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diff --git a/41728-0.txt b/41728-0.txt index 8e4ed86..38aec85 100644 --- a/41728-0.txt +++ b/41728-0.txt @@ -1,27 +1,4 @@ -The Project Gutenberg EBook of The Traditional Games of England, Scotland, -and Ireland (Vol II of II), by Alice Bertha Gomme - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Traditional Games of England, Scotland, and Ireland (Vol II of II) - With Tunes, Singing-Rhymes, and Methods of Playing etc. - -Author: Alice Bertha Gomme - -Release Date: December 29, 2012 [EBook #41728] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - - - - -Produced by David Edwards, Harry Lam, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - - - +-------------------------------------------------------------------+ - | TRANSCRIBER'S NOTES: | - | | - | Text printed in italics in the original work is presented here | - | between underscores, as in _text_. Similarly, bold face in the | - | original is represented as =text=. | - | | - | Footnotes have been moved to the end of the description of the | - | game. | - | | - | [Illustration] means that there is an illustration present in the | - | text; [Music] means a transcription in musical notation. | - | | - | [Greek: text] represents a transcription of Greek text. [zeta] | - | and [yogh] represent the named characters. The oe-ligature has | - | been transcribed as [oe]. | - | | - | More Transcriber's Notes may be found at the end of this text. | - +-------------------------------------------------------------------+ - - - - -VOL. I. - -ACCROSHAY-NUTS IN MAY - - Medium 8vo, xix.--424 pp. With numerous Diagrams and Illustrations. - Cloth uncut. 12s. 6d. nett. - - -Some Press Notices - - _Notes and Queries._--"A work of supreme importance... a - scholarly, valuable, and delightful work." - - _Spectator._--"Interesting and useful to the antiquarian, historian, - and philologist, as well as to the student of manners and customs." - - _Saturday Review._--"Thorough and conscientious." - - _Critic_ (New York).--"A mine of riches to the student of folk-lore, - anthropology, and comparative religion." - - _Antiquary._--"The work of collection and comparison has been done - with obvious care, and at the same time with a con amore - enthusiasm." - - _Zeitschrift fr vergl. Literaturgeschichte._--"In jeder Beziehung - erschpfend und mustergltig." - - _Zeitschrift fr Pdagogie._--"Von hoher wissenschaftlicher - Bedeutung." - - -[_All rights reserved_] - - - - - THE - TRADITIONAL GAMES - Of England, Scotland, and Ireland - - WITH - - TUNES, SINGING-RHYMES, AND METHODS OF PLAYING - ACCORDING TO THE VARIANTS EXTANT AND - RECORDED IN DIFFERENT PARTS - OF THE KINGDOM - - - COLLECTED AND ANNOTATED BY - ALICE BERTHA GOMME - - - VOL. II. - - OATS AND BEANS-WOULD YOU KNOW - - - TOGETHER WITH A MEMOIR ON THE STUDY - OF CHILDREN'S GAMES - - - LONDON - DAVID NUTT, 270-71 STRAND - 1898 - - - Printed by BALLANTYNE, HANSON & CO. - - At the Ballantyne Press - - - - -PREFACE - - -The completion of the second volume of my Dictionary has been delayed -from several unforeseen circumstances, the most important being the -death of my most kind and learned friend the Rev. Dr. Gregor. The loss -which folk-lore students as a body sustained by this lamented scholar's -death, was in my own case accentuated, not only by many years of kindly -communication, but by the very special help which he generously gave me -for this collection. - -The second volume completes the collection of games on the lines already -laid down. It has taken much more space than I originally intended, and -I was compelled to add some important variants to the first volume, sent -to me during the compilation of the second. I have explained in the -memoir that the two volumes practically contain all that is to be -collected, all, that is to say, of real importance. - -The memoir seeks to show what important evidence is to be derived from -separate study of the Traditional Games of England. That games of all -classes are shown to contain evidence of ancient custom and belief is -remarkable testimony to the anthropological methods of studying -folk-lore, which I have followed. The memoir fills a considerable space, -although it contains only the analytical portion of what was to have -been a comprehensive study of both the analytical and comparative sides -of the questions. Dr. Gregor had kindly promised to help me with the -study of foreign parallels to British Games, but before his death it -became apparent that this branch of the subject would almost need a -separate treatise, and his death decided me to leave it untouched. I do -not underrate its importance, but I am disposed to think that the survey -I have given of the British evidence will not be materially shaken by -the study of the comparative evidence, which will now be made the -easier. - -I ought perhaps to add, that the "Memoir" at the end of this volume was -read as a paper at the evening meeting of the Folk Lore Society, on -March 16th, 1898. - -I have again to thank my many kind correspondents for their help in -collecting the different versions of the games. - -A. B. G. - -24 DORSET SQUARE, N.W. - - - - -LIST OF AUTHORITIES - -ADDENDUM TO VOL. I. - - -ENGLAND. - - BEDFORDSHIRE-- - Bedford Mrs. Haddon. - - BERKSHIRE-- - Welford Mrs. S. Batson. - - BUCKINGHAMSHIRE-- - Buckingham _Midland Garner._ - - CAMBRIDGESHIRE Halliwell's _Nursery Rhymes_. - Barrington, Girton Dr. A. C. Haddon. - Cambridge Mrs. Haddon. - - CORNWALL Miss I. Barclay. - - DERBYSHIRE Miss Youngman, _Long Ago_, vol. i. - - DEVONSHIRE Miss Chase. - Chudleigh Knighton { Henderson's _Folk-lore of the Northern - { Counties of England_. - - DORSETSHIRE-- - Broadwinsor _Folk-lore Journal_, vol. vii. - - GLOUCESTERSHIRE Northall's _English Folk Rhymes_. - - HAMPSHIRE-- - Gambledown Mrs. Pinsent. - - HERTFORDSHIRE-- - Harpenden, Stevenage Mrs. Lloyd. - - HUNTINGDONSHIRE-- - St. Neots Miss Lumley. - - KENT Miss L. Broadwood. - - LANCASHIRE-- - Manchester Miss Dendy. - Liverpool Mrs. Harley. - - LEICESTERSHIRE _Leicestershire County Folk-lore._ - - LINCOLNSHIRE-- - Brigg Miss J. Barker. - Spilsby Rev. R. Cracroft. - - LONDON Dr. Haddon, A. Nutt, Mrs. Gomme. - Blackheath Mr. M. L. Rouse. - Hoxton Rev. S. D. Headlam. - Marylebone Mrs. Gomme. - - MIDDLESEX Mrs. Pocklington-Coltman. - - NORFOLK Mrs. Haddon. - Hemsby Mrs. Haddon. - - NORTHUMBERLAND Hon. J. Abercromby. - - OXFORDSHIRE Miss L. Broadwood. - - STAFFORDSHIRE Halliwell's _Nursery Rhymes_. - Wolstanton Miss Bush. - - SUFFOLK Mrs. Haddon. - Woolpit, near Haughley Mr. M. L. Rouse. - - SURREY-- - Ash Mrs. Gomme. - - SUSSEX-- - Lewes Miss Kimber. - - WORCESTERSHIRE-- - Upton on Severn Miss. L. Broadwood. - - YORKSHIRE Miss E. Cadman. - - -SCOTLAND. - -_Notes and Queries._ Pennant's _Voyage to the Hebrides_. - - ABERDEENSHIRE-- - Aberdeen Mr. M. L. Rouse. - Aberdeen Training College Rev. Dr. Gregor. - Corgarff, Fraserburgh, } Rev. Dr. Gregor. - Meiklefolla, Rosehearty, } - Tyrie - - ARGYLLSHIRE-- - Connell Ferry, near