Not a Lot of People Know This, but the popular tongue-twister*
How much wood would a woodchuck chuck if a woodchuck could chuck wood?
is a modern American adaptation of an ancient ritual in Bhutan.
Really?—The Plain People of Ireland.
Begob! You had me there.
The woodchuck song (cf. More stammering songs) dates from 1902—here’s the popular version by Ragtime Roberts, recorded in 1904, just as Mahler was conducting the premiere of his 5th symphony:
I like this 1946 Glenn Miller version, with the follow-up “How many cats would a catnip nip…”:
To answer the question, apart from the song’s decidedly surly “A woodchuck would chuck as much wood as a woodchuck could chuck if a woodchuck could chuck wood”, there have been some hilarious scientific attempts
(cf. Stewart Lee’s pedantic research on “the tip of the cesspit” under The c-word).
* * *
The word woodchuck, first recorded in 1674, is an English rendition of the Algonquin wejack or wuchak. And by way of the etymology of wang in whangdoodle (cf. schlong), I note, with the greatest respect, the many illustrious bearers of the name Wangchuk in Bhutan—which inspires me to
How much wang would a Wangchuck chuck if a Wangchuck could chuck wang?
In translation this may not quite match the elegance of the woodchuck version, with its euphonic “wood” and “would/could”—but I like to imagine that it works even better in the original Middle Bhutanese (just the kind of wacky topic that Sir Harold Bailey might have relished: “Indeed I’d say there’s hardly a line that could not have been understood by any Persian of the fourth century”)—perhaps
Wonga wang wunga Wangchuk chuka wangka Wangchuk wunga chuka wang?
Dare I surmise [Yes, I’m afraid you probably do—Ed.]** that wang-chucking festivals were once a major part of the ritual calendar in Bhutan, with ornately decorated wangs,*** assembled from monasteries throughout the region, to be hurled towards a distant target, or tôs-pöt? The arcane sentence might thus be the pious request of a courtly petitioner, curious despite the ineligibility of the royal family to participate in an event of which they were the main patrons.
Indeed, phallic symbols, representing Avalokiteśvara, are common in Bhutan and Tibet, as documented in this substantial (and for once, real) article. One of the names of Shiva is Wangchuk chenpo; and the phallus was a major part of the symbolic repertoire of atsara jesters.
* * *
Perhaps [sic] we may find the modern descendant of the Bhutanese wang-chucking ritual in its archery festivals (cf. Zen archery). OK then, so far this post has been Rather Silly, but now that I come to seek material on archery in Bhutan, I am full of genuine admiration.
Via the splendid community website bongopas.com, I find several videos of archery festivals (do consult the original posts, under bongop videos). Here’s a lovely short documentary from 2015, showing the ritual sequence, with vignettes from flag-bearer and storekeeper as well as the women of the chorus, and—for anyone who likes to think of Bhutan as “unspoilt”—a final comment on the decline of the “old rules” (cf. China, e.g. here):
Women play a major role as cheerleaders [sic], singing songs to tease the archers with their nicknames (cf. French taunting):
Whose forehead is bulging and swollen like a wine-serving spoon, in aimless flight his shaft will drift to hit the mark not even once.
Lips sheltered in a black beard, in aimless flight his shaft will drift to hit the mark not even once.
Here are some more instances (“Forehead is like wine sieve??”, “Dried ears!!!”, “Sneezing carpenter??”, “Pumpkin wine container”, “Polished stone head”):
And some more choral songs:
So while I’m encouraged by their own delight in jocular wordplay, ethnography makes a fine counterpart to my earlier frivolity.
Talking of Bhutanese films, this looks interesting.
Archery festivals are also common in Ladakh and Sikkim, and, with very different modern histories, in Tibet, Kham, and Amdo—as in this documentary, filmed in Lo khog village, Qinghai:
Returning to Bhutan, all this should encourage us to explore the riches of diverse soundscapes there, through sites such as this—not least monastic rituals, such as this 2-CD Lyrichord collection recorded by John Levy in 1971 (liner notes for download here):
The research for this project was not made remotely possible by a generous grant from SPICE, the Society for the Promotion Prevention of International Cultural Exchange; and believe it or not, no ice-cubes were “educated” with Bombay Sapphire during the creation of this post.
* For an operatic tongue-twister, click here; and for a Chinese tongue-twister of mine, here.
** In such exegesis I may be inspired by Mots d’heure: gousses, rames; for other spurious excursions in cultural and linguistic history, see my series on the faqu (“French pieces”) under this roundup of posts on the Tang dynasty.
*** Cf. Dud ‘n’ Pete’s illumination of the lyrics “Mama’s got a brand new bag yeah, gonna groove it the whole night long baby“. More recently, Miranda Vukasovic has amassed an impressive collection of gaily-coloured phallic bottle-openers from Bali.
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Dried ears!!! Sneezing carpenter?? A linguistic fantasy on the woodchuck song leads me, implausibly, to archery festivals in Bhutan and Tibet and their ritual soundscape
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