke 2:10 – "But the angel said to them, 'Do not be afraid. I bring you good news that will cause great joy for all the people.'" This joy is captured in "Good Christian, fear, for sinners here, The silent Word is pleading."
The carol masterfully connects the humble circumstances of Jesus' birth with his divine identity and salvific mission.
Full Lyrics (Original Version by William Dix)
The complete carol as originally published:
Note: Some modern versions simplify "Good Christians, fear" to "Good Christian, fear" or "Good Christian, all," and may use "haste, haste" instead of "haste, haste." The reference to "nails, spear shall pierce Him through" is sometimes omitted in more celebratory settings.
Author & Musical History
William Chatterton Dix (1837-1898) was born in Bristol, England, the son of a surgeon who named him after the poet Thomas Chatterton. Despite showing early literary promise, Dix pursued a career in business, becoming the manager of a marine insurance company in Glasgow. His hymn writing was an avocation rather than a profession. During his near-fatal illness in 1865, he underwent what he described as a "spiritual renewal" that inspired most of his hymn writing. In addition to "What Child Is This?," he wrote several other well-known hymns including "As with Gladness Men of Old" and "Alleluia! Sing to Jesus." Dix was also a published poet and wrote children's stories.
The "Greensleeves" Melody: This is one of England's most famous folk tunes, first recorded in the late 16th century. The earliest known mention is in 1580 in the Stationers' Register as "A New Northern Dittye of the Lady Greene Sleeves." Shakespeare references it in The Merry Wives of Windsor (1602), indicating its widespread popularity. The tune's distinctive harmonic minor quality (with its raised seventh note) gives it a plaintive, haunting character unusual in English folk music. Originally the melody accompanied lyrics about romantic love and rejection ("Alas, my love, you do me wrong, to cast me off discourteously..."), but its adaptability to sacred texts was recognized early—it was used for Psalm tunes as early as the 17th century.
Musical Adaptation: The pairing of Dix's text with the "Greensleeves" melody was a stroke of genius. The tune's inherent melancholy perfectly complements the carol's themes of humble birth and impending sacrifice, while its strong rhythmic structure provides a solid foundation for the theological declarations. The melody's repetition (AAB form) allows the refrain "This, this is Christ the King" to stand out as the emotional and theological climax of each verse.
Background Music & Melody
The "Greensleeves" melody is in a distinctive 6/8 time signature (or sometimes notated in 3/4 with triplets), giving it a gentle, rocking quality reminiscent of a lullaby. The tune is in the Aeolian mode (natural minor) with occasional raised sixth and seventh degrees, creating its signature haunting quality.
Musical Structure:
- A Section (first four lines): A descending melodic pattern that establishes the minor key and contemplative mood
- A Section (second four lines): Slight variation of the first pattern, building musical tension
- B Section (Refrain): A rising, more declarative melody for "This, this is Christ the King" that provides resolution and affirmation
The harmony typically follows a i-VII-i-VII-i-iv-i-V-i progression in the verses, with the refrain strengthening to a more definite V-i cadence. This harmonic ambiguity in the verses (avoiding strong dominant-tonic resolution) contributes to the questioning, contemplative mood, while the clearer resolution in the refrain provides the answer to the carol's central question.
Performance Traditions: The carol is typically performed at a moderate tempo (around 60-80 beats per minute) to allow for reflection on the text. It is often arranged for solo voice with minimal accompaniment to emphasize its intimate, contemplative nature. The 6/8 rhythm is sometimes performed with a slight "swing" or lilting quality, especially in folk and traditional settings.
Notable arrangements include the John Rutter choral setting (which adds rich harmonies while maintaining the melody's integrity), the instrumental version by Mannheim Steamroller (which blends Renaissance and electronic elements), the folk rendition by Loreena McKennitt, and the contemporary Christian interpretation by Third Day. The carol has also been featured in numerous films and television specials, often to underscore moments of revelation or spiritual insight.
Enduring Appeal: The success of "What Child Is This?" lies in its perfect marriage of text and tune. The ancient melody carries centuries of cultural memory, while Dix's Victorian-era text asks timeless questions about identity, purpose, and worship. The carol's structure—moving from question to answer, from observation to invitation—creates a natural progression that draws singers and listeners into active participation in the Christmas story.