Oban Miss Harrison. - - BANFFSHIRE-- - Cullen, Macduff Rev. Dr. Gregor. - - BERWICKSHIRE A. M. Bell (_Antiquary_, vol. xxx.). - - ELGIN AND NAIRN-- - Dyke } Rev. Dr. Gregor. - Strichen } - - FORFARSHIRE-- - Forfar Rev. Dr. Gregor. - - KINCARDINESHIRE-- - Banchory Rev. Dr. Gregor. - - KIRCUDBRIGHTSHIRE-- - Auchencairn { Miss M. Haddon. - { Dr. A. C. Haddon. - Crossmichael Rev. Dr. Gregor. - Galloway } Mr. J. G. Carter. - Dalry } - Kirkcudbright }Mr. J. Lawson. - Laurieston } - New Galloway Rev. Dr. Gregor. - - LINLITHGOWSHIRE-- - Linlithgow Mrs. Jamieson. - - PERTHSHIRE-- - Auchterarder Miss E. S. Haldane. - Perth Rev. Dr. Gregor. - - ROSS-SHIRE Rev. Dr. Gregor. - - WIGTONSHIRE-- - Port William School Rev. Dr. Gregor. - - -IRELAND. - -Carleton's _Stories of Irish Peasantry_. - - CORK-- - Cork Mr. I. J. Dennachy. - - DOWN-- - St. Andrews Miss H. E. Harvey. - - DUBLIN-- - Dublin Mrs. Coffey. - Howth Miss H. E. Harvey. - - KERRY-- - Kerry I. J. Dennachy. - Waterville Mrs. B. B. Green. - - LEITRIM-- - Kiltubbrid Mr. L. L. Duncan. - - WATERFORD-- - Waterford Miss H. E. Harvey. - - -WALES. - -Roberts' _Cambrian Popular Antiquities_. - - - - -LIST OF GAMES - - - OATS and Beans and Barley. - Obadiah. - Odd or Even. - Odd-man. - Old Dame. - Old Roger is Dead. - Old Soldier. - Oliver, Oliver, follow the King. - One Catch-all. - Oranges and Lemons. - 'Otmillo. - Over Clover. - - PADDY from Home. - Paip. - Pallall. - Pally Ully. - Pat-ball. - Pay-swad. - Pednameny. - Peesie Weet. - Peg and Stick. - Peg-fiched. - Peggy Nut. - Peg-in-the-Ring. - Peg-top. - Penny Cast. - Penny Hop. - Penny Prick. - Penny Stanes. - Ph[oe]be. - Pick and Hotch. - Pi-cow. - Pigeon Walk. - Pig-ring. - Pillie-Winkie. - Pinch. - Pinny Show. - Pins. - Pirley Pease-weep. - Pitch. - Pitch and Hustle. - Pitch and Toss. - Pit-counter. - Pits. - Pize Ball. - Plum Pudding. - Plum Pudding and Roast Beef. - Pointing out a Point. - Poncake. - Poor and Rich. - Poor Mary sits a-weeping. - Poor Widow. - Pop Goes the Weasel. - Pop-the-Bonnet. - Poppet-Show. - Port the Helm. - Pots, or Potts. - Pray, Pretty Miss. - Pretty Little Girl of Mine. - Pretty Miss Pink. - Prick at the Loop. - Prickey Sockey. - Prickie and Jockie. - Priest-Cat (1). - Priest-Cat (2). - Priest of the Parish. - Prisoner's Base. - Puff-the-Dart. - Pun o' mair Weight. - Punch Bowl. - Purposes. - Push in the Wash Tub. - Push Pin. - Push the Business On. - Puss in the Corner. - Pussy's Ground. - Pyramid. - - QUAKER. - Quaker's Wedding. - Queen Anne. - Queen Mary. - Queen of Sheba. - - RAGMAN. - Rag-stag. - Rakes and Roans. - Rakkeps. - Range the Bus. - Rax, or Raxie-boxie, King of Scotland. - Relievo. - Religious Church. - Rigs. - Ring. - Ring a Ring o' Roses. - Ring by Ring. - Ringie, Ringie, Red Belt. - Ring-me-rary. - Ring-taw. - Rin-im-o'er. - Robbing the Parson's Hen-Roost. - Rockety Row. - Roll up Tobacco. - Roly-poly. - Ronin the Bee. - Rosy Apple, Lemon and Pear. - Roundabout, or Cheshire Round. - Round and Round the Village. - Round and Round went the Gallant Ship. - Round Tag. - Rounders. - Rounds. - Row-chow-Tobacco. - Rowland-Ho. - Rumps. - Rusty. - - SACKS. - Saddle the Nag. - Saggy. - Sailor Lad. - Sally go Round the Moon. - Sally Water. - Sally Sober. - Salmon Fishers. - Salt Eel. - Save All. - Say Girl. - Scat. - Scop-peril. - Scotch-hoppers. - Scots and English. - Scratch Cradle. - Scrush. - Scurran-Meggy. - See-Saw. - See-Sim. - Shame Reel, or Shamit Dance. - She Said, and She Said. - Shepherd and Sheep. - Shepherds. - Shinney, or Shinty, or Shinnops. - Ship. - Ship Sail. - Shiver the Goose. - Shoeing the Auld Mare. - Shue-Gled-Wylie. - Shuttlefeather. - Shuvvy-Hawle. - Silly Old Man. - Skin the Goatie. - Skipping. - Skyte the Bob. - Smuggle the Gig. - Snail Creep. - Snapping Tongs. - Snatch Apple. - Snatch Hood. - Soldier. - Solomon. - Sort'em-billyort'em. - Sow-in-the-Kirk. - Span Counter. - Spang and Purley. - Spangie. - Spannims. - Spawnie. - Spinny-Wye. - Splints. - Spurn point. - Spy-arm. - Stacks. - Stag. - Stagging. - Steal the Pigs. - Stealy Clothes. - Steik and Hide. - Sticky-stack. - Sticky Toffey. - Stiff Police. - Stik-n Snael. - Stocks. - Stones. - Stool-ball. - Strik a Licht. - Stroke. - Stroke Bias. - Sun and Moon. - Sunday Night. - Sun Shines. - Sweer Tree. - Swinging. - - TAIT. - Teesty-Tosty. - Teter-cum-Tawter. - Tee-to-tum. - Thimble Ring. - Thing done. - Thread the Needle. - Three Days' Holidays. - Three Dukes. - Three Flowers. - Three Holes. - Three Jolly Welshmen. - Three Knights from Spain. - Three Little Ships. - Three Old Bachelors. - Three Sailors. - Through the Needle Eye, Boys. - Thun'er Spell. - Tick. - Tickle me Quickly. - Ticky Touchwood. - Tig. - Time. - Tip it. - Tip-Cat. - Tip-tap-toe. - Tiring Irons. - Tisty Tosty. - Titter-totter. - Tit-tat-toe. - Tods and Lambs. - Tom Tiddler's Ground. - Tops. - The Totum, or Tee-to-tum. - Touch. - Tower of London. - Town Lovers. - Trades. - Trap, Bat, and Ball. - Tray-trip. - Tres-acre. - Tribet. - Trippit and Coit. - Trip and Go. - Trip-trout. - Troap. - Troco, Trucks. - Troule-in-Madame. - Trounce-Hole. - Troy Town. - Truncher. - Trunket. - Truss. - Tuilyie-wap. - Turn, Cheeses, Turn. - Turn Spit Jack. - Turn the Ship. - Turn the Trencher, or, My Lady's Toilet. - Turvey. - Tutt-ball. - Twelve Days of Christmas. - Twelve Holes. - - UNCLE John is Ill in Bed. - Up the Streets. - - WADDS and the Wears (1). - Wadds and the Wears (2). - Waggles. - Wallflowers. - Warney. - Way-Zaltin. - We are the Rovers. - Weary. - Weave the Diaper. - Weigh the Butter. - When I was a Young Girl. - Whiddy. - Whigmeleerie. - Whip. - Whishin Dance. - Who goes round my Stone Wall. - Widow. - Wiggle-Waggle. - Wild Boar. - Wild Birds. - Willie, Willie Wastell. - Wind up the Bush Faggot. - Wind, The. - Wink-egg. - Witch, The. - Witte-Witte-Way. - Wolf. - Wolf and the Lamb. - Would you know how doth the Peasant. - - - - -ADDENDA - - - A' THE BIRDIES. - All the Boys. - American Post. - As I was Walking. - Auld Grannie. - - BALL. - Bannockburn. - Black Doggie. - Bonnet Ridgie. - Button. - - CANLIE. - Carry my Lady to London. - Cat and Dog Hole. - Catch the Salmond. - Chicken come Clock. - Chippings, or Cheapings. - Chucks. - Churning. - Codham, or Codhams. - Colley Ball. - - DAN'L my Man. - Deil amo' the Dishes. - Dig for Silver. - Dillsee Dollsie Dee. - Doagan. - Down in Yonder Meadow. - Draw a Pail of Water. - Drop Handkerchief. - Dumb Crambo. - Dump. - - EENDY, Beendy. - - FARMER'S Den. - Fire on the Mountains. - Fool, Fool, come to School. - French Jackie. - - GALLOPING, Galloping. - Gallant Ship. - Galley, Galley Ship. - Glasgow Ships. - Granny's Needle. - Green Gravel. - Green Grass. - Green Grass (2). - - HEAP the Cairn. - Hear all! - Hen and Chickens. - High Windows. - Hot Cockles. - - ISABELLA. - - JENNY Jones. - Jockie Rover. - Jolly Lads. - Jolly Miller. - - KEYS of Heaven. - Kick the Block. - - LADY of the Land. - Leap-Frog. - London Bridge. - Lubin, Looby Loo. - - MAGICIAN. - Mannie on the Pavement. - Merry-ma-Tanza. - Milking Pails. - My