A visit from Saint Nicholas might have seemed more like a Yuletide home invasion back in 1823 – or so one might conclude after a close reading of Clement Clarke Moore’s original poem. That poem, which may be better-known to many readers simply as “The Night Before Christmas,” has done a great deal to influence how Americans in the two centuries since its publication think about the holiday – even if the Saint Nicholas of the poem differs in many respects from the popular Santa Claus figure of the present day.
A word, first, about an authorship controversy that still swirls, like chilly winter winds, around this beloved poem. While Moore, a classics professor and Episcopalian divine at New York’s General Theological Seminary, took credit in 1837 for the anonymously published 1823 poem, a number of critics and historians have joined with the family of Henry Livingston Jr., in claiming that Livingston, a New Yorker who served as a major in the Continental Army during the American Revolution, actually wrote the poem and regularly recited it to his children.
It would seem, therefore, that – just as Shakespeare scholars are divided into “Stratfordians” (who believe that Shakespeare wrote his own plays) and “Oxfordians” (who insist that Edward DeVere, 17th Earl of Oxford, actually wrote the plays and had them published under Shakespeare’s name) – so those who examine the life of this poem can be divided into “Mooreans” and “Livingstonians.” But without delving too far into the holly-thorned thickets of literary controversy – where, 100 years from now, Dr. Scrooge of Oxford and Dr. Grinch of Stanford and Dr. Krampus of Heidelberg will no doubt be fighting out this controversy in the scholarly journals of the year 2124 – let us turn to this delightful poem, here in its bicentennial year, and enjoy it for its own sake, in the true spirit of Christmas.
The poem begins on a note that will be quite familiar to everyone:
Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with care,
In hopes that St. Nicholas soon would be there…
Here, we see that by 1823 – in the midst of American history’s “Era of Good Feeling,” in the year when President James Monroe had published the “Monroe Doctrine” stating that the nations of the Americas were henceforth closed to European colonization – the tradition of hanging stockings by the chimney, for Saint Nicholas to fill them with gifts, was already well-entrenched.
The scene is one of a peaceful, contented, safe early-19th-century American home –
The children were nestled all snug in their beds,
While visions of sugar-plums danced in their heads;
And mamma in her ‘kerchief, and I in my cap,
Had just settled down for a long winter’s nap…
And that scene too has become thoroughly familiar to us, even if relatively few people, young or old, eat sugarplums nowadays.
At that point, the poem takes on a somewhat darker tone – “When out on the lawn there arose such a clatter,/I sprang from my bed to see what was the matter.” Even if the makers of the film The Santa Clause (1994) had some fun with these lines from the poem, showing the appearance at the main characters’ house of a magical ladder manufactured by “The Rose Suchak Ladder Company,” it seems evident that the speaker of the poem, a homeowner, is worried about the prospects of a burglary gang attacking his peaceful home.
Once the worried homeowner has flown like a flash to his bedroom window, opened the shutters, and raised the sash, he engages in an oft-overlooked bit of elaborate 19th-century description – “The moon on the breast of the new-fallen snow/Gave the lustre of mid-day to objects below”. And against that brightly lit winter night-time landscape, the reader gets a first sight of “a miniature sleigh, and eight tiny reindeer.”
The manner in which the speaker insists upon the miniature size of the sleigh and reindeer may seem a curiosity to us nowadays, as the sleigh and the eight reindeer are always depicted in modern Christmas tales as being full-size. But given the “elf” references that appear throughout the poem, the poet may have felt obligated to make these future archetypes of the Christmas holiday “elfin” in nature by reducing their size.
It is at this point that we are introduced to one of the most famous characters in all of folklore – as the reindeer are being guided by “a little old driver, so lively and quick,/I knew in a moment it must be Saint Nick.” The reader must wait a bit for more of a proper introduction to the saint, as the poet, evidently quite taken with the image of the reindeer as “coursers”, shows Saint Nick calling to his reindeer by name, issuing a quite-specific command:
“Now, Dasher! Now, Dancer! Now, Prancer and Vixen!
On, Comet! On, Cupid! On, Donner and Blitzen!
To the top of the porch! To the top of the wall!
Now dash away! Dash away! Dash away all!”
There it is: the reindeer have names – names that will live on as long as December 25th is celebrated as a holiday.
Once this command has been given, the poet offers one more descriptive flourish, and then the eight reindeer display their most famous magical ability:
As dry leaves that before the wild hurricane fly,
When they meet with an obstacle, mount to the sky,
So up to the house-top the coursers they flew,
With the sleigh full of toys, and Saint Nicholas, too.
Please note that the reindeer do indeed fly, but only in response to Saint Nicholas’ command, and only for the purpose of getting the sleigh up and onto the roof; evidently, up until that point, the sleigh and its reindeer simply went dashing through the snow just the way less magically-adept people’s horse-drawn sleighs do.
