Introduction: “On the Morning of Christ’s Nativity” by John Milton
On the Morning of Christ’s Nativity by John Milton first appeared in 1645 as part of his collection Poems of Mr. John Milton. This powerful nativity ode showcases Milton’s early poetic mastery with its rich imagery, intricate language, and profound exploration of religious themes. The poem delves into the significance of Christ’s birth, celebrating the divine intervention in human affairs and the triumph of good over evil. Milton’s intricate exploration of the Nativity, coupled with his masterful use of language and imagery, makes this poem a timeless masterpiece of English literature.
Text: “On the Morning of Christ’s Nativity” by John Milton
This is the month, and this the happy morn,
Wherein the Son of Heav’n’s eternal King,
Of wedded Maid, and Virgin Mother born,
Our great redemption from above did bring;
For so the holy sages once did sing,
That he our deadly forfeit should release,
And with his Father work us a perpetual peace.
That glorious Form, that Light unsufferable,
And that far-beaming blaze of Majesty,
Wherewith he wont at Heav’n’s high council-table,
To sit the midst of Trinal Unity,
He laid aside, and here with us to be,
Forsook the courts of everlasting day,
And chose with us a darksome house of mortal clay.
Say Heav’nly Muse, shall not thy sacred vein
Afford a present to the Infant God?
Hast thou no verse, no hymn, or solemn strain,
To welcome him to this his new abode,
Now while the heav’n, by the Sun’s team untrod,
Hath took no print of the approaching light,
And all the spangled host keep watch in squadrons bright?
See how from far upon the eastern road
The star-led wizards haste with odours sweet:
O run, prevent them with thy humble ode,
And lay it lowly at his blessed feet;
Have thou the honour first thy Lord to greet,
And join thy voice unto the angel quire,
From out his secret altar touch’d with hallow’d fire.
It was the winter wild,
While the Heav’n-born child,
All meanly wrapt in the rude manger lies;
Nature in awe to him
Had doff’d her gaudy trim,
With her great Master so to sympathize:
It was no season then for her
To wanton with the Sun, her lusty paramour.
Only with speeches fair
She woos the gentle air
To hide her guilty front with innocent snow,
And on her naked shame,
Pollute with sinful blame,
The saintly veil of maiden white to throw,
Confounded, that her Maker’s eyes
Should look so near upon her foul deformities.
But he, her fears to cease,
Sent down the meek-ey’d Peace:
She, crown’d with olive green, came softly sliding
Down through the turning sphere,
His ready harbinger,
With turtle wing the amorous clouds dividing;
And waving wide her myrtle wand,
She strikes a universal peace through sea and land.
No war or battle’s sound
Was heard the world around;
The idle spear and shield were high uphung;
The hooked chariot stood
Unstain’d with hostile blood;
The trumpet spake not to the armed throng;
And kings sate still with awful eye,
As if they surely knew their sovran Lord was by.
But peaceful was the night
Wherein the Prince of Light
His reign of peace upon the earth began:
The winds with wonder whist,
Smoothly the waters kist,
Whispering new joys to the mild Ocean,
Who now hath quite forgot to rave,
While birds of calm sit brooding on the charmed wave.
The Stars with deep amaze
Stand fix’d in steadfast gaze,
Bending one way their precious influence;
And will not take their flight,
For all the morning light,
Or Lucifer that often warn’d them thence,
But in their glimmering orbs did glow,
Until their Lord himself bespake, and bid them go.
And though the shady gloom
Had given day her room,
The Sun himself withheld his wonted speed,
And hid his head for shame,
As his inferior flame
The new-enlighten’d world no more should need:
He saw a greater Sun appear
Than his bright throne or burning axle-tree could bear.
The shepherds on the lawn,
Or ere the point of dawn,
Sate simply chatting in a rustic row;
Full little thought they than
That the mighty Pan
Was kindly come to live with them below:
Perhaps their loves, or else their sheep,
Was all that did their silly thoughts so busy keep;
When such music sweet
Their hearts and ears did greet,
As never was by mortal finger strook,
Divinely warbled voice
Answering the stringed noise,
As all their souls in blissful rapture took:
The air such pleasure loth to lose,
With thousand echoes still prolongs each heav’nly close.
Nature, that heard such sound
Beneath the hollow round
Of Cynthia’s seat, the Airy region thrilling,
Now was almost won
To think her part was done,
And that her reign had here its last fulfilling:
She knew such harmony alone
Could hold all heav’n and earth in happier union.
