How ‘Twas the Night Before Christmas Shaped Santa and Unleashed a Literary Mystery

The poem “A Visit from St. Nicholas,” widely recognized for its famous opening “‘Twas the Night before Christmas,” remains a cornerstone of holiday tradition. It captures the essence of Christmas alongside staples like hot chocolate, caroling, and festive lights. More significantly, it has shaped the contemporary image of Santa Claus as a joyful old man in red, complete with a round belly.

Despite its widespread acclaim, the true authorship of the poem has sparked considerable debate. Traditionally attributed to Clement C. Moore, a 19th-century scholar based in New York, it was penned in 1822 for his children. As part of the holiday festivities, library staff at the General Theological Seminary share various copies of the poem every December, ensuring that its legacy endures.

The evolution of the Santa Claus figure began long before the poem was published. Various scholars trace the roots of the gift-bringing figure to the Greek goddess Artemis. St. Nicholas, an early Christian bishop from present-day Turkey, is often linked to these traditions, having been known for acts of generosity such as giving presents to children and financial aid to young women. His feast day on December 6 became widely celebrated in medieval Europe.

Over the centuries, representations of St. Nicholas transformed. By the modern era, he was depicted as a tall, stern character in a bishop’s attire, sometimes coexisting with Krampus, a creature who punished misbehaving children. The Victorian era brought changes, as Christmas morphed into a festive holiday marked by feasts and merriment, further altering Santa’s image. He transitioned from a reformed reveler to a figure embodying the spirit of Christmas, resonating with joy rather than excess.

“‘Twas the Night before Christmas” played a pivotal role in shaping the American image of Santa. The poem describes St. Nicholas as being “dressed all in fur,” sporting twinkling eyes, rosy cheeks, a snowy beard, and a round belly. This vibrant depiction established Santa as a joyful elf, spreading happiness to children and adults alike through his reindeer-led sleigh.

Illustrator Thomas Nast further solidified this image through a series of drawings published in Harper’s Weekly from 1863 to 1886. The first of these illustrations drew inspiration directly from the poem, portraying Santa with his sack of presents and reindeer. The library houses a copy of Nast’s book “Christmas Drawings for the Human Race,” which includes images connected to the poem, showcasing Santa’s multifaceted personality extending even into political commentary.

Two centuries after its release, the question of authorship remains unresolved. The poem first appeared anonymously in the Troy Sentinel on December 23, 1823, before being attributed to Moore in a subsequent poetry collection. Meanwhile, supporters of Henry Livingston Jr. argue he authored the poem as early as 1808, with some claiming his manuscript was lost to fire. His descendant, William Sturgus Thomas, dedicated years to gathering evidence pointing to Livingston’s authorship, preserving their family legacy.

This holiday season, the Seminary library features all available original copies of the poem alongside modern adaptations. Notably, Moore’s 1844 edition is inscribed to Reverend Samuel Seabury, a figure of historical significance in the Episcopal Church. Additionally, the library possesses Moore’s follow-up work, “The Night after Christmas,” where the doctor visiting children shares traits reminiscent of Santa, further intertwining their legacies.