It's Chop-a-nose Day (again!)

 

This was one of those accidental finds. For some reason a line from a nursery rhyme popped into my head - no, wait, it was something I read on Facebook about an author who wrote about nursery rhymes! Then I remembered an odd little Mother Goose book I had as a kid, with a bizarre rhyme in it about "chop-a-nose day". I remember my brother and I making terrible fun of it, but no one else believed such a rhyme even existed. Then. . .

This is the grand day of the Internet, that most splendid of times, when information is forever tickling your fingertips. All you have to do is grab. I'm still finding out what "chop-a-nose day" is, and I suspect it's a corruption or mispronunciation of something else. Until then. . . these are excerpts from the Gutenberg version (so it's OK to reproduce them) of a gorgeous little book by Kate Greenaway, who is responsible for these exquisite drawings. They would appear to be from the Edwardian era. 

I have excluded Little Miss Muffet, Humpty Dumpty, Jack and Jill, and all the others we already know about, leaving only the oddball ones. Many of them refer to social status in some way (not unlike the pop songs I wrote about recently), with beggars and kings appearing in the same verse. The rhythms here are irresistible, and if they haven't already been set to music, music just bursts out of them. One can hear these as skipping rhymes, or hopscotching, or perhaps even clapping. "The cat ran up the plum tree" is obviously meant to be chanted while bouncing a fat baby on your knee.

And how far back do these go? No doubt, like folk songs, they evolved over centuries. Ring Around a Rosy, which I didn't include here, is apparently medieval and was originally a chant to ward off the plague.

Hark! hark! the dogs bark,

The beggars are coming to town;

Some in rags and some in tags,

And some in a silken gown.

Some gave them white bread,

And some gave them brown,

And some gave them a good horse-whip, 

And sent them out of the town.

Diddlty, diddlty, dumpty,

The cat ran up the plum tree,

Give her a plum, and down she’ll come,

Diddlty, diddlty, dumpty.

We’re all jolly boys, and we're coming with a noise,

Our stockings shall be made

Of the finest silk,

And our tails shall trail the ground.

Elsie Marley has grown so fine,

She won’t get up to serve the swine;

But lies in bed till eight or nine,

And surely she does take her time.

There was a little boy and a little girl

Lived in an alley;

Says the little boy to the little girl,

“Shall I, oh, shall I?”

Says the little girl to the little boy,

“What shall we do?” 

Says the little boy to the little girl, 

“I will kiss you!”

 

Tell Tale Tit,

Your tongue shall be slit;

And all the dogs in the town

Shall have a little bit.

A dillar, a dollar,

A ten o’clock scholar;

What makes you come so soon?

You used to come at ten o’clock, 

But now you come at noon!

Rock-a-bye baby,

Thy cradle is green;

Father’s a nobleman,

Mother’s a queen.

And Betty’s a lady,

And wears a gold ring;

And Johnny’s a drummer,

And drums for the king.

See-Saw-Jack in the hedge,

Which is the way to London Bridge?

Little lad, little lad,

Where wast thou born?

Far off in Lancashire,

Under a thorn;

Where they sup sour milk

From a ram’s horn.

As I was going up Pippin Hill,

Pippin Hill was dirty;

There I met a sweet pretty lass,

And she dropped me a curtsey.

My mother, and your mother,

Went over the way;

Said my mother, to your mother,

“It’s chop-a-nose day.”

NEWS FLASH: yes, I did find some information about chop-a-nose day. According to the rhyme below, it's a sort of game you play wherein you pretend to chop off a child's nose.

Come to think of it, though we never called it chop-nose or chop-a-nose, my Dad used to pretend to pull off my nose, then stick his thumb through his fingers and say, "I've got your nose." Very funny.

Margery Mutton-Pie and Johnny Bo-Peep

Margery Mutton-pie and Johnny Bopeep,
They met together in Gracechurch-Street;
In and out, in and out, over the way,
Oh! says Johnny, 'tis chop-nose day.

This rhyme is very similar to My Mother and Your Mother, and I believe you play it the same way:

You play it with a child by reciting the rhyme while gently sliding your hand down his/her face. When you get to the last line, you hold the child's nose between your thumb and forefinger, with your other hand you pretend to "chop off" the nose! 