At last surrounds their sight
A globe of circular light,
That with long beams the shame-fac’d Night array’d;
The helmed Cherubim
And sworded Seraphim
Are seen in glittering ranks with wings display’d,
Harping in loud and solemn quire,
With unexpressive notes to Heav’n’s new-born Heir.
Such music (as ’tis said)
Before was never made,
But when of old the sons of morning sung,
While the Creator great
His constellations set,
And the well-balanc’d world on hinges hung,
And cast the dark foundations deep,
And bid the welt’ring waves their oozy channel keep.
Ring out ye crystal spheres!
Once bless our human ears
(If ye have power to touch our senses so)
And let your silver chime
Move in melodious time,
And let the bass of Heav’n’s deep organ blow;
And with your ninefold harmony
Make up full consort to th’angelic symphony.
For if such holy song
Enwrap our fancy long,
Time will run back and fetch the age of gold,
And speckl’d Vanity
Will sicken soon and die,
And leprous Sin will melt from earthly mould;
And Hell itself will pass away,
And leave her dolorous mansions to the peering Day.
Yea, Truth and Justice then
Will down return to men,
Orb’d in a rainbow; and, like glories wearing,
Mercy will sit between,
Thron’d in celestial sheen,
With radiant feet the tissu’d clouds down steering;
And Heav’n, as at some festival,
Will open wide the gates of her high palace hall.
But wisest Fate says no:
This must not yet be so;
The Babe lies yet in smiling infancy,
That on the bitter cross
Must redeem our loss,
So both himself and us to glorify:
Yet first to those ychain’d in sleep,
The wakeful trump of doom must thunder through the deep,
With such a horrid clang
As on Mount Sinai rang
While the red fire and smould’ring clouds outbrake:
The aged Earth, aghast
With terror of that blast,
Shall from the surface to the centre shake,
When at the world’s last session,
The dreadful Judge in middle air shall spread his throne.
And then at last our bliss
Full and perfect is,
But now begins; for from this happy day
Th’old Dragon under ground,
In straiter limits bound,
Not half so far casts his usurped sway,
And, wrath to see his kingdom fail,
Swinges the scaly horror of his folded tail.
The Oracles are dumb;
No voice or hideous hum
Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,
With hollow shriek the steep of Delphos leaving.
No nightly trance or breathed spell
Inspires the pale-ey’d priest from the prophetic cell.
The lonely mountains o’er,
And the resounding shore,
A voice of weeping heard and loud lament;
From haunted spring, and dale
Edg’d with poplar pale,
The parting Genius is with sighing sent;
With flow’r-inwoven tresses torn
The Nymphs in twilight shade of tangled thickets mourn.
In consecrated earth,
And on the holy hearth,
The Lars and Lemures moan with midnight plaint;
In urns and altars round,
A drear and dying sound
Affrights the flamens at their service quaint;
And the chill marble seems to sweat,
While each peculiar power forgoes his wonted seat.
Peor and Ba{:a}lim
Forsake their temples dim,
With that twice-batter’d god of Palestine;
And mooned Ashtaroth,
Heav’n’s queen and mother both,
Now sits not girt with tapers’ holy shine;
The Libyc Hammon shrinks his horn;
In vain the Tyrian maids their wounded Thammuz mourn.
And sullen Moloch, fled,
Hath left in shadows dread
His burning idol all of blackest hue:
In vain with cymbals’ ring
They call the grisly king,
In dismal dance about the furnace blue.
The brutish gods of Nile as fast,
Isis and Orus, and the dog Anubis, haste.
Nor is Osiris seen
In Memphian grove or green,
Trampling the unshower’d grass with lowings loud;
Nor can he be at rest
Within his sacred chest,
Naught but profoundest Hell can be his shroud:
In vain with timbrel’d anthems dark
The sable-stoled sorcerers bear his worshipp’d ark.
He feels from Juda’s land
The dreaded Infant’s hand,
The rays of Bethlehem blind his dusky eyn;
Nor all the gods beside
Longer dare abide,
Not Typhon huge ending in snaky twine:
Our Babe, to show his Godhead true,
Can in his swaddling bands control the damned crew.
So when the Sun in bed,
Curtain’d with cloudy red,
Pillows his chin upon an orient wave,
The flocking shadows pale
Troop to th’infernal jail,
Each fetter’d ghost slips to his several grave,
And the yellow-skirted fays
Fly after the night-steeds, leaving their moon-lov’d maze.
