Inside the Strange History of the Lizzie Borden Rhyme

The Lizzie Borden rhyme, a dark nursery rhyme that has lingered in the public consciousness for over a century, owes its origins to the notorious figure of Lizzie Borden herself, who was put on trial in 1893 for the brutal murders of her father and stepmother. Though she was acquitted, the grim tale of her alleged crimes was immortalised in verse, providing an enduring symbol of the case that still captivates audiences today.

First appearing in print in early 1894, shortly after Borden’s highly publicised trial, the rhyme’s origins remain shrouded in mystery. Newspapers of the day, eager to capitalise on the sensational nature of the trial, began publishing the nursery rhyme without any attribution. The Savannah Morning News even relayed an anecdote about a mother discovering her children joyfully singing the chilling verse. Over time, variations of this story circulated across media outlets, adding to the folklore surrounding the rhyme.

Megan Alves, a historian who has dedicated substantial research to the Borden case, suggests that the nursery rhyme is likely the product of a newspaper writer seeking to boost sales during Lizzie’s trial. Research indicates that the rhyme’s earliest documentation correlates closely with the trial proceedings, which has led historians to infer a link between the rhyme’s creation and the media frenzy surrounding Borden’s case.

Interestingly, the initial versions of the rhyme were not as gruesome as the lines many can recite today. The first printed rendition specified “twenty whacks” for her mother, with a subsequent “twenty-one” for her father—figures that closely reflect the actual injuries sustained. In an ironic twist, the more familiar lyrics of “forty” and “forty-one” appeared just a few years later, further distorting the narrative. By 1898, news articles had adopted the current version, likely reshaping the mythos surrounding Borden in the process.

This peculiar rhyme was sung to the tune of “Ta-ra-ra Boom-de-ay,” a popular vaudeville song from the 1880s, which had already made its mark during Borden’s trial. Accounts from June 1893 indicated that spectators at the courthouse had been whistling the catchy tune, thus intertwining the song with the sensationalised events of the trial.

Another fascinating aspect of this nursery rhyme is a lesser-known second verse, which conveys a more ominous prediction of Lizzie’s fate. Although many are familiar with the opening lines, few recognise that “Andrew Borden now is dead / Lizzie hit him on the head” follows shortly after. Historian Alves notes that this second verse suggests its authorship predates the trial’s conclusion, as it assumes Borden’s guilt in a manner that later proved unfounded when she was acquitted.

Though there is no solid proof that Lizzie ever heard the rhyme, local folklore suggests that children in her town mocked her with it after the trial. Historical records from the Fall River Historical Society hint at children reciting the verse outside her residence post-acquittal, heightening the dramatic irony of her ordeal. These tales reaffirm the rhyme’s enduring presence in public imagination, especially as various adaptations and interpretations of her story continue to emerge, including recent portrayals in popular culture such as Netflix’s “Monster: The Lizzie Borden Story.”

The lasting impact of the Lizzie Borden rhyme serves as a testament to the allure of true crime and the ability of stories to transcend time. While many know the nursery rhyme more readily than the details of Borden’s life, it encapsulates the fascination with her enigmatic persona and the tragic circumstances surrounding her life. As the director and showrunner Ian Brennan noted, the rhyme persists as a central element of the Borden legacy, showcasing how such narratives can endure and evolve long after the events that inspired them have faded into history.

In summary, the case of Lizzie Borden is deeply etched in American popular culture, both through the sensational trial that captivated the nation and the haunting nursery rhyme that followed. The rhyme’s flexibility, variations, and enduring appeal reflect not only the intrigue surrounding Borden’s life but also society’s perpetual curiosity about crime, guilt, and the narratives that shape our understanding of history.