Chris Tomlin, William Chatterton Dix
A masterful Christmas carol rooted in Incarnation theology, asking the pivotal question that drives Matthew's Gospel: Who is this child? The song balances contemplative wonder with proclamation, moving from inquiry to doxological answer. Tomlin's arrangement preserves the theological weight of Dix's 1865 text while making the 'Greensleeves' melody accessible to contemporary congregations. The narrative arc takes worshipers from the manger scene to the cross and crown, providing rich Christological content for Advent and Christmas. Ideal for blended worship settings where historical depth and modern accessibility converge.
Five lenses
The song is a sustained meditation on Luke 2:1-20, with direct echoes of Matthew 2:1-12. The opening question, 'What child is this,' mirrors the query implicit in the shepherds' visit and the Magi's search. The lyric carefully layers Old Testament messianic expectation with Gospel fulfillment, identifying the infant as 'the King of kings salvation brings' (1 Timothy 6:15, Luke 2:11). The progression from 'ox and ass are feeding' (traditional manger imagery extrapolated from Isaiah 1:3) to 'nails, spear shall pierce him through' (John 19:34) telescopes Christ's life toward Calvary in classic carol fashion. The refrain's call to bring offerings parallels the Magi's gifts (Matthew 2:11) and anticipates Pauline worship language about presenting ourselves (Romans 12:1). Every major theological claim finds clear biblical warrant.
This is Incarnation theology at its clearest: the baby in the manger is God in flesh, the promised Messiah, destined for crucifixion and exaltation. The song resists sentimentality by immediately framing the birth within salvation history. The question-and-answer structure (verse asks, chorus declares) models catechetical teaching. The lyric never separates Christ's birth from His mission, consistently pointing to the purpose behind the Incarnation. The theological arc moves from nativity to atonement to enthronement, touching all three offices of Christ (Prophet, Priest, King). The song explicitly identifies Jesus as both 'Word' (Johannine Christology) and 'King of kings' (apocalyptic Christology), holding divine and royal identities together without subordinating either.
The traditional 'Greensleeves' melody carries both beauty and difficulty. The range spans an octave and a fourth (C4-F5), with the chorus reaching F5 on 'King,' which will push many tenors and altos. The 142 BPM tempo in Tomlin's arrangement is brisk for a waltz, requiring congregational confidence to maintain momentum without rushing. The melody's flowing, stepwise motion in the verses provides accessibility, but the chorus introduces interval jumps that demand pitch accuracy. The 3/4 meter feels natural once established but may initially disorient congregations accustomed to contemporary 4/4 patterns. This song rewards rehearsal and benefits from strong instrumental support to anchor pitch and rhythm.
Dix's 1865 text is a model of Victorian hymnody: economical, theologically dense, and imagistically rich. The opening question frames the entire carol as an inquiry, inviting worshipers into discovery rather than mere recitation. The imagery moves seamlessly from pastoral (ox and ass) to regal (King of kings) to sacrificial (nails, spear) without jarring transitions. The lyric employs Johannine paradox, calling the infant both 'silent' and 'Word,' which compresses immense theology into a single phrase. The repetition of 'This, this is Christ the King' functions as liturgical proclamation, not filler. The call to 'bring Him laud' uses archaic language that signals solemnity and reverence, appropriate for the subject. The meter (8.7.8.7 with refrain) fits the 'Greensleeves' tune perfectly, demonstrating the unity of text and music in classic hymnody.
This carol is theologically robust and historically rooted, but it invites two predictable objections: the archaic language and the telescoping of Christ's life from birth to death. The first objection comes from those who prioritize accessibility; the second from those who prefer liturgical separation between Advent and Lent. Both are answerable within Baptist worship practice, which values both historical continuity and theological integration.
Full analysis
What Child Is This stands as one of the most theologically substantive Christmas carols in the Western tradition, raising the question that animates the Gospels: Who is this? William Chatterton Dix's 1865 text takes the familiar manger scene and refuses to let it remain merely sentimental. From the opening inquiry, the song presses toward doctrinal precision, identifying the infant as the Word made flesh, the King of kings, the one destined for both crown and cross. The lyric balances pastoral imagery (ox and ass) with cosmic claims (salvation brings, King of kings), demonstrating that the Incarnation is not a detour in salvation history but its climax. The song teaches worshipers to see the baby in context: He is the fulfillment of Old Testament prophecy, the embodiment of divine speech, and the sovereign Lord who chose humility as His path to glory.
The theological arc of the carol is catechetical in structure. The verses present the scene and pose the question, while the refrain provides the answer: This is Christ the King. The repetition of 'this, this' functions as liturgical pointing, as though the congregation stands with shepherds and Magi, gesturing toward the manger and declaring what their eyes are seeing. The song does not merely report the Nativity; it interprets it, drawing connections between the cradle and the throne, between the silent infant and the eternal Word. This telescoping of Christ's life, from birth to crucifixion to reign, reflects the Gospel writers' own method. Luke 2:34-35 records Simeon's prophecy about the sword that will pierce Mary, embedding suffering within the infancy narrative. The carol follows this biblical pattern, refusing to separate the Incarnation from the Atonement.