But see, the Virgin blest
Hath laid her Babe to rest:
Time is our tedious song should here have ending.
Heav’n’s youngest-teemed star,
Hath fix’d her polish’d car,
Her sleeping Lord with handmaid lamp attending;
And all about the courtly stable,
Bright-harness’d Angels sit in order serviceable.
Annotations: “On the Morning of Christ’s Nativity” by John Milton
| Stanza | Summary | Key Themes | Literary Devices |
| 1 | The birth of Christ is announced as a moment of redemption. | Redemption, divine birth | Alliteration (“happy morn”), Inversion (unusual syntax for emphasis) |
| 2 | Christ forsakes his heavenly throne to dwell in mortal flesh. | Incarnation, humility | Imagery (Heavenly council), Contrast (Divine vs. human) |
| 3 | The speaker calls on the Muse to celebrate Christ’s birth. | Divine inspiration, praise | Apostrophe (address to Muse), Symbolism (light representing divinity) |
| 4 | The magi are traveling to pay homage to Christ. | Worship, homage | Symbolism (gifts as respect), Allusion (magi from the East) |
| 5 | Nature itself becomes humble in the presence of the Christ child. | Awe, humility | Personification (Nature), Imagery (winter, manger) |
| 6 | Nature feels guilty for its fallen state and hides under snow. | Sin, purity | Metaphor (snow as purity), Personification (Nature) |
| 7 | Peace descends on the world in honor of Christ. | Peace, divine presence | Symbolism (olive branch), Imagery (calm) |
| 8 | War ceases, and kings recognize Christ’s authority. | Peace, divine rule | Irony (kings sitting still), Symbolism (idle spear) |
| 9 | The natural world is in awe of Christ’s arrival. | Wonder, nature | Personification (wind and waters), Imagery (brooding birds) |
| 10 | Stars pause in amazement, awaiting Christ’s command. | Divine authority, awe | Imagery (stars and light), Allusion (Lucifer, morning star) |
| 11 | The sun dims, overshadowed by Christ’s brilliance. | Light, divine supremacy | Personification (sun), Imagery (greater Sun) |
| 12 | The shepherds are unaware of Christ’s arrival but soon witness divine music. | Innocence, revelation | Contrast (mundane shepherds vs. divine event), Symbolism (music as revelation) |
| 13 | Divine music stirs the natural world, signaling a union between heaven and earth. | Harmony, union | Personification (Nature), Imagery (Cynthia’s seat) |
| 14 | A heavenly light surrounds the angels praising Christ. | Divine glory, celestial praise | Imagery (circular light), Symbolism (angels) |
| 15 | The music sung by angels echoes the creation of the world. | Creation, harmony | Allusion (creation), Imagery (heavenly choir) |
| 16 | The speaker urges the celestial spheres to join in the celebration. | Cosmic harmony, music | Apostrophe (address to spheres), Symbolism (ninefold harmony) |
| 17 | A vision of a future golden age inspired by Christ’s birth. | Hope, divine renewal | Metaphor (age of gold), Symbolism (Vanity and Sin) |
| 18 | The future return of Truth, Justice, and Mercy to the world. | Justice, redemption | Allegory (Truth, Justice), Symbolism (rainbow) |
| 19 | Christ’s journey to redemption involves suffering and death before ultimate victory. | Sacrifice, redemption | Foreshadowing (cross and doom), Symbolism (wakeful trump) |
| 20 | The final judgment and Christ’s return to glory. | Judgment, apocalypse | Allusion (Sinai, Last Judgment), Imagery (fire and shaking earth) |
| 21 | Christ’s birth marks the beginning of redemption, though the final triumph is yet to come. | Salvation, hope | Allegory (Dragon), Symbolism (Satan’s defeat) |
| 22 | Pagan oracles and deities lose their power with Christ’s arrival. | Supersession, falsehood | Allusion (Apollo, Delphos), Symbolism (oracles’ silence) |
| 23 | The ancient world mourns the end of its reign as Christ’s truth is revealed. | End of an era, divine truth | Personification (Genius, Nymphs), Allusion (poplar, thickets) |
| 24 | Pagan rituals lose their meaning in light of Christ’s birth. | Ritual, obsolescence | Symbolism (Lars, Lemures), Allusion (holy hearth) |
| 25 | Pagan gods, including Baal and Ashtaroth, are abandoned. | Supersession, divine truth | Allusion (Baal, Ashtaroth), Symbolism (temples dim) |
| 26 | False gods like Moloch and the gods of Egypt are defeated by Christ’s light. | Supersession, divine power | Allusion (Moloch, Osiris), Imagery (dark vs. light) |
