Word Play: The meaning behind a popular Christmas carol

MYRNA BROWN, HOST: Today is Friday, December 16th. Good morning! This is The World and Everything in It from listener-supported WORLD Radio. I’m Myrna Brown.

NICK EICHER, HOST: And I’m Nick Eicher. Time now for Word Play for December. Commentator George Grant on the not-so-hidden meaning behind one familiar Christmas carol.

GEORGE GRANT, COMMENTATOR: Every day, from December 25 to January 6, has traditionally been a part of the Christian Yuletide celebration. Dedicated to mercy and compassion—in light of the incarnation of Heaven’s own mercy and compassion—each of those twelve days between Christmas and Epiphany was to be noted by selflessness and charity. Gift giving was not concentrated on a single day, but rather, as in the famous folk song, spread out through the entire season.

In that song, “The Twelve Days of Christmas,” each of the gifts represent some aspect of the blessing of Christ’s appearing. They portray the abundance of this present life and the ultimate promise of heaven. Though theories vary on the origin of the song, it is likely an urban legend that it was intended to be a secret catechism song during the tumultuous days of Tudor England.

That rather fanciful interpretation attached very specific meanings to the symbols: the partridge in a pear tree, for instance, was assumed to be Christ, Himself, symbolically presented as a mournful mother hen—an expression of His lament: “Jerusalem! Jerusalem! How oft would I have sheltered thee under my wings, as a hen does her chicks.” The two turtledoves were said to represent the Old and New Testaments. The three French Hens symbolized faith, hope, and love.

The four calling birds portrayed the four Gospels. The five gold rings were said to be the books of the “Pentateuch.” The six geese a-laying represented the six days of creation while the seven swans a-swimming were taken to be the seven gifts of the Holy Spirit. The eight maids a-milking were the eight beatitudes while the nine ladies dancing represented the Fruits of the Holy Spirit. The ten lords a-leaping were the Ten Commandments. The eleven pipers piping were the faithful eleven apostles and the twelve drummers were the doctrines of the Creed.

These interpretations are likely exaggerated. For one thing, the first seven gifts all refer to birds. The fourth day’s four “calling birds” are actually “colly birds.” “Colly” literally means “black as coal,” thus “colly birds” were blackbirds. The “gold rings” on the fifth day refer not to five pieces of jewelry, but to ring-necked birds, such as pheasants—thus, altering the symbolism.

But, even though symbolic maximalism likely goes too far, it would be just as wrong to assume that the song is “strictly secular,” as debunking websites declare. Secularism in sixteenth century England was about as credible then as an Elvis sighting is today. The answer to over-wrought allegoricalism is not the equal and opposite error of over-wrought reductionism. Symbols don’t have to mean everything to mean something.

Very likely, this delightful folk song was just intended to portray the abundant riches of our covenantal inheritance and the promise of heaven—the good news, glad tidings, and great joy of Christmas. Sing, therefore, with new gusto and zeal. For, “every good and perfect gift comes from above.” Even partridges, pear trees, and leaping lords!

Merry Christmas. I’m George Grant.

MYRNA BROWN, HOST: Today is Friday, December 16th. Good morning! This is The World and Everything in It from listener-supported WORLD Radio. I’m Myrna Brown.

NICK EICHER, HOST: And I’m Nick Eicher. Time now for Word Play for December. Commentator George Grant on the not-so-hidden meaning behind one familiar Christmas carol.

GEORGE GRANT, COMMENTATOR: Every day, from December 25 to January 6, has traditionally been a part of the Christian Yuletide celebration. Dedicated to mercy and compassion—in light of the incarnation of Heaven’s own mercy and compassion—each of those twelve days between Christmas and Epiphany was to be noted by selflessness and charity. Gift giving was not concentrated on a single day, but rather, as in the famous folk song, spread out through the entire season.

In that song, “The Twelve Days of Christmas,” each of the gifts represent some aspect of the blessing of Christ’s appearing. They portray the abundance of this present life and the ultimate promise of heaven. Though theories vary on the origin of the song, it is likely an urban legend that it was intended to be a secret catechism song during the tumultuous days of Tudor England.

That rather fanciful interpretation attached very specific meanings to the symbols: the partridge in a pear tree, for instance, was assumed to be Christ, Himself, symbolically presented as a mournful mother hen—an expression of His lament: “Jerusalem! Jerusalem! How oft would I have sheltered thee under my wings, as a hen does her chicks.” The two turtledoves were said to represent the Old and New Testaments. The three French Hens symbolized faith, hope, and love.

The four calling birds portrayed the four Gospels. The five gold rings were said to be the books of the “Pentateuch.” The six geese a-laying represented the six days of creation while the seven swans a-swimming were taken to be the seven gifts of the Holy Spirit. The eight maids a-milking were the eight beatitudes while the nine ladies dancing represented the Fruits of the Holy Spirit. The ten lords a-leaping were the Ten Commandments. The eleven pipers piping were the faithful eleven apostles and the twelve drummers were the doctrines of the Creed.

These interpretations are likely exaggerated. For one thing, the first seven gifts all refer to birds. The fourth day’s four “calling birds” are actually “colly birds.” “Colly” literally means “black as coal,” thus “colly birds” were blackbirds. The “gold rings” on the fifth day refer not to five pieces of jewelry, but to ring-necked birds, such as pheasants—thus, altering the symbolism.

But, even though symbolic maximalism likely goes too far, it would be just as wrong to assume that the song is “strictly secular,” as debunking websites declare. Secularism in sixteenth century England was about as credible then as an Elvis sighting is today. The answer to over-wrought allegoricalism is not the equal and opposite error of over-wrought reductionism. Symbols don’t have to mean everything to mean something.

Very likely, this delightful folk song was just intended to portray the abundant riches of our covenantal inheritance and the promise of heaven—the good news, glad tidings, and great joy of Christmas. Sing, therefore, with new gusto and zeal. For, “every good and perfect gift comes from above.” Even partridges, pear trees, and leaping lords!

Merry Christmas. I’m George Grant.

WORLD Radio transcripts are created on a rush deadline. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of WORLD Radio programming is the audio record.