Below is a link to a long scholarly article about the socio-political significance of nose amputation. It just goes on and on. Not surprisingly, it was a particularly painful and vicious, not to mention humiliating punishment for various infractions, including adultery. It would be hard to hide the horrible wound from the world without going about constantly veiled, or not going about at all. I won't dwell on all this, because I can't, but I do wonder if this harmless child's game is an echo of something really horrendous. Well, we still have Ring Around a Rosy, its origins shrouded in the time of the Black Death, with thousands of bodies stacked up and ready to be burned or buried in mass graves. So could chop-a-nose day be a lot more literal than it first appears?

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2689568/

Take a gander (or take a goose!)

I don't know why I've had this rather inane nursery rhyme repeating in my head lately. I don't know how it got started. I'm aware that most of these childish things have dark or even sinister origins, buried in antiquity somewhere.

I wondered if this one wasn't just a piece of nonsense, incongruous, like the wacky poems of Edward Lear or even Lewis Carroll. But no. The merest probing into Wikipedia brought up this:

Most historians believe that this rhyme refers to priest holes—hiding places for itinerant Catholic priests during the persecutions under King Henry VIII and later under Oliver Cromwell. Once discovered the priest would be forcibly taken from the house ('thrown down the stairs') and treated badly. Amateur historian Chris Roberts suggests further that the rhyme is linked to the propaganda campaign against the Catholic Church during the reign of Henry VIII.

Other interpretations exist. Mark Cocker and Richard Mabey note in Birds Britannica that the greylag goose has for millennia been associated with fertility, that "goose" still has a sexual meaning in British culture, and that the nursery rhyme preserves these sexual overtones ("In my lady's chamber").

Priest holes! Sexual connotations! It doesn't quite hang together for me, but these things can evolve over time, or exist in layers. The original version didn't even have the throwing-down-the-stairs bit:

Goose-a goose-a gander,
Where shall I wander?
Up stairs and down stairs,
In my lady's chamber;
There you'll find a cup of sack
And a race of ginger.

We won't even ask what a "race of ginger" is. It's just one of these obscure things. Some older versions include these even-sillier lines:

The stairs went crack,
He nearly broke his back.
And all the little ducks went,
'Quack, quack, quack'.

All that strange left-leg stuff ("so I took him by his left leg and threw him down the stairs") didn't seem to add up for me, until I suddenly remembered hearing the expression, "He kicks with his left foot." Just recalling that phrase jarred awake a synapse that hadn't fired since I was six and listening to my Grandmother quietly, politely eviscerate every Catholic in the neighborhood. The left foot is like the left leg or the left hand - sinister, half a bubble off plumb, "not the thing". In other words, to an observant Protestant - Catholic.

You have to ask yourself, however, why anyone would invent a children's rhyme about priest holes and the persecution of Catholics, those nasty old left-foot-kickers. Why would anyone throw in references to geese (ladies of the night) and ladies' chambers (implying high-status quarters not normally open to the goose trade)? There is Mother Goose, of course, just to complicate things. But if you really look at the structure of the rhyme, which absolutely no one does, you see that it can be interpreted entirely another way.

The narrator, the "I" who is reciting the rhyme, is actually addressing it to the goose character - asking it, in essence, "where should I go? It's kind of like "hey, you over there - yes, I mean YOU, Goosey Goosey Gander - what's a-happenin'?" But it's definitely not "Here I am, Goosey Goosey Gander, Esquire, and let me tell you all about my lady's chamber." This is in spite of the fact that every illustration I've ever seen for this thing includes a big, nasty goose, usually throwing a man down the stairs.

In fact, "Goosey Goosey Gander" might just be a collection of nonsense syllables, a blithery-blathery-tra-la-lee sort of thing.

If you take the goose right out of the equation (and that's no fun, because I love these depictions of savage geese throwing terrified men down the stairs), then you have something like this:

Dinder, dander, donder
Whither shall I wander?
Upstairs, downstairs,
In my lady's chamber.

When you look at it this way, it can and does have erotic possibilities. Hmmm, let's see, where am I going to wander? (wandering being a sort of aimless idling, or even a poking-around-in-none-of-your-business thing). Maybe up here, maybe down there (whew - now that has some sexual meaning behind it!), or maybe in my lady's chamber, where I certainly do NOT belong. It has a sort of subtext of invaded intimacy.

The old man who wouldn't say his prayers kind of reminds me of the old rhyme about "I met a man who wasn't there". In any case, is it really the goose who does the "throwing down the stairs" bit? Of course not; it's the narrator of the poem. So maybe it's really by that notorious old Catholic-hater, Henry VIII. Who knows, he wrote a lot of songs, such as Greensleeves. Or maybe Anne Boleyn wrote it for something to do in the Tower before she got chopped.