| 27 | Pagan deities tremble before Christ’s divine power. | Defeat of false gods, divine authority | Allusion (Juda’s land), Symbolism (rays of Bethlehem) |
| 28 | With Christ’s birth, the shadows of the old world flee back to the underworld. | Victory, divine power | Symbolism (ghosts returning), Imagery (shadows pale) |
| 29 | The Virgin Mary tends to the Christ child, as angels stand guard. | Divine care, purity | Imagery (Virgin Mary), Symbolism (courtly stable) |
Literary And Poetic Devices: “On the Morning of Christ’s Nativity” by John Milton
| Device | Definition | Example from the Poem | Explanation |
| Apostrophe | Addressing a person or thing that is not present. | “O run, prevent them with thy humble ode,” | Milton directly addresses the Heavenly Muse, invoking her inspiration. |
| Assonance | The repetition of vowel sounds within words. | “And waving wide her myrtle wand” | The repetition of the “a” sound creates a melodious effect. |
| Caesura | A pause within a line of poetry. | “That he our deadly forfeit should release,” | The pause emphasizes the idea of redemption. |
| Consonance | The repetition of consonant sounds within words, often at the ends of words. | “And all the spangled host keep watch in squadrons bright” | The repetition of the “s” sound creates a sense of urgency and excitement. |
| Enjambment | The continuation of a sentence or thought beyond the end of a line of poetry. | “For so the holy sages once did sing, / That he our deadly forfeit should release,” | Enjambment creates a sense of flow and rhythm. |
| Hyperbole | Exaggeration for effect. | “The air such pleasure loth to lose” | The exaggeration emphasizes the intensity of the music. |
| Imagery | The use of vivid language to create mental images. | “The Stars with deep amaze / Stand fix’d in steadfast gaze” | The imagery creates a picture of the stars’ awe and wonder. |
| Metaphor | A comparison between two unlike things without using “like” or “as.” | “The Sun himself withheld his wonted speed” | The sun is compared to a being capable of shame and embarrassment. |
| Onomatopoeia | The use of words that imitate sounds. | “The hooked chariot stood / Unstain’d with hostile blood” | The word “stood” suggests the stillness and weight of the chariot. |
| Oxymoron | A combination of contradictory terms. | “The idle spear and shield were high uphung” | The oxymoron suggests the irony of weapons being idle during a time of peace. |
| Personification | Giving human qualities to non-human things. | “Nature in awe to him” | Nature is portrayed as a being capable of emotion and reverence. |
| Simile | A comparison between two unlike things using “like” or “as.” | “And will not take their flight, / For all the morning light” | The stars are compared to creatures that refuse to leave their position. |
| Symbolism | The use of symbols to represent ideas or concepts. | The star-led wizards symbolize the search for spiritual guidance. | |
| Synecdoche | The use of a part to represent the whole, or vice versa. | “Nature in awe to him” | “Nature” represents the entire natural world. |
| Tautology | The repetition of a word or phrase with a similar meaning. | “The dreadful Judge in middle air / Shall spread his throne” | The phrase “dreadful Judge” is repeated with a similar meaning. |
| Understatement | Saying less than is meant. | “Full little thought they than” | The understatement emphasizes the shepherds’ lack of awareness. |
| Verbal Irony | Saying the opposite of what is meant. | “The idle spear and shield were high uphung” | The verbal irony suggests that the weapons are useless in a time of peace. |
| Zeugma | The use of a word to modify two or more words in different senses. | “The hooked chariot stood / Unstain’d with hostile blood” | The word “stood” modifies both the chariot and the blood. |
Themes: “On the Morning of Christ’s Nativity” by John Milton
- The Incarnation and Divine Humility: Milton explores the profound paradox of the Incarnation, where the divine Son of God becomes a human infant. This theme is emphasized through imagery of the “meanly wrapt” baby in the manger and the contrast between the “far-beaming blaze of Majesty” of Heaven and the “darksome house of mortal clay.” Milton highlights the divine humility and self-emptying of Christ, who willingly forsakes the glories of Heaven to dwell among humanity.
