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https://www.youtube.com/watch?v=FRYo3d6J5TMSuzyOliveira
https://www.youtube.com/watch?v=3ePja2yZhQwcailin ceolmhar
https://www.youtube.com/watch?v=3uFBZiLvsV0AnnaMarie
https://www.youtube.com/watch?v=hGS6iQRf8OYFaithHill
https://www.youtube.com/watch?v=BuolLwGB7y4JamesLim
https://www.youtube.com/watch?v=ELJ49ZSS0tMJuditDH
https://www.youtube.com/watch?v=zVx82GD5tC4lalocin70
https://www.youtube.com/watch?v=Emjc5uoT15sGerliesjuhh
https://www.youtube.com/watch?v=_LO6Robn6o8CynthiaD
https://www.youtube.com/watch?v=wO8qluGa-tMScottBacher
https://www.youtube.com/watch?v=DnFVLDVP_x4MBC50530
lyrics
What Child is this, who laid to rest,
On Mary's lap is sleeping?
Whom angels greet with anthems sweet
While shepherds watch are keeping?
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Why lies He in such mean estate
Where ox and ass are feeding?
Good Christian, fear: for sinners here,
The silent Word is pleading.
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Nails, spear, shall pierce Him through,
The Cross be borne, for me, for you:
Hail, hail, the Word made flesh,
The Babe, the Son of Mary!
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
So bring Him incense, gold and myrrh;
Come peasant, king to own Him.
The King of Kings salvation brings;
Let loving hearts enthrone Him.
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Raise, raise, the song on high,
The Virgin sings her lullaby:
Joy joy for Christ is born,
The Babe, the Son of Mary!
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
(William Chatterton Dix, published ca. 1865)
On Mary's lap is sleeping?
Whom angels greet with anthems sweet
While shepherds watch are keeping?
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Why lies He in such mean estate
Where ox and ass are feeding?
Good Christian, fear: for sinners here,
The silent Word is pleading.
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Nails, spear, shall pierce Him through,
The Cross be borne, for me, for you:
Hail, hail, the Word made flesh,
The Babe, the Son of Mary!
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
So bring Him incense, gold and myrrh;
Come peasant, king to own Him.
The King of Kings salvation brings;
Let loving hearts enthrone Him.
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
.
Raise, raise, the song on high,
The Virgin sings her lullaby:
Joy joy for Christ is born,
The Babe, the Son of Mary!
This, this is Christ the King
Whom shepherds guard and angels sing.
Haste, haste to bring Him laud,
The Babe, the Son of Mary.
(William Chatterton Dix, published ca. 1865)
http://www.oldielyrics.com/christmas/what_child_is_this.html
Most
British hymn writers in the nineteenth century were clergymen, but William C.
Dix (b. Bristol, England, 1837; d. Cheddar, Somerset, England, 1898) was a
notable exception. Trained in the business world, he became the manager of a
marine insurance company in Glasgow, Scotland. Dix published various volumes of
his hymns, such as Hymns
of Love and Joy (1861) and Altar Songs: Verses on the Holy
Eucharist (1867). A number of his texts were first published
in Hymns Ancient and
Modern (1861).
Dix, William Chatterton, son of John Dix,
surgeon, of Bristol, author of the Life
of Chatterton; Local
Legends, &c, born at Bristol, June 14, 1837, and educated at
the Grammar School of that city. Mr. Chatterton Dix's contributions to modern
hymnody are numerous and of value. His fine Epiphany hymn, "As with
gladness men of old,” and his plaintive ”Come unto Me, ye weary," are
examples of his compositions, many of which rank high amongst modern hymns. In
his Hymns of Love and
Joy, 1861, Altar
Songs, Verses
on the Holy Eucharist, 1867; Vision of All Saints, &c, 1871; and Seekers of a City, 1878, some
of his compositions were first published. The greater part, however, were
contributed to Hymns
Ancient & Modern; St.
Raphaels Hymnbook, 1861; Lyra
Eucharidica, 1863; Lyra
Messianica, 1864; Lyra
Mystica, 1865; The
People's Hymns, 1867; The
Hymnary, 1872; Church
Hymns, 1871, and others. Many of his contributions are renderings
in metrical form of Dr. Littledale's translation from the Greek in his Offices . . . of the Holy Eastern
Church, 1863; and of the Rev. J. M. Rodwell's translation of hymns
of the Abyssinian Church. These renderings of the "songs of other
Churches" have not received the attention they deserve, and the sources
from whence they come are practically unknown to most hymnal compilers. Mr. Dix
has also written many Christmas and Easter carols, the most widely known of
which is "The Manger Throne." In addition to detached
pieces in prose and verse for various magazines, he has published two
devotional works, Light;
and The Risen Life,
1883; and a book of instructions for children entitled The Pattern Life, 1885.
History of Hymns: “What Child Is This”
William C. Dix
The United Methodist Hymnal, No. 219
The United Methodist Hymnal, No. 219
What child is this who, laid to
rest,
On Mary’s lap is sleeping?
Whom angels greet with anthems sweet,
While shepherd’s watch are keeping?
This, this is Christ the King,
Whom shepherds guard and angels sing;
Haste, haste to bring him laud,
The babe, the son of Mary.
GREENSLEEVES, the tune for which this text was probably written, is one of the most beautiful and beloved melodies of the season.
Though not exclusively a Christmas tune, its association with this season goes back to at least 1642, where it is paired with the Waits’ carol, “The old year now away is fled.” Shakespeare refers twice to GREENSLEEVES in his play Merry Wives of Windsor, helping to date it in the 16th century.