Tell Tale Tit (your tongue shall be slit)

This was one of those accidental finds. For some reason a line from a nursery rhyme popped into my head - no, wait, it was something I read on Facebook about an author who wrote about nursery rhymes! Then I remembered an odd little Mother Goose book I had as a kid, with a bizarre rhyme in it about "chop-a-nose day". I remember my brother and I making terrible fun of it, but no one else believed such a rhyme even existed. Then. . .

This is the grand day of the Internet, that most splendid of times, when information is forever tickling your fingertips. All you have to do is grab. I'm still finding out what "chop-a-nose day" is, and I suspect it's a corruption or mispronunciation of something else. Until then. . . these are excerpts from the Gutenberg version (so it's OK to reproduce them) of a gorgeous little book by Kate Greenaway, who is responsible for these exquisite drawings. They would appear to be from the Edwardian era. 

I have excluded Little Miss Muffet, Humpty Dumpty, Jack and Jill, and all the others we already know about, leaving only the oddball ones. Many of them refer to social status in some way (not unlike the pop songs I wrote about recently), with beggars and kings appearing in the same verse. The rhythms here are irresistible, and if they haven't already been set to music, music just bursts out of them. One can hear these as skipping rhymes, or hopscotching, or perhaps even clapping. "The cat ran up the plum tree" is obviously meant to be chanted while bouncing a fat baby on your knee.

And how far back do these go? No doubt, like folk songs, they evolved over centuries. Ring Around a Rosy, which I didn't include here, is apparently medieval and was originally a chant to ward off the plague.

Hark! hark! the dogs bark,

The beggars are coming to town;

Some in rags and some in tags,

And some in a silken gown.

Some gave them white bread,

And some gave them brown,

And some gave them a good horse-whip, 

And sent them out of the town.

Diddlty, diddlty, dumpty,

The cat ran up the plum tree,

Give her a plum, and down she’ll come,

Diddlty, diddlty, dumpty.

We’re all jolly boys, and we're coming with a noise,

Our stockings shall be made

Of the finest silk,

And our tails shall trail the ground.

Elsie Marley has grown so fine,

She won’t get up to serve the swine;

But lies in bed till eight or nine,

And surely she does take her time.

There was a little boy and a little girl

Lived in an alley;

Says the little boy to the little girl,

“Shall I, oh, shall I?”

Says the little girl to the little boy,

“What shall we do?” 

Says the little boy to the little girl, 

“I will kiss you!”

 

Tell Tale Tit,

Your tongue shall be slit;

And all the dogs in the town

Shall have a little bit.

A dillar, a dollar,

A ten o’clock scholar;

What makes you come so soon?

You used to come at ten o’clock, 

But now you come at noon!

Rock-a-bye baby,

Thy cradle is green;

Father’s a nobleman,

Mother’s a queen.

And Betty’s a lady,

And wears a gold ring;

And Johnny’s a drummer,

And drums for the king.

See-Saw-Jack in the hedge,

Which is the way to London Bridge?

Little lad, little lad,

Where wast thou born?

Far off in Lancashire,

Under a thorn;

Where they sup sour milk

From a ram’s horn.

As I was going up Pippin Hill,

Pippin Hill was dirty;

There I met a sweet pretty lass,

And she dropped me a curtsey.

My mother, and your mother,

Went over the way;

Said my mother, to your mother,

“It’s chop-a-nose day.”

NEWS FLASH: yes, I did find some information about chop-a-nose day. According to the rhyme below, it's a sort of game you play wherein you pretend to chop off a child's nose.

Come to think of it, though we never called it chop-nose or chop-a-nose, my Dad used to pretend to pull off my nose, then stick his thumb through his fingers and say, "I've got your nose." Very funny.

Margery Mutton-Pie and Johnny Bo-Peep

Margery Mutton-pie and Johnny Bopeep,
They met together in Gracechurch-Street;
In and out, in and out, over the way,
Oh! says Johnny, 'tis chop-nose day.

This rhyme is very similar to My Mother and Your Mother, and I believe you play it the same way:

You play it with a child by reciting the rhyme while gently sliding your hand down his/her face. When you get to the last line, you hold the child's nose between your thumb and forefinger, with your other hand you pretend to "chop off" the nose! 