The speaker of the poem hears the hoof-prints of reindeer “prancing and pawing” on his roof; and then, just as he’s closing his window, “Down the chimney Saint Nicholas came with a bound!” The poem takes on particular interest for the modern viewer here, as the speaker gets his first clear look at a Saint Nicholas who appears quite different from the Santa Claus of today:
He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of toys he had flung on his back,
And he looked like a peddler just opening his pack.
This “St. Nick,” I would dare say, looks quite different from Saint Nicholas of Myra (270-343 A.D.), whose surprise gifts of gold coins, dropped through the windows of three homes of poor families in Asia Minor, saved the marriageable daughters of those families from being sold to human traffickers. Nor does this soot-covered, fur-clad figure seem much like the red-and-white-clad Santa Claus of today, who took shape in the early 20th century in depictions like Haddon Sundblom’s illustrations for Coca-Cola advertisements.
Even the use of the word “peddler” is multi-layered and potentially troubling. Peddlers were the door-to-door salesmen of their day; they brought the convenience of immediate access to consumer goods in a still largely-rural America, but represented a potentially troubling irruption of “outside” values (as demonstrated by the profusion of “traveling salesman” jokes in American folklore). And, as the Wikipedia entry on peddlers points out, peddlers in 19th-century America were often of Greek, Italian, or Jewish background, belonging to groups that faced ethnic intolerance and religion-based discrimination from the Anglo-American, Protestant majority of the United States' population.
One wonders: if the devout Moore did indeed write this poem, might he be offering a subversive, transgressive reminder to his readers that the Saviour they all worshipped was a Jewish man who dressed humbly (perhaps not unlike a “peddler”), had no fixed address, and was rejected by many of the “respectable” people of His time? Or that the original Saint Nicholas was Greek, and would have been Orthodox rather than Protestant, and was a man who spent his life preaching human equality rather than seeking to elevate some human beings “above” others? But perhaps I’m reading too much into the poet’s deployment of one simple word. Or perhaps not.
We can all agree that the poet’s depiction of Saint Nicholas is vivid, with immediate sensory appeal and compelling characterization:
His eyes — how they twinkled! his dimples how merry!
His cheeks were like roses, his nose like a cherry!
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath;
He had a broad face and a little round belly,
That shook, when he laughed like a bowlful of jelly.
Here, we see elements of the modern Santa Claus archetype taking shape. He is jolly, benevolent, slightly mischievous – as suits someone who commits countless acts of breaking-and-entering each year, but breaks into homes to give gifts rather than taking things away. All one needs to do is take away the details about Saint Nicholas smoking a pipe – something that would not pass muster with modern sensibilities.
Overall, St. Nick makes a positive impression on the poem’s speaker – “He was chubby and plump, a right jolly old elf/And I laughed when I saw him, in spite of myself.” And the speaker’s fears of a home invasion by malign burglar-elves finally seem to be dissipated when the speaker reflects that “A wink of [St. Nick’s] eye and a twist of his head/Soon gave me to know I had nothing to dread.” About time you realized that, sir!
Free at last of the homeowner’s suspicions, St. Nick “spoke not a word, but went straight to his work/And filled all the stockings”, as has been a St. Nick tradition ever since. Once he is done with his appointed task, St. Nick “turned with a jerk,/And laying his finger aside of his nose,/And giving a nod, up the chimney he rose” – demonstrating the magical gravity-defying abilities that would become a part of Santa Claus folklore forevermore.
The poem’s speaker records that St. Nick “sprang to his sleigh, to his team gave a whistle,/And away they all flew like the down of a thistle”. It is not clear here whether the word “flew” means that they flew through the sky, in the conventional Santa-and-reindeer scenario of today, or whether they all just drove off in the sleigh quite quickly. Nonetheless, the speaker heard St. Nick “exclaim, as he drove out of sight,/Happy Christmas to all, and to all a good night!”
There have been many book adaptations of “The Night Before Christmas” – Acadian (“Cajun”), African American, Arizonan, Irish, “Kiwi” (New Zealand), LaNochebuena (Mexican), Ozark, Pennsylvania-Dutch, and Texan “Nights Before Christmas,” as well as versions for dinosaurs, pirates, and the Rugrats, and even occupation-specific variants directed toward librarians, pirates, preachers, principals, soldiers, and teachers. And there have been eight films with the title, from 1942 to 1994. Here one sees proof of the poem’s ongoing power and influence, along with evidence in favour of that old saying regarding the sincerest form of flattery.
Yet nothing – not authorship controversies, not a host of not-always inspired readings and adaptations, not the changes in holiday fashion over two centuries and counting – takes away from the power and the influence of this little poem. Whether you call it “A Visit from Saint Nicholas” or “The Night Before Christmas,” it is one of the most influential poems ever written, and is a joy to experience, on Christmas Day or at any other time.