Tag Archives: nursery rhymes

Chic-ory Chic

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Background:

My informant, who is my grandmother, learned this nonsense rhyme from her mother, who used it as a lullaby when she was a young girl. She has since passed it on to her children and grandchildren, remembering it as a source of nostalgia and for the satisfaction of its recitation. I also remember that my mother sang it to me when I was younger!

Context:

My grandma sings this tune quite often in times of relaxation when joking around is warranted. Specifically, I remember her using it as a lullaby for my cousins and me when we were growing up. I also remember that my mother sang it to me when I was younger!

Main Piece:

“Chic-ory chic chala chala,

Checkoleroma in a bananica,

Balacawalaka can’t you see?

Chic-ory chic is me!”

Analysis:

I think this nursery rhyme has been passed on because of its short length and rhythmic structure, which both work to make it easier to memorize. While it might not have any significant meaning, there is something to be said about the fact that nonsense rhymes like this one can exist and persist over time simply because they’re satisfying to the ear. In the text of the rhyme, alliteration, consonance, internal rhyme, and end rhyme can be recognized. By jamming all of these writing strategies into such a short piece of speech, it is made into something quite nice to hear.

Nursery Rhymes: You Smell Like A Zoo

Context

Living with my younger brother that is seven years old, there are many nursery rhymes sung in the house. When he entered Primary school, for the first time he was learning nursery rhymes from other people besides teachers or family members, he was learning them from his peers. The following nursery rhyme is his favorite one to sing.

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Performance

The following is a children’s rhyme told to me by the interviewee.

Happy Birthday to you

You live in a zoo

With the lions and monkey

You smell like one too

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Analysis

What I found interesting were that nursery rhymes that were taught to my younger brother as a child were often more innocent, or at least had the veil of innocence. And when he entered primary school, immediately his nursery rhyme could increasingly crude, filled with blood and death, or making fun of someone. I think it shows the culture of children amongst their peers, that as they develop they are also starting to figure out their senses of humor and feeling the want to make their peers laugh, or at least elicit some kind of disgusting reaction from them. And thus nursery rhymes take a darker turn. The above rhyme is still rather mild in its attempt to insult, but it does show a change in the overall feeling of the rhymes that my brother was starting to pick up.

Iranian Nursery Rhyme

Main Piece

Original Script

Phonetic Script

Pinky miguyad, “boxzarit dozdi konam”

Angoshte halghe miporsid, “che chizi ra mitavonim bedozdim?”

Angoshte vasat eztehar mikonad, “chizi bozorg va taloey”

Angoshte eshare miporsid, “che kasi pasokhe khoda ra midehad?”

Angoshte shest pasokh midahad, “man boyad zira man bozorg va ghavi hastam.”

Transliteration

Pinky said, “let me steal do.”

Finger ring asked, “what thing we can steal doing?”

Finger middle declare doing, “something big and goldy.”

Finger pointing asks, “who answer God will?”

Finger thumb answered, “I shall, since I big and strong am.”

Translation

The pinky says, “Let us steal”

The ring finger asks, “What can we steal?”

The middle finger declares, “Something big and gold!”

The index finger asks, “Who shall answer to God?”

The thumb answers, “I shall, for I am big and strong.” 

Background 

My informant’s mother used to recite this nursery rhyme to her when she was little. My informant says that nursery rhymes pertaining to the fingers are very common in Iran, and there are many children’s books dedicated to giving fingers personalities. This particular rhyme, my informant believes, was local to her family because her schoolmates weren’t familiar with it. She believes that the purpose of this nursery rhyme was to teach her about the existence of roles in society. She associated the physical stature (length and width) of each of her fingers with certain personality traits. For example, the pinky is the weaker person who suggests to sin and steal, the ring finger is the accomplice, the middle finger is the materialist, the index finger is the responsible one who reminds them of the consequences of their actions, and the thumb is the voluntary scapegoat that sacrifices himself so that the hand can succeed.

Context

This nursery rhyme was told to teach children about the types of people in society. My informant cannot recall the first time she heard this from her mother, but can confirm that it was a common occurrence during her playtime hours with her mother. 

My Thoughts 

I think societal roles are an interesting concept to teach children. It is very difficult to try to teach children about the different types of people. Usually, that is learned through experience. I thought of this nursery rhyme as a type of cautionary tale, as if it is telling us to stay away from the pinky, ring and middle finger personalities and make acquaintance with the index finger and thumb personalities. My informant was young when she heard this rhyme, so it seems fitting that her mother would warn her about the different types of people in this world so that my informant can surround herself with good people in school. 

Ms. Lucy Nursery Rhyme

  • Context: The informants are brothers A, 19, and B, 15. This transcription was taken from an argument between the brothers over the “correct” words to the nursery rhyme about “Ms. Lucy.” The nursery rhyme is used mostly as a schoolyard game, sometimes accompanied by a hand-game the brothers tell me, but in their argument they were only debating the words of the rhyme itself. 
  • Text:

B: It starts off ‘Ms. Lucy has a baby, his name was tiny Tim…’

A: No it doesn’t, it goes ‘Ms. Lucy had a steamboat, the steamboat had a…”

B: No that’s not what I’m talking about!

A: Well, what are you talking about? 

B: I’m talking about the one mom taught us.

A: Okay, fine, what one?

B: ‘Ms. Lucy had a baby, his name was Tiny Tim

She put him in the bathtub, to see if he could swim

He drank up all the water, he ate up all the soap

He tried to eat the bath tub, but it wouldn’t go down his throat

Ms. Lucy called the doctor, Ms. Lucy called the nurse,

Ms. Lucy called the baby with the alligator purse 

Mumps said the doctor, Measles said the nurse, 

Nonsense said the lady with the alligator purse 

Penicillin said the doctor, castor oil said the nurse,

Pizza said the lady with the alligator purse

Out went the doctor, out went the nurse, out went the lady with the allegator purse’

A: Okay. Yeah, but I was talking about the other version.

