The Theology of Frosty the Snowman

Looking for God in a secular song.

Anytime someone wants to look for or understand God in the secular world there are problems and limitations. This is the reason we tend to want to differentiate the sacred from the secular. I think our concern has mostly to do with knowing how we are to behave. For most of us it has to do with not being embarrassed in public like when we pick up the wrong fork to eat our salad at a formal banquet. Of course this also implies we don’t know God very well if our first concern is not about what pleases him but how we look.

When someone considers an object or an activity sacred it affects behavior. In sacred settings we want to act in ways that convey seriousness and respect. Nothing wrong with this. God even teaches Moses, and through him the rest of us, at the burning bush that there are times to take off our sandals (which help us to run away or stand and fight). The time for this is when we have stepped onto hallowed or holy or sacred (set apart) ground. And what does such ground look like? Like every other piece of ground. The difference is the awareness of the presence of God.

So now, what about Frosty the Snowman?

My first temptation when deciding to look for God in secular sounding Christmas songs is to dismiss the whole idea as silly, but this quick judgment misses the opportunity to consider aspects of God’s holiness I don’t often consider.

The song “Frosty the Snowman” came on the scene in 1950 and was first sung by Gene Autry, who the year before sang Rudolph the Red Nosed Reindeer to the top of the charts. Then in 1951 Frosty came out as a children’s book which only added to the snowman’s fame. From that time until now, there has not been a year gone by when this song isn’t prominently featured in homes and malls across the English-speaking world. Because it is obviously not a fly-by-night flash-in-the-pan song and the fact it is inextricably linked to Christmas, even though Christmas is never mentioned in the song, it is fair to ask what is its influence or effect primarily on children over the past 72 years?  

I am the first to admit that this question of influence is not easily understood. I’m not sure it can be measured. In fact, in this way, I think Frosty can be a stand-in for other similar songs like Rudolph and others. Even broader than this is to ask the question, is the secular Christmas useful, harmful, or neutral to the sacred message of Christmas?

Rather than come up with a quick answer this moment, let’s look at the lyrics first.

Frosty the Snowman, was a jolly happy soul,
With a corn cob pipe and a button nose, and two eyes made of coal.
Frosty the Snowman, is a fairytale, they say.
He was made of snow, but the children know he came to life one day.
There must have been some magic in that old silk hat they found,
For when they placed it on his head, he began to dance around!

Oh, Frosty, the Snowman, was alive as he could be;
and the children say he could laugh and play,
just the same as you and me.

Thumpety thump, thump, thumpety thump, thump,
look at Frosty go.
Thumpety thump, thump, thumpety thump, thump,
over the hills of snow.

Frosty the Snowman, knew the sun was hot that day,
so he said, "Let's run, and we'll have some fun now, before I melt away."
Down to the village, with a broomstick in his hand,
Running here and there, all around the square,
sayin', "Catch me if you can."

He led them down the streets of town, right to the traffic cop;
and only paused a moment, when he heard him holler, "Stop!"
For Frosty, the Snowman, had to hurry on his way,
But he waved goodbye, sayin' "Don't cry, I'll be back again some day."

I love the rhymes and meter, which seem to change in different sections of the song. Also, it’s a quick-paced short poem placed into an upbeat happy tune.

Now to the content.

It comes out of the imagination of children. This is wonderful and true about the nature of children. They have fantastic imaginations unless they are taught this is a naughty thing. The active imagination is a part of childhood development and it is this play within the active minds of children where growth begins. To imagine a snowman, something that just sits outside in the snow never moving, suddenly coming to life, is a fun idea. It is also true about Christmas. Out in the dark of night suddenly there are angels and songs and bright lights, so much so that it freaks out the shepherds who are known to be brave enough to spend nights outside as a matter of routine. And what is the announcement? There is a new child. A baby is born! Someone new has come into the world. This requires a celebration. And what is so interesting in this case, is that this is the sacred child. This is the holy one born and come into the secular world, to be with us, where we live.

So Frosty comes to life and the children think it is caused by the hat, but who really knows? And who really cares? Even if the miracle could be explained, that isn’t the important part. The important part is the dance. Frosty begins to dance around and he does what children love the most, he calls them into play. He calls them to run and jump with him. This is exactly what children need adults to do with them, to run and jump and tumble around. This is the laughter of God incarnate. This is the fun God blesses us with because, Lord knows, we sure need it. Just like Auntie Mame said.

Finally, and this is the final thought about Frosty. He is temporary. He doesn’t last. Fun and laughter are seasonal – and for this reason, they need to be embraced. No, it isn’t about death. Frosty doesn’t die. He goes away, for a while. Which is true about death as well. It’s for a while and life doesn’t end in death. This, I think, makes Frosty a wonderfully happy and healthy song to sing at Christmas time.

So yes, the secular celebration of Christmas, I think, adds to the sacred because it’s the story of God leaving heaven to come down to earth and be with us.

So what do you think? There’s plenty of room to agree and disagree. Use your imagination.