Delight's in Tansies. - - NAMER and Guesser. - Needle Cases. - Nuts in May. - - ODD Man. - Old Cranny Crow. - Old Johanny Hairy, Crap in! - - PAPER of Pins. - Pickie. - Poor Widow. - - QUEEN Anne. - - RASHES. - - SALLY Water. - Shuffle the Brogue. - Soldiers, Soldiers. - - THREE Dukes. - Three Knights. - Tug of War. - - WE are the Rovers. - When I was a Young Girl. - - - - -ANALYSIS OF "MEMOIR" - - - Children's games, a definite branch of folk-lore--Nature of material - for the study--Games fall into one of two sections--Classification - of the games--Under customs contained in them--Under implements of - play--Skill and chance games--Importance of classification--Early - custom contained in skill and chance games--In diagram games--Tabu - in game of "Touch"--Methods of playing the games--Characteristics of - line form--Of circle forms--Of individual form--Of the arch - forms--Of winding-up form--Contest games--War-cry used in contest - games--Early marriage customs in games of line form--Marriage by - capture--By purchase--Without love or courtship--Games formerly - played at weddings--Disguising the bride--Hiring servants - game--Marriage customs in circle games--Courtship precedes - marriage--Marriage connected with water custom--"Crying for a young - man" announcing a want--Marriage formula--Approval of friends - necessary--Housewifely duties mentioned--Eating of food by bride and - bridegroom necessary--Young man's necessity for a wife--Kiss in the - ring--Harvest customs in games--Occupations in games--Funeral - customs in games--Use of rushes in games--Sneezing action in - game--Connection of spirit of dead person with trees--Perambulation - of boundaries--Animals represented--Ballads sung to a - dance--Individual form games--Hearth worship--Objection to giving - light from a fire--Child-stealing by witch--Obstacles in path when - pursuing witch--Contest between animals--Ghosts in games--Arch form - of game--Contest between leaders of parties--Foundation sacrifice in - games--Encircling a church--Well worship in games--Tug-of-war - games--Alarm bell ringing--Passing under a yoke--Creeping through - holed stones in games--Under earth sods--Customs in "winding up" - games--Tree worship in games--Awaking the earth spirit--Serpentine - dances--Burial of maiden--Guessing, a primitive element in - games--Dramatic classification--Controlling force which has - preserved custom in games--Dramatic faculty in mankind--Child's - faculty for dramatic action--Observation of detail--Children's games - formerly an amusement of adults--Dramatic power in savages--Dramatic - dances among the savage and semi-civilised--Summary and conclusion. - - - - -CHILDREN'S GAMES - - -Oats and Beans and Barley - -[Music] - ---Madeley, Shropshire (Miss Burne). - -[Music] - ---_Northants Notes and Queries_, ii. 161 (R. S. Baker) - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Oats and beans and barley grow! - Oats and beans and barley grow! - Do you or I or any one know - How oats and beans and barley grow? - First the farmer _sows_ his seed, - Then he _stands_ and takes his ease, - _Stamps_ his foot, and _claps_ his hands, - Then _turns round_ to view the land. - Waiting for a partner, waiting for a partner! - Open the ring and take one in! - - Now you are married you must obey, - You must be true to all you say, - You must be kind, you must be good, - And help your wife to chop the wood! - ---Much Wenlock (Burne's _Shropshire Folklore_, p. 508). - - II. Oats and beans and barley grow! - Does you or I or any one know - Where oats and beans and barley grow? - - So the farmer sows his seed; - So he stands and takes his ease; - Stamps his foot and claps his hands, - And turns him round to view the lands. - Waiting for a partner! waiting for a partner! - - Now young couple you must obey, - You must be true in all you say, - You must be wise and very good, - And help your wife to chop the wood. - ---Monton, Lancashire (Miss Dendy). - - III. Does you or I, or anie one knowe - Where oates and beanes and barlie growe? - Where oates and beanes and barlie growe? - The farmer comes and sowes ye seede, - Then he standes and takes hys ease, - Stamps hys foote, and slappes hys hand, - And turnes hym rounde to viewe ye land. - Waiting for a partner, - Waiting for a partner, - Open the ringe and take mee in, - Make haste and choose youre partner. - - Now you're married you must obey, - Must bee true to alle you saye, - Must bee kinde and verie goode, - And helpe your wyfe to choppe ye woode. - ---Raunds (_Northants Notes and Queries_, i. 163). - - IV. Oats and beans and barley grows, - You or I or any one knows, - You or I or any one knows, - Where oats and beans and barley grows. - - Thus the farmer sows his seed, - Stamps his feet and claps his hands, - And turns around to view the land. - Waiting for a partner, - Waiting for a partner, - - Now you are married, &c. - [same as Much Wenlock.] - ---East Kirkby, Lincolnshire (Miss K. Maughan). - - V. Oats, beans, and barley grows, - You or I or any one knows. - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his feet and folds his hands, - And turns him round to view the lands. - Oh! waitin' for a partner, - Waitin' for a partner. - - Now you're married, &c. - [same as Much Wenlock.] - ---Winterton (Miss Fowler). - - VI. Oats and wheat and barley grows, - You and I and every one knows - Where oats and wheat and barley grows. - As the farmer sows his seed, - Folds his arms and takes his ease, - Stamps his feet and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Waiting for a partner, - Waiting for a partner, - To open the ring - And take one in. - - Now you're married, &c. - [same as Much Wenlock.] - ---Tean, North Staffs. (Miss Keary). - - VII. Oats and beans and barley grow, - You and I and every one know; - You and I and every one know - That oats and beans and barley grow. - - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his foot and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Waiting for a partner. - - Now you're married you must obey, &c. - [same as Much Wenlock.] - ---Brigg, Lincolnshire (Miss Barker). - - VIII. Oats and beans and barley-corns, you or I or any one else, - You or I or any one else, oats or beans or barley-corns; - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his foot, and claps his hands, - And turns him round to view the land. - Waiting for a partner, waiting for a partner; - Open the ring and take one in, - Waiting for a partner. - Now you're married, &c. - [same as Much Wenlock.] - ---Nottingham (Miss E. A. Winfield). - - IX. Oats and beans, barley and groats, - Oats and beans, barley and groats; - You, nor I, nor anybody knows - How oats and beans and barley grows. - Thus the farmer sows his seed, - Thus he stands and takes his feed, - Stamps his foot and claps his hand, - And turns around to view the land. - Waiting for a partner, waiting for a partner. - Slip the ring, and take one in, - And kiss her when you get her in; - Now that you're married you must