B: What’s your version?

A (B starts singing along): 

‘Ms. Lucy had a steamboat, the steamboat had a bell (ding ding)

Ms. Lucy went to heaven and the steamboat went to 

Hello operator, give me number 9, if you disconnect me I’ll chop off your 

Behind the ‘fridgerator, there was a piece of glass 

Ms. Lucy sat upon it and cut her big fat 

Ask me no more questions, tell me no more lies

The boys are in the bathroom zipping up their 

Flies are in the meadow, bees are in the park

Ms. Lucy and her boyfriend kissing in the D-A-R-K D-A-R-K 

Dark dark dark’

B: I know that one.

A: Is that where you stop?

B: What do you mean?

A: Mine keeps going. It goes… 

‘Darker than the ocean, darker than the sea 

Darker than the underwear my Mommy puts on me’ 

  • Analysis: I had also learned the Ms. Lucy version that informant B was singing from my mother and many of my friends would play it with me as a hand game on the play ground in elementary school. Once I entered middle-school, the version that informant A sang became popular at school. But at my school, we continued the rhyme even further. We would sing… 

‘Me is very special, Me is very great’ 

And then we would have different variations after those lyrics. Usually ending with… 

‘I kicked him over London, I kicked him over France

I kicked him over the USA and saw his underpants’

I think the reason the versions change is because of the intended audience. The first version, presented by informant B, is much more suitable for children. It is funny because of the motif of the alligator purse and the fact that she wants the baby to eat pizza, which is a food often enjoyed by children. The version presented by informant A is much more rich with “inappropriate” lingo. At the end of each verse, it leads into the next by using near rhyme with a swear word. For example “hell” goes to “hello” and “ass” goes to “ask.” In addition, there are sexual references, both to male genitalia and to Ms. Lucy and her boyfriend kissing in the dark. I asked the meaning of the “dark underwear that mommy puts on me,” and there was a consensus that it was referring to underwear stained by period blood. This version of the nursery rhyme often occurs when children are in middle school, which makes sense because that’s often when you start using swear words, have your first kiss, and begin menstruating.

For other versions, visit https://www.bussongs.com/songs/miss-lucy-had-a-steam-boat

“Miss Lucy Had a Steam Boat: Nursery Rhymes & Kids’ Songs.” Nursery Rhymes & Kids’ Songs | BusSongs.com, 9 July 2008, www.bussongs.com/songs/miss-lucy-had-a-steam-boat.

Alouette: French Nursery Rhyme

Context CW, with a mug of hot tea sits, on my couch after an afternoon of doing homework and recounts stories from their childhood CW was raised French and attended a French immersion school. The atmosphere is calm, the air is calm and the room is mostly quiet in between stories.
———————————————————————————————————————Background: CW learned Alouette in preschool, from their teachers. It’s meaning is rooted in a nostalgic warmth for their youth, also they think the song is “pretty cute I guess, but it’s kinda fucked up”. CW doesn’t necessarily like it so much as believes it is very deeply ingrained in their person.

Performance:

CW: Alouette gentille alouette/ alouette je te plumerais/ je te plumerais la tête/ je te plumerais la tête/ et la tête et la tête/ alouette alouette/ alouette gentille alouette/ alouette je te plumerais/ je te plumerais le bec/ je te plumerais le bec/ et le bec et la tête/ alouette alouette/ alouette gentille alouette/ alouette je te plumerais/ je te plumerais le cou/ je te plumerais le cou/ et le cou et le bec/ alouette alouette/ alouette gentille alouette/ alouette je te plumerais/ je te plumerais les ailes/ je te plumerais les ailes/ et les ailes et le cou/ alouette gentille alouette/ alouette je te plumerais/ je te plumerais le dos/ je te plumerais le dos/ et le dos et les ailes/ alouette alouette/ alouette gentille alouette/ alouette je te plumerais
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Translation

Lark, nice lark/ Let me pluck you lark/ let me pluck your head/ let me pluck your head/ and your head and your head/ lark lark/ lark nice lark/ let me pluck you lark/Lark, nice lark/ Let me pluck you lark/ let me pluck your beak/ let me pluck your beak/ and your beak and your head/ lark lark/ lark nice lark/ let me pluck you lark/Lark, nice lark/ Let me pluck you lark/ let me pluck your neck/ let me pluck your neck/ and your neck and your beak/ lark lark/ lark nice lark/ let me pluck you lark/Lark, nice lark/ Let me pluck you lark/ let me pluck your wings/ let me pluck your wings/ and your wings and your neck/ lark lark/ lark nice lark/ let me pluck you lark/Lark, nice lark/ Let me pluck you lark/ let me pluck your back/ let me pluck your back/ and your back and your wing/ lark lark/ lark nice lark/ let me pluck you lark/

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Analysis: The song is something of a memory game, that used to teach children in France new words like neck, back, beak, and head. Much like the hokey pokey, this song serves the dual purpose of keeping children occupied and teaching them the language to express the parts of their own body. The song appears in lists across the internet like “5 Magical Songs For Teaching French To Preschoolers” indicating that as globalization has spread the ability to teach and learn language so too has this element of folklore spread into countries where French isn’t the dominant language to serve as a teaching tool. The way the song burrows its way into the mind of the performer too allows for its performance to gain meaning as a cultural object, the knowing of Alouette, a marker of exposure to French culture and a way to connect with other people