‘The Twelve Days of Christmas’: not a secret code

Above, a fine rendition of “The Twelve Days of Christmas” done by Hayley Westenra and some guys I never heard of.

I was thinking about Christmas music today. I’ve posted a number of Christmas hymns here over the years, but not a lot of secular carols. I thought, “I should post a fun, secular Christmas song, and talk about it.” Then I asked, “What is my favorite secular Christmas song?” And I realized I have no idea.

I don’t think of the secular Christmas songbook the same way I think of the hymns. Aside from a couple that I hate (like “Little Drummer Boy,” which I’ve denounced here before), I like them all pretty equally, as familiar, mostly interchangeable elements of the season’s background music. The songs have pleasant associations. I’d date them, but I don’t want to marry any of them.

There’s a story that keeps going around (I haven’t seen it yet on Facebook this year, but I expect it’ll show up) that says the song was originally a super-secret, underground memory aid to help Catholics in teaching their children the catechism, back when Catholicism was illegal in England. This story is completely false, and won’t sustain even a few seconds of dispassionate interrogation, let alone a persecutor’s thumbscrews. (I’m not denying the persecution, though. I can sympathize, even as a Lutheran.)

Let me say this clearly: Two random numbered lists don’t assist each other in any way. Mnemonics mostly rely on matching first letters – as in repeating “Good Boys Do Fine Always” to help one remember the whole notes in the treble clef (or something. I remember the mnemonic, but I’ve forgotten what it’s supposed to remind me of). The gifts in the “Twelve Days” bear no resemblance to the theological points they’re supposed to recall. It’s like saying, “Here’s a list of Holy Roman Emperors to help you remember the state capitols of the US. See, here’s Number One, Charlemagne – he corresponds to Montgomery, Alabama.”

“The Twelve Days of Christmas” is an example of what’s called a “cumulative song” according to Wikipedia (and since this isn’t about politics, I figure I can trust them here). Cumulative songs are songs played as games, where people sit in a ring (ideally) and each person in turn repeats what the previous singers have sung, and then adds an item of their own. The next singer has to do the same, adding yet another item to the list. When someone forgets, they usually have to pay a forfeit, such as being kissed or taking a drink.

Such games used to be popular in the days before electronic entertainment, and I myself am old enough to remember playing such a game (though I forget its title; need a mnemonic here) on a long bus ride to Bible camp in North Dakota.

Such feats of memory no doubt will astonish future generations – and probably a generation or two that’s around now.

Have I mentioned that I used to be able to recite “The Cremation of Sam McGee”?

3 thoughts on “‘The Twelve Days of Christmas’: not a secret code”

  1. Thanks for this!

    I don’t think I’d ever run into any of those interpretations. “Green Grow the Rushes, O” has some very obvious explicit Christian details – and apparently much-discussed other details. I enjoyed seeing a live performance of Tom Stoppard’s Every Good Boy Deserves Favour (we learned “Fudge” in that mnemonic at my grade school) – and see there are a couple performances on YouTube.

    I’m embarked on reading a selection of mediaeval Dutch Christmas songs (the texts, anyway – I’m a wobbly sight-reader of musical notation), and had better get cracking if I want to read them all before Christmas – though I suppose I could go on till Epiphany – or maybe even Candlemas.

  2. Thinking about all the Feasts within the 12 Days of Christmas, and especially the four immediately following it – all four of which (if I am not mistaken) traditionally have Octaves like Christmas itself – it struck me as curious that none of the gifts have any obvious connections with any of those Feasts upon whose dates they are given. On the other hand, I wondered if the (so to put it) ‘piling on’ of overlapping Octaves might make a cumulative song somehow especially appropriate.

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