agree, - You must be kind to all you see; - You must be kind, you must be good, - And help your man [wife] to chop the wood. - ---Isle of Man (A. W. Moore). - - X. Wuts and bens and barley graws, - As you and I and every one knaws. - - . . . . . - - Watin' for a pardner. - - Fust the farmer saws his seds, - Then he stands and take his ese, - Stomps his fet and clops his hands, - And turns him round to view his lands. - Watin' for a pardner. - - Now you're married you must obay; - Must be trewe to all you say; - Must be kind and must be good, - And help your wife to chop the wood. - Watin' for a pardner. - ---Spilsby, N. Lincs. (Rev. R. Cracroft). - - XI. Oats and beans and barley corn, - Oats and beans and barley corn; - You and I and nobody else, - But oats and beans and barley corn. - As the farmer sows his seed, - As he stands to take us in, - Stamps his feet and claps his hands, - Turns around to field and lands. - Waiting for a partner, - Waiting for a partner, - Open the gate and let her come out, - And see the one you love the best. - - Now we're merry and wish you joy, - First the girl, and then the boy, - Seven years after, seven years past, - Kiss one another and go to your class. - ---Hampshire (Miss Mendham). - - XII. Where the wheat and barley grows, - You and I and nobody knows, - Where the wheat and barley grows, - You and I and nobody knows. - As the farmer sows his seed, - As he stands and takes his ease, - Stamps his foot and claps his hand, - Turns around to view the land. - Waiting for a partner, - Waiting for a partner. - Open the ring, take her in, - Kiss her when you get her in. - Now you're married you must be good, - To make your husband chop the wood. - ---Cowes, Isle of Wight (Miss E. Smith). - - XIII. Oats and beans and barley corns, - You nor I nor any one knows; - You nor I nor any one knows - How oats and beans and barley grows. - As the sower sows his seed, - As he stands he takes his ease, - Stamps his foot and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Open the ring and take one in. - Now you're married, &c. - [same as Much Wenlock.] - ---Long Eaton, Nottinghamshire (Miss Youngman). - - XIV. Hop or beans or barley corn, - You or I or any one all: - First the farmer sows his seed, - Then he stands and takes his ease; - He stamped his foot and he clapped his hand, - And turned around the bugle land, - Waiting for a partner, a partner, a partner, - He opened the ring and called one in, - And now he's got a partner. - Now you're married we wish you good joy, - First the girl and then the boy; - Love one another like sister and brother, - And pray each couple to kiss together. - ---Sporle, Norfolk (Miss Matthews). - - XV. See the farmer sow his seed, - See he stands and takes them in, - Stamps his foot and claps his hand, - And turns him round to view the land. - O! waiting for a partner, - O! waiting for a partner, - Open the ring and take one in. - - Now you're married, &c. - [same as Much Wenlock.] - ---Earls Heaton, Yorks. (H. Hardy). - - XVI. A waitin' fur a pardner, - A waitin' fur a pardner, - You an' I an' ev'ry one knows - How whoats an' beans an' barley grows. - Fost tha farmer saws 'is seeds, - Then he stans' an' teks 'is ease, - Stamps 'is feet an' claps 'is 'ands, - And turns him round to view tha lands. - A waitin' fur a pardner, - A waitin' fur a pardner, - You an' I an' iv'ry one knows - How whoats an' beans an' barley grows. - - Now you're married, &c. - [same as Much Wenlock.] - ---Boston, Lincs. (_Notes and Queries_, 7th series, xii. 493). - - XVII. Oats and beans and barley grows - Not so fine as the farmer sows, - You nor I nor nobody knows - Oats and beans and barley grows. - This is the way the farmer sows, - The farmer sows, the farmer sows, - This is the way the farmer sows. - Here he stands and takes his ease, - Stamps his foot and claps his hands, - And turns around to view the land, - Waiting for a partner, waiting for a partner, - Open the ring and take one in, - And kiss him (or her) as he (or she) enters. - ---Aberdeen Training College (Rev. W. Gregor). - - XVIII. Waitin' for a partner, - Waitin' for a partner, - Open the ring and take one in, - And now you've got your partner. - - Now you're married, &c. - [same as Much Wenlock.] - ---Wakefield, Yorks. (Miss Fowler). - -(_c_) The players form a ring by joining hands, with one child, usually -a boy, standing in the centre. The ring walks round, singing the first -four lines. At the fifth line the ring stands still, and each child -suits her actions to the words sung. At "the farmer sows his seed," each -player pretends to scatter seed, then they all fold their arms and -"stand at ease," "stamp their feet," and "clap their hands" together in -order, and finally each child turns herself round. Then they again clasp -hands and move round the centre child, who at the words "open the ring -and take one in" chooses and takes into the ring with him one player -from it. These two stand together while the ring sings the marriage -formula. At the end the child first in the centre joins the ring; the -second child remaining in the centre, and in her turn choosing another -from the ring. - -This is the (Much Wenlock) way of playing. Among the variants there are -some slight differences. In the Wakefield version (Miss Fowler), a -little boy is placed in the centre of the ring first, he chooses a girl -out of the ring at the singing of the third line and kisses her. They -stand hand in hand while the others sing the next verse. In the Tean -version (Miss Keary), the children turn round with their backs to the -one in the centre, and stand still when singing "Waiting for a -partner." In the Hampshire (Miss Mendham), Brigg (Miss Barker), and -Winterton (Miss Peacock) versions, the children dance round instead of -walking. The Rev. Mr. Roberts, in a version from Kirkby-on-the-Bain -(N.W. Lincolnshire), says: "There is no proper commencement of this -song. The children begin with 'A waitin' fur a pardner,' or 'Oats and -beans,' just as the spirit moves them, but I think 'A waitin'' is the -usual beginning here." In a Sheffield version sent by Mr. S. O. Addy, -four young men stand in the middle of the ring with their hands joined. -These four dance round singing the first lines. After "views his lands" -these four choose sweethearts, or partners, from the ring. The eight -join hands and sing the remaining four lines. The four young men then -join the larger ring, and the four girls remain in the centre and choose -partners next time. The words of this version are almost identical with -those of Shropshire. In the Isle of Man version (A. W. Moore), when the -kiss is given all the children forming the ring clap their hands. There -is no kissing in the Shropshire and many other versions of this game, -and the centre child does not in all cases sing the words. - -(_d_) Other versions have been sent from Winterton, Leadenham, and -Lincoln, by Miss Peacock, and from Brigg, while the _Northamptonshire -Notes and Queries_, ii. 161, gives