‘O Come, O Come Emmanuel’: Tracing The Religious Origins Of Popular Christmas Carols
(ANALYSIS) This Christmas, many of us will sing our favorite carols. But how often do we ask where they come from?
Very rarely, if ever.
Some of these songs trace back centuries, each with its own story to tell. Take “In the Bleak Midwinter,” for instance — Christina Rossetti’s 1872 masterpiece brings together winter’s chill, the arrival of Christ and a gentle portrayal of the nativity. It culminates in that poignant moment of quiet reflection: The poem-turned-carol invites a depth of contemplation that resonates long after the last note fades.
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“In Dulci Jubilo,” with roots in the 14th century, captures the opposite side of the season. With its lively medieval tune, it overflows with joy and celebration, having been adapted by everyone from Johann Sebastian Bach to Mike Oldfield.
Then we have “O Come, O Come Emmanuel,” a piece that traces all the way back to the 12th century and the ancient “O” antiphons. Its melody, echoing Gregorian chant, brings a sense of longing and hope.
“Silent Night,” a carol so simple and moving, was written on Christmas Eve in 1818 in Austria. It came about when a church organ broke, forcing the parish priest and a local composer to write a song for guitar instead. This unexpected origin created one of the most powerful, humble carols of all time.
“What Child Is This?” was written by William Dix after a life-altering illness left him bedridden. Set to the timeless tune of “Greensleeves,” its lyrics reflect a profound, personal wonder at the nativity, seen through the eyes of someone who found renewed meaning in life. Meanwhile, “A Spotless Rose,” written by Herbert Howells in 1919, came from a simple moment of inspiration as he watched trains pass by his window. Now a staple of candlelit services, this delicate carol brings a sense of calm and reverence to the season.
As for “The Coventry Carol,” this haunting piece from the 16th century tells of a mother’s anguish during King Herod’s massacre of infants, making it one of the season’s most poignant carols. It reminds us that not all Christmas stories are joyful — some echo with heartbreak and unimaginable amounts of loss.
A bit of scandal surrounds “O Holy Night,” which originated as a French carol. When the church discovered that its lyricist was a socialist and its composer Jewish, it was banned. Thankfully, that didn’t stop it from becoming an enduring symbol of hope and perhaps the most popular Christmas carol in existence. Famously, during the Franco-Prussian War, soldiers on both sides sang it from their trenches, prompting a Christmas ceasefire — a moment of humanity in the bleakest of times.
“Hark! The Herald Angels Sing” is another beloved carol with an intriguing history. Charles Wesley, a prolific hymn writer and co-founder of the Methodist movement, originally wrote the lyrics in the 18th century. Felix Mendelssohn, a renowned composer, later adapted the melody, fusing theological depth with a potent, uplifting melody. Wesley’s verses capture the jubilation of angels announcing Christ’s birth, while Mendelssohn’s sweeping sound elevates the celebration to, dare I say, heavenly heights.
Interestingly, the oldest known Christmas carol is believed to be "Jesus Refulsit Omnium" (“Jesus, Light of All Nations”), written in Latin by St. Hilary of Poitiers in the 4th century. It was composed shortly after Christianity had been legalized in the Roman Empire under Emperor Constantine, allowing the faith to flourish openly after centuries of persecution.
Of course, one cannot discuss Christmas carols without discussing “Joy to the World,” a seasonal belter that nearly everyone knows but few realize isn’t strictly about Christmas. The lyrics, written by Isaac Watts in 1719, were based on Psalm 98, celebrating God’s dominion and triumph.
However, it wasn’t until the American composer Lowell Mason set it to music a century later that it gained its iconic tune, drawing listeners with its jubilant proclamation of “joy.” Although not initially intended as a Christmas carol, its triumphant spirit fit the season so perfectly that it became forever associated with it. Today, “Joy to the World” fills homes, churches, and concert halls, from Dublin to Detroit, Manchester to Manila.
Each carol, like those who sing them, carries a unique backstory filled with history, hope and sometimes even heartbreak. They are, in many ways, a reflection of life itself. Together, they remind us that Christmas isn’t just about celebration — it’s about honoring the moments, both light and dark, that shape who we are.
John Mac Ghlionn is a researcher and essayist. He covers psychology and social relations. His writing has appeared in places such as UnHerd, The US Sun and The Spectator World.