Below is a link to a long scholarly article about the socio-political significance of nose amputation. It just goes on and on. Not surprisingly, it was a particularly painful and vicious, not to mention humiliating punishment for various infractions, including adultery. It would be hard to hide the horrible wound from the world without going about constantly veiled, or not going about at all. I won't dwell on all this, because I can't, but I do wonder if this harmless child's game is an echo of something really horrendous. Well, we still have Ring Around a Rosy, its origins shrouded in the time of the Black Death, with thousands of bodies stacked up and ready to be burned or buried in mass graves. So could chop-a-nose day be a lot more literal than it first appears?

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2689568/

I've been goosed!

I don't know why I've had this rather inane nursery rhyme repeating in my head lately. I don't know how it got started. I'm aware that most of these childish things have dark or even sinister origins, buried in antiquity somewhere.

I wondered if this one wasn't just a piece of nonsense, incongruous, like the wacky poems of Edward Lear or even Lewis Carroll. But no. The merest probing into Wikipedia brought up this:

Most historians believe that this rhyme refers to priest holes—hiding places for itinerant Catholic priests during the persecutions under King Henry VIII and later under Oliver Cromwell. Once discovered the priest would be forcibly taken from the house ('thrown down the stairs') and treated badly. Amateur historian Chris Roberts suggests further that the rhyme is linked to the propaganda campaign against the Catholic Church during the reign of Henry VIII.

Other interpretations exist. Mark Cocker and Richard Mabey note in Birds Britannica that the greylag goose has for millennia been associated with fertility, that "goose" still has a sexual meaning in British culture, and that the nursery rhyme preserves these sexual overtones ("In my lady's chamber").

Priest holes! Sexual connotations! It doesn't quite hang together for me, but these things can evolve over time, or exist in layers. The original version didn't even have the throwing-down-the-stairs bit:

Goose-a goose-a gander,
Where shall I wander?
Up stairs and down stairs,
In my lady's chamber;
There you'll find a cup of sack
And a race of ginger.

We won't even ask what a "race of ginger" is. It's just one of these obscure things. Some older versions include these even-sillier lines:

The stairs went crack,
He nearly broke his back.
And all the little ducks went,
'Quack, quack, quack'.

All that strange left-leg stuff ("so I took him by his left leg and threw him down the stairs") didn't seem to add up for me, until I suddenly remembered hearing the expression, "He kicks with his left foot." Just recalling that phrase jarred awake a synapse that hadn't fired since I was six and listening to my Grandmother quietly, politely eviscerate every Catholic in the neighborhood. The left foot is like the left leg or the left hand - sinister, half a bubble off plumb, "not the thing". In other words, to an observant Protestant - Catholic.

You have to ask yourself, however, why anyone would invent a children's rhyme about priest holes and the persecution of Catholics, those nasty old left-foot-kickers. Why would anyone throw in references to geese (ladies of the night) and ladies' chambers (implying high-status quarters not normally open to the goose trade)? There is Mother Goose, of course, just to complicate things. But if you really look at the structure of the rhyme, which absolutely no one does, you see that it can be interpreted entirely another way.

The narrator, the "I" who is reciting the rhyme, is actually addressing it to the goose character - asking it, in essence, "where should I go? It's kind of like "hey, you over there - yes, I mean YOU, Goosey Goosey Gander - what's a-happenin'?" But it's definitely not "Here I am, Goosey Goosey Gander, Esquire, and let me tell you all about my lady's chamber." This is in spite of the fact that every illustration I've ever seen for this thing includes a big, nasty goose, usually throwing a man down the stairs.

 In fact, "Goosey Goosey Gander" might just be a collection of nonsense syllables, a blithery-blathery-tra-la-lee sort of thing.

If you take the goose right out of the equation (and that's no fun, because I love these depictions of savage geese throwing terrified men down the stairs), then you have something like this:

Dinder, dander, donder
Whither shall I wander?
Upstairs, downstairs,
In my lady's chamber.

When you look at it this way, it can and does have erotic possibilities. Hmmm, let's see, where am I going to wander? (wandering being a sort of aimless idling, or even a poking-around-in-none-of-your-business thing). Maybe up here, maybe down there (whew - now that has some sexual meaning behind it!), or maybe in my lady's chamber, where I certainly do NOT belong. It has a sort of subtext of invaded intimacy.

The old man who wouldn't say his prayers kind of reminds me of the old rhyme about "I met a man who wasn't there". In any case, is it really the goose who does the "throwing down the stairs" bit? Of course not; it's the narrator of the poem. So maybe it's really by that notorious old Catholic-hater, Henry VIII. Who knows, he wrote a lot of songs, such as Greensleeves. Or maybe Anne Boleyn wrote it for something to do in the Tower before she got chopped.