another by Mr. R. S. Baker. The words -are practically the same as the versions printed above from Lincolnshire -and Northants. The words of the Madeley version are the same as the Much -Wenlock (No. 1). The Nottingham tune (Miss Youngman), and three others -sent with the words, are the same as the Madeley tune printed above. - -(_e_) This interesting game is essentially of rural origin, and probably -it is for this reason that Mr. Newell did not obtain any version from -England for his _Games and Songs of American Children_, but his note -that it "seems, strangely enough, to be unknown in Great Britain" (p. -80), is effectually disproved by the examples I have collected. There is -no need in this case for an analysis of the rhymes. The variants fall -into three categories: (1) the questioning form of the words, (2) the -affirming form, and (3) the indiscriminate form, as in Nos. xvi. to -xviii., and of these I am disposed to consider the first to represent -the earliest idea of the game. - -If the crops mentioned in the verses be considered, it will be found -that the following table represents the different localities:-- - - +------+-----------------------------------------------------------+ - | |Northants. | - | | |Lancashire. | - | | | |Lincolnshire. | - | | | | |Shropshire. | - | | | | | |Staffordshire. | - | | | | | | |Nottingham. | - | | | | | | | |Isle of Man. | - | | | | | | | | |Hants. | - | | | | | | | | | |Isle of | - | | | | | | | | | |Wight. | - | | | | | | | | | | |Nor- | - | | | | | | | | | | |folk.| - +------+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ - |Oats | + | + | + | + | + | + | + | + | ... | ... | - |Beans | + | + | + | + | ... | + | + | + | ... | + | - |Barley| + | + | + | + | + | + | + | + | + | + | - |Wheat | ... | ... | ... | ... | + | ... | ... | ... | + | ... | - |Groats| ... | ... | ... | ... | ... | ... | ... | ... | ... | ... | - |Hop | ... | ... | ... | ... | ... | ... | + | ... | ... | + | - +------+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ - -The first three are the more constant words, but it is curious that -Norfolk, not a hop county, should have adopted that grain into the game. -Hops are grown there on rare occasions, and it is probable that the game -may have been introduced from a hop county. - -In _Northants Notes and Queries_, i. 163-164, Mr. R. S. Baker gives a -most interesting account of the game (No. iii.) as follows:--"Having -been recently invited to join the Annual Christmas Entertainment of the -Raunds Church Choir, I noticed that a very favourite pastime of the -evening was one which I shall call 'Choosing Partners.' The game is -played thus: The young men and maidens join hands indiscriminately, and -form a ring; within the ring stand a lad and a lass; then they all step -round the way the sun goes, to a plain tune. During the singing of the -two last lines [of the first part] they all disjoin hands, stop and -stamp their feet and clap their hands and turn right round... then -join hands [while singing the second verse]. The two in the middle at -['Open the ring'] choose each of them a partner of the opposite sex, -which they do by pointing to the one chosen; then they continue round, -to the words [sang in next verse], the two pairs of partners crossing -hands, first right and then left, and revolving opposite ways -alternately. The march round is temporarily suspended for choosing -partners. The partners salute [at 'Now you're married'], or, rather, -each lad kisses his chosen lass; the first two partners go out, the game -continues as before, and every one in the ring has chosen and been -chosen, and every lad has saluted every lass. The antiquity of the -pastime is evidenced by its not mentioning wheat; wheat was in remote -times an exceptional crop--the village people lived on oatmeal and -barley bread. It also points, possibly, to a period when most of the -land lay in grass. Portions of the open fields were cultivated, and -after a few years of merciless cropping were laid down again to -recuperate. 'Helping to chop the wood' recalls the time when coal was -not known as fuel. I am indebted for the correct words of the above to a -Raunds maiden, Miss B. Finding, a native of the village, who kindly -wrote them down for me." Mr. Baker does not say how Miss Finding got the -peculiar spelling of this version. It would be interesting to know -whether this form of spelling was used as indicative of the -pronunciation of the children, or of the supposed antiquity of the game. -The Rev. W. D. Sweeting, also writes at the same reference, "The same -game is played at the school feast at Maxey; but the words, as I have -taken them down, vary from those given above. We have no mention of any -crop except barley, which is largely grown in the district; and the -refrain, repeated after the second and sixth lines, is 'waiting for the -harvest.' A lady suggested to me that the two first lines of the -conclusion are addressed to the bride of the game, and the two last, -which in our version run, 'You must be kind and very good,' apply to the -happy swain." - -This interesting note not only suggests, as Mr. Baker and Mr. Sweeting -say, the antiquity of the game and its connection with harvest at a time -when the farms were all laid in open fields, but it points further to -the custom of courtship and marriage being the outcome of village -festivals and dances held after spring sowing and harvest gatherings. It -seems in Northamptonshire not to have quite reached the stage of the -pure children's game before it was taken note of by Mr. Baker, and this -is an important illustration of the descent of children's games from -customs. As soon as it has become a child's game, however, the process -of decadence sets in. Thus, besides verbal alterations, the lines -relating to farming have dropped out of the Wakefield version. It is -abundantly clear from the more perfect game-rhymes that the waiting for -a partner is an episode in the harvest customs, as if, when the outdoor -business of the season was finished, the domestic element becomes the -next important transaction in the year's proceedings. The curious -four-lined formula applicable to the duties of married life may indeed -be a relic of those rhythmical formul which are found throughout all -early legal ceremonies. A reference to Mr. Ralston's section on marriage -songs, in his _Songs of the Russian People_, makes it clear that -marriages in Russia were contracted at the gatherings called Besyedas -(p. 264), which were social gatherings held during October after the -completion of the harvest; and the practice is, of course, not confined -to Russia. - -It is also probable that this game may have preserved the tradition of a -formula sung at the sowing of grain, in order to propitiate the earth -goddess to promote and quicken the growth of the crops. Turning around -or bowing to fields and lands and pantomimic actions in imitation of -those actually required, are very general in the history of sympathetic -magic