William Chatterton Dix (1837-1898), an Anglican layman, was the son of a surgeon in Bristol, England. He spent most of his life as a businessman, working as a manager for the Maritime Insurance Company in Glasgow, Scotland. We know of his church affiliation only through his hymns that were published in Altar Songs, Verses on the Holy Eucharist, and A Vision of All Saints.
Hymnologist Albert Bailey notes that some of Dix’s hymns are “horribly sentimental,” but on the whole says, “his hymns are simple, reverent, sincere, imaginative, not above the average comprehension, and two of them at least have proved to be continuously serviceable.” In addition to “What child is this,” Dr. Bailey is referring to “As with gladness men of old,” an Epiphany hymn that does not appear in The United Methodist Hymnal.
Stanza one, influenced by the Romantic poets of his day, perhaps skirts the edges of sentimentality. Beginning with a rhetorical question, “What child is this?” the poet condenses Luke 2:8-16 into a single stanza, painting a picture of a classic Nativity scene with the Christ Child sleeping on “Mary’s lap” while angels sing “anthems sweet” and shepherds “watch are keeping.”
Stanza two makes fleeting reference to the less than ideal conditions—“mean estate”—under which the idyllic scene of the previous stanza is situated. Like stanza one, the poet begins with a rhetorical question, “Why lies he in such mean estate?” In essence, he asks why the Christ Child should be in such a humble setting “where ox and ass are feeding.” The original second half of this stanza, not found in the hymnal, provides a more complete response to this question:
Nails, spear shall pierce him through;
The cross he bore for me, for you;
Hail, hail the Word made flesh,
The babe, the Son of Mary!
Dix’s answer to the reason for the “mean estate” under which Christ was born lies in his future suffering on the cross. Possibly Dix knew the Waits’ New Year’s carol mentioned earlier. The second stanza of this carol written over a century earlier also alludes to the suffering of Christ:
The name day now of Christ we keep,
Who for our sins did often weep;
His hands and feet were wounded deep,
And his blessed side with a spear. . .
In the final stanza, the poet expands the circle of those attending this humble scene. Drawing from the Epiphany season and the gifts brought by the magi, we take our place at the manger, bringing metaphorical gifts of “incense, gold, and myrrh.” This is a setting that defies the conventional class structures of the time; the invitation is open to both the “peasant” and “king.” In a sentiment that is very common in hymnody, “the King of kings” will be “enthrone[d]” in “loving hearts.”
On Mary’s lap is sleeping?
Whom angels greet with anthems sweet,
While shepherd’s watch are keeping?
This, this is Christ the King,
Whom shepherds guard and angels sing;
Haste, haste to bring him laud,
The babe, the son of Mary.
GREENSLEEVES, the tune for which this text was probably written, is one of the most beautiful and beloved melodies of the season.
Though not exclusively a Christmas tune, its association with this season goes back to at least 1642, where it is paired with the Waits’ carol, “The old year now away is fled.” Shakespeare refers twice to GREENSLEEVES in his play Merry Wives of Windsor, helping to date it in the 16th century.
William Chatterton Dix (1837-1898), an Anglican layman, was the son of a surgeon in Bristol, England. He spent most of his life as a businessman, working as a manager for the Maritime Insurance Company in Glasgow, Scotland. We know of his church affiliation only through his hymns that were published in Altar Songs, Verses on the Holy Eucharist, and A Vision of All Saints.
Hymnologist Albert Bailey notes that some of Dix’s hymns are “horribly sentimental,” but on the whole says, “his hymns are simple, reverent, sincere, imaginative, not above the average comprehension, and two of them at least have proved to be continuously serviceable.” In addition to “What child is this,” Dr. Bailey is referring to “As with gladness men of old,” an Epiphany hymn that does not appear in The United Methodist Hymnal.
Stanza one, influenced by the Romantic poets of his day, perhaps skirts the edges of sentimentality. Beginning with a rhetorical question, “What child is this?” the poet condenses Luke 2:8-16 into a single stanza, painting a picture of a classic Nativity scene with the Christ Child sleeping on “Mary’s lap” while angels sing “anthems sweet” and shepherds “watch are keeping.”
Stanza two makes fleeting reference to the less than ideal conditions—“mean estate”—under which the idyllic scene of the previous stanza is situated. Like stanza one, the poet begins with a rhetorical question, “Why lies he in such mean estate?” In essence, he asks why the Christ Child should be in such a humble setting “where ox and ass are feeding.” The original second half of this stanza, not found in the hymnal, provides a more complete response to this question:
Nails, spear shall pierce him through;
The cross he bore for me, for you;
Hail, hail the Word made flesh,
The babe, the Son of Mary!
Dix’s answer to the reason for the “mean estate” under which Christ was born lies in his future suffering on the cross. Possibly Dix knew the Waits’ New Year’s carol mentioned earlier. The second stanza of this carol written over a century earlier also alludes to the suffering of Christ:
The name day now of Christ we keep,
Who for our sins did often weep;
His hands and feet were wounded deep,
And his blessed side with a spear. . .
In the final stanza, the poet expands the circle of those attending this humble scene. Drawing from the Epiphany season and the gifts brought by the magi, we take our place at the manger, bringing metaphorical gifts of “incense, gold, and myrrh.” This is a setting that defies the conventional class structures of the time; the invitation is open to both the “peasant” and “king.” In a sentiment that is very common in hymnody, “the King of kings” will be “enthrone[d]” in “loving hearts.”
Dr. Hawn is professor of sacred
music at Perkins School of Theology.
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