A tradition I started on this blog in 2021 was the exploration of the stories behind and meanings of various Christmas songs in the weeks leading up to Christmas. That list of songs I have written over the past four years include some of the most popular Christmas carols and hymns as well as some that are a bit more obscure: Angels From the Realms of Glory, Angels We Have Heard on High, Away in a Manager, Come Thou Long-Expected Jesus, The First Noel, God Rest You Merry Gentlemen, Go Tell It on the Mountain, Hark the Herald Angels Sing, It Came Upon a Midnight Clear, Joy to the World, O Come All Ye Faithful, O Come O Come Emmanuel, O Little Town of Bethlehem, O Holy Night, Once in Royal David’s City, Silent Night, The Twelve Days of Christmas, We Three Kings, What Child is This?, and Who Is He in Yonder Stall. 

This year I’ll continue the tradition by focusing on some lesser-known Christmas hymns that I think can remind us that Christians have been singing Christmas songs for a long time and in places all over the world. The first one I want to tell you about is called, “Let All Mortal Flesh Keep Silence.” This is one of the oldest Christmas hymns but one not as well known today. If you have never heard of this song before, I would recommend listening to this version of it that Keith and Kristyn Getty did with JJ Heller. 

The Story
The story of this song spans many centuries – actually millennia! – and in many different lands. Its roots are in a prayer found in the Liturgy of St. James (a liturgy is essentially the order and content of a worship service). That liturgy received its name because it was believed to be written by James the brother of Jesus, who was a leader of the church in Jerusalem and the author of the New Testament Book of James. However, most scholars now think that this liturgy comes from the 4th or 5th century and thus was not written by James. It does seem to have originated in Jerusalem, with some thinking it might come from Cyril of Jerusalem. While originating in Jerusalem, it has been (and is still) used by churches in many different places.

The prayer in this liturgy that the song was based on was written in Greek. The English translation and adaptation of the prayer that is used in the song was done by Gerard Moultrie in 1864, an English teacher and hymn writer. It wasn’t until 1906, though, that its most common musical setting emerged, when the English composer Ralph Vaughan Williams paired the words with a 17th century French melody known as Picardy. Therefore, this song has roots in Jerusalem, English, and France and draws from a Greek prayer that has been used by Christians in various other places.

Its origin in the midst of a regular liturgy indicates that it was not originally written to be a Christmas song but rather came to be associated with Christmas due to its content (which we will explore in a moment). The fact its content relates to Christmas but it was not used exclusively or primarily with Christmas is a reminder that the reality of Jesus’s birth is not something we should think about just once a year but one that stands as the foundation. This liturgy as a whole includes communion. While we do not usually have communion at Christmas, this connection reminds us of the connection between the coming of Christ and this sacrament; Jesus really came to this world and took on true flesh and blood, and communion is a tangible sign and seal of his coming and of his work on our behalf.

Its origins in the liturgy and reference to communion, however, may also be a reason that some Christians have not latched onto it. The prayer it is based on has been used in circles that view communion as literally becoming the body and blood of Christ; the one who translated it into English was part of “the Oxford Movement” in the Church of England, a movement that saw many leave the Church of England and turn to the traditions of the Roman Catholic church. Therefore, some may wonder if the hymn itself points to a different theology of communion than that found in most Protestant churches. However, it does not seem that a particular understanding of the nature of the communion elements is inherent in the text itself; the imagery it uses in the text is that which Jesus himself uses in John 6. Its primary concern in terms of communion does not seem to be to teach a particular theological view but rather to help people prepare for communion with a deep reverence – something that should also be true for those of us who do not think the elements physically become the body and blood of Christ.

Another reason I think the song may not be as popular today is that it is a slower and more mellow tune than some other Christmas songs. While not all Christmas songs are fast-paced with a spirit of joy, there seems to be an overall preference for those songs. I suspect the combination of the concerns about its background noted above and the slower pace causes this song to be overlooked by many. 

The Song
Having looked at the background of the song, let us now look at the song itself. Traditionally, there are four verses, and it is really only the second verse that has the direct connection to Christmas (though you can also find some connections to Christmas in the first and third verses that speak of the descent of the Son of God to earth). However, the other verses also evoke other passages of Scripture. For example, the opening words – from which the song gets its name – alludes to Habakkuk 2:20 (“But the Lord is in his holy temple; let the whole earth be silent in his presence.”). A similar idea of silence before God also appears in Zechariah 2:13 (“Let all humanity be silent before the Lord, for from his holy dwelling he has roused himself.”). References to the seraphim and cherubim draw upon the imagery of heaven in Isaiah 6 and Revelation 4, pointing to both the holiness of God and the praise of God found in heaven. Those are just some of the most prominent allusions in the text; there are many more. Here are the words to the song itself:

Verse 1
Let all mortal flesh keep silence,
And with fear and trembling stand;
Ponder nothing earthly-minded,
For with blessing in His hand,
Christ our God to earth descendeth,
Our full homage to demand.

Verse 2
King of kings, yet born of Mary,
As of old on earth He stood,
Lord of lords, in human vesture,
In the body and the blood;
He will give to all the faithful
His own self for heav’nly food.

Verse 3
Rank on rank the host of heaven
Spreads its vanguard on the way,
As the Light of light descendeth
From the realms of endless day,
That the pow’rs of hell may vanish
As the darkness clears away.

Verse 4
At His feet the six-winged seraph,
Cherubim with sleepless eye,
Veil their faces to the presence,
As with ceaseless voice they cry:
“Alleluia, Alleluia
Alleluia, Lord Most High!”

While we love to sing “Silent Night” at Christmas, silence is not necessarily something that we associate with Christmas. In fact, it is often just the opposite; it may be the most noisiest time of the year! But it is wise to take some time to be silent and consider how Christmas reveals that the holy God – the one whose holiness is proclaimed in heaven – has come to earth in human form, born of Mary. He came to give his body and blood for us (verse 2), defeating the darkness and the powers of hell (verse 3). We should join with the unending praise offered in heaven (verse 4) and give full homage to him (verse 1). 

Whether or not you sing this song, may we heed its message, spending time in silence “with fear and trembling” as we ponder the Son of God coming for us and also joyfully praise him for coming.

Questions about the Bible or theology? Email them to Pastor Brian at Theology@WeAreFaith.org. You can also email to be added to the list that receives weekly emails with our blog posts.