among primitive peoples, as reference to Mr. Frazer's _Golden -Bough_ will prove; and taking the rhyming formula together with the -imitative action, I am inclined to believe that in this game we may have -the last relics of a very ancient agricultural rite. - - -Obadiah - -The players stand in a row. The child at the head of the row says, "My -son Obadiah is going to be married, twiddle your thumbs," suiting the -action to the word by clasping the fingers of both hands together, and -rapidly "twiddling" the thumbs. The next child repeats both words and -actions, and so on all along the row, all the players continuing the -"twiddling." The top child repeats the words, adding (very gravely), -"Fall on one knee," the whole row follows suit as before (still -twiddling their thumbs). The top child repeats from the beginning, -adding, "Do as you see me," and the rest of the children follow suit, as -before. Just as the last child repeats the words, the top child falls on -the child next to her, and all go down like a row of ninepins. The whole -is said in a sing-song way. This game was, so far as I can ascertain, -truly East Anglian. I have never been able to hear of it in other parts -of England or Wales.--Bexley Heath (Miss Morris). Also played in London. - -See "Solomon." - - -Odd or Even - -A boys' game, played with buttons, marbles, and halfpence. Peacock's -_Manley and Corringham Glossary_; also mentioned in Brogden's -_Provincial Words (Lincolnshire)_. Mr. Patterson says (_Antrim and Down -Glossary_)--A boy shuts up a few small objects, such as marbles, in one -hand, and asks his opponent to guess if the number is odd or even. He -then either pays or receives one, according as the guess is right or -wrong. Strutt describes this game in the same way, and says it was -played in ancient Greece and Rome. Newell (_Games_, p. 147) also -mentions it. - -See "Prickie and Jockie." - - -Odd-man - -A game played with coins. Brogden's _Provincial Words, Lincolnshire_. - - -Old Dame - - I. I'll away to t'beck to wash my neck, - When I get there, I'll ask t'ould dame what o'clock it is? - It's one, and you'll be hanged at two. - - I'll away to t'beck to wash my neck, - When I get there, I'll ask t'ould dame what o'clock it is? - It's two, and you'll be hanged at three. - -[This is repeated until the old woman says, "It's eleven, and you'll be -hanged at twelve."] - ---Yorkshire (Miss E. Cadman). - - II. To Beccles, to Beccles, - To buy a bunch of nettles, - Pray, old dame, what's o'clock? - One, going for two. - - To Beccles, to Beccles, - To buy a bunch of nettles, - Pray, old dame, what's o'clock? - Two, going for three, &c. - -[And so on until "eleven going for twelve" is said, then the -following:--] - - Where have you been? - To the wood. - What for? - To pick up sticks. - What for? - To light my fire. - What for? - To boil my kettle. - What for? - To cook some of your chickens. - ---Halliwell, _Nursery Rhymes_, p. 229. - -(_b_) One child sits upon a little stool. The others march round her in -single file, taking hold of each other's frocks. They say in a sing-song -manner the first two lines, and the old woman answers by telling -them the hour. The questions and answers are repeated until the old -woman says, "It's eleven, and you'll be hanged at twelve." Then the -children all run off in different directions and the old woman runs -after them. Whoever she catches becomes old woman, and the game is -continued.--Yorkshire (Miss E. Cadman). In the version given from -Halliwell there is a further dialogue, it will be seen, before the old -woman chases. - -(_c_) The use of the Yorkshire word "beck" ("stream") in the first -variant suggests that this may be the original version from which the -"Beccles" version has been adapted, a particular place being substituted -for the general. The game somewhat resembles "Fox and Goose." - - -Old Roger is Dead - -[Music] - ---Earls Heaton (H. Hardy). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - -[Music] - ---Bath (A. B. Gomme). - - I. Old Rogers is dead and is laid in his grave, - Laid in his grave, - Laid in his grave; - Old Rogers is dead and is laid in his grave, - He, hi! laid in his grave. - - There grew an old apple tree over his head, - Over his head, - Over his head; - There grew an old apple tree over his head, - He, hi! over his head. - - The apples grew ripe, and they all fell off, - They all fell off, - They all fell off; - The apples grew ripe, and they all fell off, - He, hi! they all fell off. - - There came an old woman a-picking them up, - Picking them up, - Picking them up; - There came an old woman a-picking them up, - He, hi! picking them up. - - Old Rogers jumps up and he gives her a knock, - Gives her a knock, - Gives her a knock; - Old Rogers jumps up and he gives her a knock, - He, hi! gives her a knock. - - He makes the old woman go hipperty hop, - Hipperty hop, - Hipperty hop; - He makes the old woman go hipperty hop, - He, hi! hipperty hop. - ---Earls Heaton, Yorks. (Herbert Hardy). - - II. Old Roger is dead, and lies in his grave, um, ah! lies in - his grave; - There grew an old apple tree over his head, um, ah! over his - head. - The apples are ripe and ready to drop, um, ah! ready to - drop; - There came an old woman, picking them up. - ---Hanbury, Staffs. (Miss Edith Hollis). - - III. Sir Roger is dead and is low in his grave, - Is low in his grave, is low in his grave; - Sir Roger is dead and is low in his grave, - Hey hie! is low in his grave. - - They planted an apple tree over his head, - Over his head, over his head; - They planted an apple tree over his head, - Hey hie! over his head. - - When they grew ripe they all fell off, - All fell off, all fell off; - When they grew ripe they all fell off, - Hey hie! all fell off. - - There came an old woman and gathered them up, - Gathered them up, gathered them up; - There came an old woman and gathered them up, - Hey hie! gathered them up. - - Sir Roger got up and gave her a nudge, - Gave her a nudge, gave her a nudge; - Sir Roger got up and gave her a nudge, - Hey hie! gave her a nudge. - - Which made her go off with a skip and a hop, - With a skip and a hop, with a skip and a hop; - Which made her go off with a skip and a hop, - Hey hie! with a skip and a hop. - ---Ordsall, Nottinghamshire (Miss Matthews). - - IV. Sir Roger is dead and he's laid in his grave, - Laid in his grave, laid in his grave; - Sir Roger is dead and he's laid in his grave, - Heigh-ho! laid in his grave. - - There grew a fine apple tree over his head, - Over his head, over his head; - There grew a fine apple tree over his head, - Heigh-ho! over his head. - - The apples were ripe and they all fell off, - All fell off, all fell off; - The apples were ripe and they all fell off, - Heigh-ho! all fell off. - - There came an old woman and picked them all up, - Picked them all up, picked them all up; - There came an old woman and picked them all up, - Heigh-ho! picked them all up. - - Sir Roger jumped up and he gave her a push, - Gave her a