boys. The two concluding verses seem to refer to Gall herself. In them, she sings that she is nothing but a wax doll, his doll, under the sun of her blond hair. But someday she, the wax doll, will be able to actually live her songs without fearing the warmth of boys. Self–referentiality, puns, wordplay, and double meanings Self–referentiality, puns, word play, and double meanings are integral to Gainsbourg's style of lyric writing. These factors make it difficult for non–French speakers to understand the nuances of the lyrics, and even more difficult to translate the lyrics. Self–referentiality At a young age, France Gall was too naïve to understand the second meaning of the lyrics. She felt she was used by Gainsbourg throughout this period, most notably after the song "Sucettes", which was literally about lollipops, but with multiple double entendres referring to oral sex. Poupée de son can also mean "doll of sound" or "song doll" – France Gall could be said to be the doll through which Gainsbourg channels his sounds. As Sylvie Simmons wrote in Serge Gainsbourg: A Fistful of Gitanes: "Poupée . . . " was catchy, and on the surface pretty annoying – perfect Eurovision fodder, in other words – but closer examination revealed perspicacious lyrics about the ironies and incongruities inherent in baby–pop." In typical Gainsbourg fashion, the song is first of all self–referential in that it is written for a baby–pop performer to sing about herself—complete with reference to Gall singing beneath her "sun of blond hair" and double meanings clearly tying the song to Gall's own life situation: Singing songs created by adults and carrying themes purposefully introduced by those controlling adults which the young performer only partially understands. Gall herself is the "Poupée de cire, poupée de son" of the song's title. But the self–referentiality goes far beyond this. The writing of "Poupée" by Gainsbourg and its performance by Gall is itself an example of this very dynamic at work, and Gainsbourg knew that Gall, at her age, would understand the ramifications of this dynamic only partially, even at the same moment she was performing a song about it. In writing "Poupée," Gainsbourg is purposefully exploiting the very dynamic that is the subject of the song. It was this extra dimension, in part, that made the song interesting and attractive to audiences, helping catapult it to the top of the Eurovision contest.