- The Triumph of Peace and Harmony: The poem celebrates the birth of Christ as the harbinger of peace and harmony. Milton describes the cessation of war, the calming of the elements, and the harmonious alignment of the celestial bodies. This theme is evident in lines like “No war or battle’s sound / Was heard the world around” and “The winds with wonder whist, / Smoothly the waters kist.” The birth of Christ is presented as a transformative moment that brings peace and order to a chaotic world.
- The Triumph of Good Over Evil: Milton depicts the birth of Christ as a victory over the forces of darkness and evil. The poem references the defeat of pagan gods and the downfall of demonic powers. Lines like “The old Dragon under ground, / In straiter limits bound” and “The Oracles are dumb” illustrate the triumph of Christ over evil influences. This theme underscores the idea of redemption and the ultimate victory of good over evil.
- The Wonder and Awe of Creation: The poem evokes a sense of wonder and awe at the beauty and majesty of the created world. Milton describes the celestial bodies, the natural elements, and the harmonious order of creation. Lines like “The Stars with deep amaze / Stand fix’d in steadfast gaze” and “Nature in awe to him” convey the sense of wonder and reverence that the poet experiences. This theme highlights the glory of God as the creator and the beauty of the world He has made.
Literary Theories and “On the Morning of Christ’s Nativity” by John Milton
- Neoclassical Criticism: Neoclassical criticism emphasizes reason, order, and harmony in literature. Milton’s poem aligns with Neoclassical ideals through its emphasis on classical forms, its use of reason and logic, and its exploration of universal themes. The poem’s structured verse, its references to classical mythology, and its exploration of philosophical concepts such as the divine and the human all reflect Neoclassical values.
- Romantic Criticism: Romantic criticism emphasizes emotion, imagination, and the individual. While Milton’s poem may not be a purely Romantic work, it contains elements that resonate with Romantic ideals. The poem’s emphasis on the sublime, its exploration of the individual’s relationship with nature, and its use of vivid imagery and symbolism align with Romantic values. For example, the description of the celestial bodies and the natural world evokes a sense of wonder and awe, characteristic of Romantic poetry.
- New Historicism: New Historicism emphasizes the historical and cultural context of a literary work. Milton’s poem can be analyzed through a New Historicist lens by considering its historical context, including the religious and political climate of the time. The poem’s exploration of themes such as divine intervention, the triumph of good over evil, and the role of religious authority can be understood in relation to the historical and cultural context in which it was written.
Critical Questions about “On the Morning of Christ’s Nativity” by John Milton
- How does Milton depict the relationship between Christ and the natural world in the poem?
- Milton establishes a profound connection between Christ and the natural world, portraying Nature as both subordinate to and in awe of Christ’s divinity. In the fifth stanza, Nature is personified and shown as modest in the presence of the newborn Christ, “Had doff’d her gaudy trim” (line 29), revealing her humility. Additionally, Nature’s transformation reflects the cosmic significance of the Incarnation, as “The winds with wonder whist” and “Smoothly the waters kist” (lines 97-98), illustrating how the natural elements themselves respond with reverence. This relationship underscores the notion of Christ as both Creator and Redeemer, to whom all of creation must submit.
- What role does divine music play in celebrating the Nativity in the poem?
- Divine music is central to the celebration of Christ’s Nativity, symbolizing heavenly harmony and the cosmic joy that accompanies the Incarnation. In stanza 14, Milton describes the angels playing “Harping in loud and solemn quire, / With unexpressive notes to Heav’n’s new-born Heir” (lines 150-151). This music reflects the celestial realm’s exultation and the unity of heaven and earth. Furthermore, the reference to the “angelic symphony” (line 177) implies that music transcends human expression, conveying the divine joy and peace that the birth of Christ brings. The music also serves as a metaphor for the ultimate harmony between God and humankind, brought forth through Christ’s presence.
- How does Milton juxtapose the divine and the mortal in the poem?
- Milton juxtaposes the divine nature of Christ with his mortal incarnation, emphasizing the humility and sacrifice involved in His descent to earth. In stanza 2, Christ “laid aside” His “glorious Form, that Light unsufferable” and “Forsook the courts of everlasting day” to dwell in “a darksome house of mortal clay” (lines 13-19). This contrast between divine radiance and earthly obscurity underscores the immense sacrifice inherent in the Incarnation, as Christ leaves behind His celestial glory to redeem humanity. The imagery of “mortal clay” further highlights the fragility of human flesh, reinforcing the stark difference between Christ’s eternal divinity and His temporary human form.