push, gave her a push; - Sir Roger jumped up and he gave her a push, - Heigh-ho! gave her a push. - - Which made the old woman go hickety-hock, - Hickety-hock, hickety-hock; - Which made the old woman go hickety-hock, - Heigh-ho! hickety-hock. - ---Brigg, Lincolnshire (Miss J. Barker). - - V. Sir Roger is dead and laid in his grave, - Hee, haw! laid in his grave. - They planted an apple tree over his head, - Hee, haw! over his head. - The apples are ripe and ready to fall, - Hee, haw! ready to fall. - There came a high wind and blew them all off, - Hee, haw! blew them all off. - There came an old woman to pick them all up, - Hee, haw! pick them all up. - There came a little bird and gave her a tap, - Hee, haw! gave her a tap. - Which made the old woman go hipperty hop, - Hee, haw! hipperty hop. - ---Tong, Shropshire (Miss Burne). - - VI. Poor Johnnie is dead and he lies in his grave, - Lies in his grave, lies in his grave; - Poor Johnnie is dead and he lies in his grave, - He-ho! lies in his grave. - - They planted an apple tree over his head, - Over his head, over his head; - They planted an apple tree over his head, - He-ho! over his head. - - The apples got ripe and they all fell off, - All fell off, all fell off; - The apples got ripe and they all fell off, - He-ho! all fell off. - - Here comes an old woman a-picking them up, - A-picking them up, a-picking them up; - Here comes an old woman a-picking them up, - He-ho! a-picking them up. - - Poor Johnnie got up and gave her a thump, - And gave her a thump, and gave her a thump; - Poor Johnnie got up and gave her a thump, - He-ho! gave her a thump. - - He made the old woman go hippity-hop, - Hippity-hop, hippity-hop! - He made the old woman go hippity-hop, - He-ho! hippity-hop! - ---Sporle, Norfolk (Miss Matthews). - - VII. Cock Robin is dead and has gone to his grave; - There grew on old apple tree over his head; - The apples were ripe and ready to drop, - O my, flippity flop! - - There came an old woman to pick them all up, - Cock Robin rose up and gave her a knock, - And made the old woman go flippity flop! - O my, flippity flop! - ---Deptford, Kent (Miss Chase). - - VIII. Old Roger is dead and gone to his grave, - H'm ha! gone to his grave. - - They planted an apple tree over his head, - H'm ha! over his head. - - The apples were ripe and ready to fall, - H'm ha! ready to fall. - - There came an old woman and picked them all up, - H'm ha! picked them all up. - - Old Roger jumped up and gave her a knock, - H'm ha! gave her a knock. - - Which made the old woman go hippity hop, - H'm ha! hippity hop! - ---Bath, from a Nursemaid (A. B. Gomme). - - IX. Cock Robin is dead and lies in his grave, - Hum-ha! lies in his grave. - Place an old apple tree over his head, - Hum-ha! over his head. - When they were ripe and ready to fall, - Hum-ha! ready to fall. - There comes an old woman a-picking them up, - Hum-ha! a-picking them up. - Cock Robin jumps up and gives her a good knock, - Hum-ha! gives her a good knock. - ---Derbyshire (_Folk-lore Journal_, i. 385). - - X. Poor Roger is dead and lies low in his grave, - Low in his grave, low in his grave, - E. I. low in his grave. - - There grew an old apple tree over his head, - Over his head, over his head, - E. I. over his head. - - When the apples were ripe they all fell off, - All fell off, all fell off, - E. I. all fell off. - - There was an old woman came picking them up, - Picking them up, picking them up, - E. I. picking them up. - - Poor Roger jumped up and gave her a nudge, - Gave her a nudge, gave her a nudge, - E. I. gave her a nudge. - - Which made the old woman go lippety lop, - Lippety lop, lippety lop, - E. I. lippety lop. - ---Newark, Nottinghamshire (S. O. Addy). - - XI. Poor Toby is dead and he lies in his grave, - He lies in his grave, he lies in his grave; - They planted an apple tree over his head, - Over his head, over his head. - - The apples grew ripe and beginning to fall, - Beginning to fall, beginning to fall; - The apples grew ripe and beginning to fall, - Beginning to fall, beginning to fall. - - There came an old woman picking them up, - Picking them up, picking them up; - Poor Toby rose up and he gave her a kick, - Gave her a kick, gave her a kick. - - And the poor old woman went hipperty hop, - Hipperty hop, hipperty hop; - And the poor old woman went hipperty hop, - Hipperty hop along. - ---Belfast (W. H. Patterson). - - XII. There was an old woman we buried her here, - Buried her here, buried her here; - There was an old woman we buried her here, - He--ho! buried her here. - ---Sporle, Norfolk (Miss Matthews). - -(_b_) A ring is formed by children joining hands; one child, who -represents Sir Roger, lays down on the ground in the centre of the ring -with his head covered with a handkerchief. The ring stands still and -sings the verses. When the second verse is begun, a child from the ring -goes into the centre and stands by Sir Roger, to represent the apple -tree. At the fourth verse another child goes into the ring, and pretends -to pick up the fallen apples. Then the child personating Sir Roger jumps -up and knocks the child personating the old woman, beating her out of -the ring. She goes off hobbling on one foot, and pretending to be hurt. -In the Ordsall game the children dance round when singing the verses -instead of standing still, the action of the game being the same. In the -Tong version, the action seems to be done by the ring. Miss Burne says -the children go through various movements, finally all limping round. -The Newark (Notts), and Bath versions are played as first described, -Poor Roger being covered with a cloak, or an apron, and laying down in -the middle of the ring. A Southampton version has additional -features--the ring of children keep their arms crossed, and lay their -hands on their chests, bending their heads and bodies backwards and -forwards, in a mourning attitude, while they sing; in addition to which, -in the Bath version, the child who personates the apple tree during the -singing of the third verse raises her arms above her head, and then lets -them drop to her sides to show the falling apples. - -(_c_) Various as the game-rhymes are in word detail, they are -practically the same in incident. One remarkable feature stands out -particularly, namely, the planting a tree over the head of the dead, and -the spirit-connection which this tree has with the dead. The robbery of -the fruit brings back the dead Sir Roger to protect it, and this must be -his ghost or spirit. In popular superstition this incident is not -uncommon. Thus Aubrey in his _Remains of Gentilisme_, notes that "in the -parish of Ockley some graves have rose trees planted at the head and -feet," and then proceeds to say, "They planted a tree or a flower on the -grave of their friend, and they thought the soule of the party deceased -went into the tree or plant" (p. 155). In Scotland a branch falling from -an oak, the Edgewell tree, standing near Dalhousie Castle, portended -mortality to the family (Dalyell, _Darker