Musically, Tomlin's arrangement brings the 'Greensleeves' melody into contemporary worship with respect for its historical roots. The 3/4 waltz meter and 142 BPM tempo create a sense of forward motion without rushing, allowing the lyric's density to register. The melody's wide range and interval leaps require vocal confidence, making this a carol that benefits from rehearsal and strong leadership. The F5 peak on 'King' in the chorus will challenge many congregations, but this difficulty is not arbitrary; the high note underscores the exaltation being proclaimed. The song rewards congregations willing to invest in learning it well, and its familiarity in broader culture provides a foothold for engagement. This is not a song for casual or first-time gatherings, but for worship settings where theological depth and musical investment are both valued.
For Baptist worship leaders, this carol offers a chance to connect contemporary congregations with the historic church's witness. The song has endured for over 150 years because it refuses to flatten the mystery of the Incarnation into sentimentality. It asks the right question and provides the right answer, holding together divine and human, lowly and exalted, birth and death. The lyric equips worshipers to see Christmas as the beginning of a redemptive trajectory that leads to the cross and empty tomb. In an age when Christmas often collapses into nostalgia or consumerism, What Child Is This insists that the season has theological content: the baby is the King, and the King came to save. This is a song worth singing, teaching, and returning to year after year.
Defense brief
Who raises this: Contemporary worship advocates, younger congregants, or those prioritizing seeker-friendliness
While accessibility matters, Scripture itself uses elevated, formal language in moments of worship and revelation (Isaiah 6, Revelation 4-5). The Psalms employ archaic constructions even in modern translations to preserve poetic and theological weight. The question is not whether language is contemporary but whether it is clear enough to carry meaning.
This is a classic Christmas carol, and part of its value lies in connecting us to centuries of Christian witness. The word 'laud' means praise, and using it once a year helps us remember that worship has a rich vocabulary. We can briefly define unfamiliar terms without abandoning the hymn's historic character. The archaic diction signals reverence, which is appropriate when contemplating the Incarnation.
Who raises this: Liturgically-minded members, pastors trained in the Christian year, or those concerned about thematic focus
Luke 2:34-35 records Simeon's prophecy that a sword would pierce Mary's soul, linking the Nativity to the Passion within the infancy narrative itself. The Gospels consistently present Jesus' birth as purposeful, not accidental; He came to die (Mark 10:45, John 12:27). Holding birth and death together is not liturgical confusion but theological clarity: the manger and the cross interpret each other.
This carol does what the Gospel writers do: it tells us from the beginning why the child was born. The Incarnation is inseparable from the Atonement. We can sing this song during Advent or Christmas and let it deepen our understanding of what the birth means. The telescoping is not carelessness; it is compression born of theological insight.
Who raises this: Analytically-minded congregants, seminary students, or those wary of poetic license in theology
John 1:1-14 establishes Jesus as the eternal Word (Logos) who became flesh. Hebrews 1:1-2 speaks of God's ultimate speech in the Son. The paradox of the 'silent Word' captures the mystery of the Incarnation: the God who spoke creation into being now lies as an infant, unable to utter human language, yet His very presence is a plea for humanity to recognize Him. The pleading is not verbal but existential, the appeal of God-made-vulnerable.
This is poetic theology, using paradox to capture mystery. The baby Jesus does not preach, yet His presence proclaims. He is the Word of God in flesh, and even His silence speaks. The lyric invites us to marvel at the humility of the Incarnation, that the One through whom all things were made (John 1:3) now lies helpless in a manger, dependent on human care.
Scripture map
Primary foundations
Supporting connections
Story behind the song
William Chatterton Dix, a British hymn writer and insurance manager, wrote this text in 1865 during recovery from a severe illness that left him bedridden. The carol emerged from a period of spiritual renewal and reflection on the Incarnation, originally titled 'The Manger Throne.'
Hymnology archives and carol histories
The text was later paired with the traditional English folk melody 'Greensleeves,' dating to the 16th century. The union of Dix's Victorian theology with the ancient tune created one of the most enduring Christmas carols in English-speaking Christianity.
Hymnal commentary and musicology sources
Chris Tomlin's 2015 arrangement on the album 'Adore: Christmas Songs of Worship' brought the carol into contemporary worship settings, preserving the theological weight while making it accessible to modern congregations. The arrangement honors the hymn's historic character while introducing new instrumental textures.
Album liner notes and Tomlin interviews
Hymn lineage
Themes
Sermon series fit
Audience fit
Maturity
Intermediate to mature; requires doctrinal literacy to unpack paradoxical language and telescoped timeline
Age group
Broad appeal across ages; familiarity of melody aids intergenerational engagement
Service type
Traditional, Blended, Christmas services; less suitable for seeker-oriented or contemporary-exclusive contexts
Visitor-friendly
Moderate; the carol's cultural familiarity helps, but theological density and archaic language may challenge newcomers without context
Special contexts
Ideal for Advent services, Christmas Eve candlelight gatherings, carol services, and liturgical settings where historical hymnody is valued
Similar songs
If you love this song
O Come, O Come Emmanuel - Thematically aligned Advent hymn with similar theological depth
Hark! The Herald Angels Sing - Another classic carol with strong Incarnation theology
O Holy Night - Shares the sense of awe and proclamation of Christ's birth
Come Thou Long Expected Jesus - Advent hymn with messianic focus and historical richness
If this concerns you
Away in a Manger - Simpler, more accessible Christmas carol with gentler imagery
Silent Night - Familiar, contemplative carol without cross-references or archaic language
Joy to the World - Celebratory Christmas song with straightforward theology and accessible melody
Light of the World (Here I Am to Worship) - Contemporary Christmas option with modern language and simpler theological arc