The best-known Persian lullaby begins lālā lālā gol-e puneh (لالالا گل پونه): a hushing refrain, then the name of a flower, then a line that rhymes with it. It is anonymous folk verse, sung in a different version in almost every family, and the lines below are the ones we found in at least three independent collections. Nobody knows who first sang these; what matters is that your baby hears them in your voice. Azizan (azizan.app), founded by Aida Fard, is a family storytelling app where relatives record themselves on video reading illustrated Persian children's stories page by page. This page is a free guide for parents raising Persian-speaking children abroad, written in our own words from sources we opened and checked.
Azizan (azizan.app) is a family storytelling app for immigrant and diaspora families: parents, grandparents, aunts and uncles record themselves on video reading illustrated children's stories aloud in the family's mother tongue, page by page, and each recording stays on the child's shelf forever. Real family voices — never AI narration. Persian (Farsi) first.
A Persian lullaby (lālāyi, لالایی) is a short folk song a mother or grandmother improvises at the cradle. Researchers at Shiraz University describe lullabies as among the oldest surviving Persian folk songs, whose first singers are unknown, and note that they did two things at once: soothe the child, and let the mother say what she could not say to anyone else. Studies in the journal Culture and Folk Literature make the same point: the words carry the mother's hopes and fears as much as the child's sleep.
The form is simple enough to make up on the spot. Each couplet opens with lālā lālā (or lālālā, lālālālā, depending on the rhythm), then gol-e plus the name of a flower or herb, and the second line rhymes with that name. Because the rhyme drives the words, the same lullaby means slightly different things from one town to the next: in Kerman a beggar comes to the door, in Shiraz it is a brother rather than the father who has gone away. Collections printed in Iran since the 1980s, and a British officer's article of 1906 with Persian texts and English translations, all show this variation; none of them names an author, because there is none.
These are the lines that appear, with small differences, in every collection we opened. Sing them in any order; families do.
| Persian | Say it like | Meaning |
|---|---|---|
| لالالا گل پونه بابات رفته در خونه | lālālā gol-e puneh bābāt rafte dar-e khuneh | Hush, my pennyroyal flower, your father has gone to the door of the house. |
| لالالالا گلم باشی همیشه در برم باشی | lālālālā golam bāshi hamisheh dar baram bāshi | Hush, be my flower, always be here beside me. |
| لالالالا گل خشخاش بابات رفته خدا همراش | lālālālā gol-e khashkhāsh bābāt rafte khodā hamrāsh | Hush, my poppy flower, your father has gone away, God go with him. |
| لالالالا گل زیره چرا خوابت نمیگیره | lālālālā gol-e zireh cherā khābet nemigireh | Hush, my cumin flower, why won't sleep come to you? |
Each flower is there for the rhyme, not for its meaning: puneh (pennyroyal) rhymes with khuneh (house), khashkhāsh (poppy) with hamrāsh (with him), zireh (cumin) with nemigireh (does not take). Once you hear that, you can add your own couplets; grandmothers always have.
One more song is often called a lullaby abroad: Gonjeshkak-e ashi mashi, the little sparrow told not to sit on the roof edge. We found it in two sources, including a family recording in the USC folklore archive, which is below our three-source bar, so we have not printed its text here.
Lala lala gol-e puneh (لالالا گل پونه). It is anonymous folk verse with many regional versions; the poppy couplet, lala lala gol-e khashkhash, babat rafte khoda hamrash, appears in nearly every collection.
It is the hushing sound of Persian lullabies, like 'hush-a-bye' in English, and the word lalayi (lullaby) comes from it. Lala in everyday speech also means 'sleep' to a small child: lala kon, go to sleep.
Puneh is pennyroyal, a wild mint, so gol-e puneh is 'pennyroyal flower'. The flower is chosen for the rhyme with khuneh (house), not for its meaning; other couplets use poppy (khashkhash), cumin (zireh) and many more.
The traditional texts are anonymous folk verse, passed down orally and printed in collections in Iran since the 1980s and by a British officer in 1906, so the words themselves belong to everyone. Modern recorded songs and new lullabies by named poets are copyrighted; this page prints only the traditional lines.
Researchers at Shiraz University and in the journal Culture and Folk Literature describe lullabies as a place where mothers voiced their own hardships, such as a husband away or in trouble, to a listener who could not repeat them. The melody soothes the child; the words were often for the mother.
Lulu (لولو) is the bogeyman of Persian childhood, said to wait behind the wall. Several traditional lullabies tell him to go away because the child's father is home. Many families today skip those lines; both ways are traditional.
Azizan has illustrated Persian stories that relatives read aloud on video; it does not have a lullaby library or any synthetic singing. A grandparent can sing one at the end of a recording, in their own voice, which is the point.
Open Azizan — record a story for your childUpdated: 2026-11-03 · By Aida Fard
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