- What is the significance of the silence of the pagan oracles in the poem?
- The silence of the pagan oracles in the poem symbolizes the triumph of Christianity over ancient paganism, marking the end of an era of false prophecies and idol worship. In stanza 22, Milton writes, “The Oracles are dumb; / No voice or hideous hum / Runs through the arched roof in words deceiving” (lines 173-175). This passage signifies the fall of the old pagan religions, represented by figures such as Apollo and the Delphic oracle, who can “no more divine” (line 177). The silence of these oracles and the departure of gods like Moloch and Isis (lines 209-218) illustrate that Christ’s birth brings about a new truth, rendering the deceptive oracles of the past obsolete.
Literary Works Similar to “On the Morning of Christ’s Nativity” by John Milton
- “Hymn on the Morning of Christ’s Nativity” by Henry Vaughan
Similar in its celebration of Christ’s birth and its use of celestial imagery to depict the divine event. - “In the Holy Nativity of Our Lord” by Richard Crashaw
This poem, like Milton’s, reflects on the awe and reverence surrounding the birth of Christ, with a focus on religious imagery and divine mystery. - “Christmas” by George Herbert
Herbert’s poem shares Milton’s religious devotion, focusing on the theme of Christ’s Incarnation and its redemptive significance. - “A Christmas Carol” by Samuel Taylor Coleridge
This poem also meditates on the spiritual and cosmic importance of Christ’s birth, using both nature and religious symbolism to convey its themes
Suggested Readings: “On the Morning of Christ’s Nativity” by John Milton
Books:
- Campbell, Gordon J. John Milton: A Life. W.W. Norton & Company, 2003.
- Duncan, Dennis L., ed. The Cambridge Companion to Milton. Cambridge University Press, 2001.
Websites:
Representative Quotations of “On the Morning of Christ’s Nativity” by John Milton
| Quotation | Context | Theoretical Perspective |
| “This is the month, and this the happy morn, / Wherein the Son of Heav’n’s eternal King, / Of wedded Maid, and Virgin Mother born” | Opening lines, announcing Christ’s birth. | Theological Perspective: Reflects Christian doctrine of the Incarnation and Virgin Birth, linking divinity with human history. |
| “That glorious Form, that Light unsufferable, / And that far-beaming blaze of Majesty” | Describes Christ’s divine nature before His Incarnation. | Neo-Platonism: Echoes ideas of divine forms and the transcendence of Christ’s pre-incarnate state. |
| “Forsook the courts of everlasting day, / And chose with us a darksome house of mortal clay” | Christ’s decision to become human and dwell among mortals. | Christian Humanism: Focuses on the idea of divine condescension and Christ’s embrace of human frailty. |
| “The star-led wizards haste with odours sweet” | Refers to the Magi following the star to worship Christ. | Symbolism: The star and the Magi represent divine guidance and the recognition of Christ’s kingship by the world. |
| “Nature in awe to him / Had doff’d her gaudy trim” | Nature humbles itself at Christ’s birth. | Ecocriticism: Highlights the relationship between nature and divinity, showing nature as responsive to the spiritual order. |
| “She strikes a universal peace through sea and land” | The coming of divine peace after Christ’s birth. | Utopianism: Represents the idea of a future golden age of peace and harmony brought by Christ’s rule. |
| “No war or battle’s sound / Was heard the world around” | The silence of war marks the coming of Christ’s reign. | Pacifism: Suggests the cessation of violence and warfare in the light of Christ’s peace. |
| “The shepherds on the lawn / Sate simply chatting in a rustic row” | The shepherds unknowingly awaiting the divine announcement. | Pastoral Tradition: Emphasizes simplicity and humility in the human experience, aligning with the pastoral ideal. |
| “The Oracles are dumb; / No voice or hideous hum / Runs through the arched roof in words deceiving” | Refers to the silence of pagan oracles after Christ’s birth. | Supersessionism: Reflects the Christian triumph over paganism, showing Christ as the fulfillment of prophecy. |
| “But see, the Virgin blest / Hath laid her Babe to rest” | Closing lines, focusing on Mary and the infant Christ. | Feminist Theology: Highlights the role of Mary, the Virgin Mother, elevating her as a central figure in the narrative of salvation. |