Superstitions_, p. 504). -Compare with this a similar superstition noted in Carew's _History of -Cornwall_, p. 325, and Mr. Keary's treatment of this cult in his -_Outlines of Primitive Belief_, pp. 66-67. In folk-tales this incident -also appears; the spirit of the dead enters the tree and resents robbery -of its fruit, possession of which gives power over the soul or spirit of -the dead. - -The game is, therefore, not merely the acting of a funeral, but more -particularly shows the belief that a dead person is cognisant of actions -done by the living, and capable of resenting personal wrongs and -desecration of the grave. It shows clearly the sacredness of the grave; -but what, perhaps to us, is the most interesting feature, is the way in -which the game is played. This clearly shows a survival of the method of -portraying old plays. The ring of children act the part of "chorus," and -relate the incidents of the play. The three actors say nothing, only act -their several parts in dumb show. The raising and lowering of the arms -on the part of the child who plays "apple tree," the quiet of "Old -Roger" until he has to jump up, certainly show the early method of -actors when details were presented by action instead of words. Children -see no absurdity in being a "tree," or a "wall," "apple," or animal. -They simply _are_ these things if the game demands it, and they think -nothing of incongruities. - -I do not, of course, suggest that children have preserved in this game -an old play, but I consider that in this and similar games they have -preserved methods of acting and detail (now styled traditional), as -given in an early or childish period of the drama, as for example in the -mumming plays. Traditional methods of acting are discussed by Mr. -Ordish, _Folk-lore_, ii. 334. - - -Old Soldier - -One player personates an old soldier, and begs of all the other players -in turn for left-off garments, or anything else he chooses. The formula -still used at Barnes by children is, "Here comes an old soldier from the -wars [or from town], pray what can you give him?" Another version is-- - - Here comes an old soldier from Botany Bay, - Have you got anything to give him to-day. - ---Liverpool (C. C. Bell). - -The questioned child replying must be careful to avoid using the words, -Yes! No! Nay! and Black, White, or Grey. These words are tabooed, and a -forfeit is exacted every time one or other is used. The old soldier -walks lame, and carries a stick. He is allowed to ask as many questions, -talk as much as he pleases, and to account for his destitute condition. - -(_c_) Some years ago when colours were more limited in number, it was -difficult to promise garments for a man's wear which were neither of -these colours tabooed. Miss Burne (_Shropshire Folk-lore_, p. 526), in -describing this game says, "The words Red or Blue are sometimes -forbidden, as well as Yes or No," and adds that "This favourite old game -gives scope for great ingenuity on the part of the beggar, and 'it seems -not improbable' (to use a time-honoured antiquarian phrase!) that the -expression 'To come the old soldier over a person' may allude to it." -Halliwell (_Nursery Rhymes_, p. 224) describes the game as above. - - -Oliver, Oliver, follow the King! - - Oliver, Oliver, follow the King! - Oliver, Oliver, last in the ring! - _Jim Burguin_ wants a wife, and a wife he shall have, - _Nelly_ he kissed at the back-cellar door, - _Nelly_ made a pudding, she made it over sweet, - She never stuck a knife in till he came home at night, - So next Monday morning is our wedding-day, - The bells they shall ring, and the music shall play! - Oliver, Oliver, follow the King! (_da capo_). - ---Berrington (Burne's _Shropshire Folk-lore_, p. 508). - -(_b_) The children form a ring and move round, singing the first two -lines. Then they curtsey, or "douk down," all together; the one who is -last has to tell her sweetheart's name. The other lines are then sung -and the game is continued. The children's names are mentioned as each -one names his or her sweetheart. - -This is apparently the game of which "All the Boys," "Down in the -Valley," and "Mary Mixed a Pudding up," are also portions. - - -One Catch-all - -The words "Cowardy, cowardy custard" are repeated by children playing at -this game when they advance towards the one who is selected to catch -them, and dare or provoke her to capture them. Ray, _Localisms_, gives -Costard, the head; a kind of opprobrious word used by way of contempt. -Bailey gives Costead-head, a blockhead; thus elucidating this -exclamation which may be interpreted, "You cowardly blockhead, catch me -if you dare" (Baker's _Northamptonshire Glossary_). - -The words used were, as far as I remember, - - Cowardy, cowardy custard, eat your father's mustard, - Catch me if you can. - -To compel a person to "eat" something disagreeable is a well-known form -of expressing contempt. The rhyme was supposed to be very efficacious in -rousing an indifferent or lazy player when playing "touch" (A. B. -Gomme). - - -Oranges and Lemons - -[Music] - -An older and more general version of the last five bars (the tail piece) -is as follows:-- - -[Music] - ---London (A. B. Gomme). - -[Music] - ---Yorkshire (H. Hardy). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Oranges and lemons, - Say the bells of St. Clement's; - You owe me five farthings, - Say the bells of St. Martin's; - When will you pay me, - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Stepney; - I'm sure I don't know, - Says the Great Bell of Bow. - Here comes a light to light you to bed; - Here comes a chopper to chop off your head; - The last, last, last, last man's head. - ---London (A. B. Gomme). - - II. Oranges and lemons, - Say the bells of St. Clement's; - You owe me four farthings, - Say the bells of St. Martin's; - When will you pay me? - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Stepney; - I'm sure I don't know, - Says the Great Bell of Bow. - Here comes a candle to light you to bed; - Here comes a chopper to chop off your head; - Last, last, last, last, last man's head. - ---Winterton and Leadenham, Lincolnshire; also Nottinghamshire (Miss M. -Peacock). - - III. Oranges and lemons, - Says the bells of S. Clemen's. - Brickdust and tiles, - Says the bells of S. Giles. - You owe me five farthings, - Says the bells of S. Martin's. - I do not know you, - Says the bells of S. Bow. - When will you pay me? - Says the bells of Old Bailey. - When I get rich, - Says the bells of Shoreditch. - Here comes a candle to light you to bed, - Here comes a chopper to chop off your head. - ---Derbyshire (_Folk-lore Journal_, i. 386). - - IV. Oranges and lemons, - The bells of St. Clemen's; - You owe me five farthings, - The bells of St. Martin's; - When will you pay me? - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Shorlea; - I don't know, - Says the Great Bell Bow. - Here comes the candle to light you to bed, - Here comes the chop to chop off your head. - Chop, chop, chop, &c. - ---Middlesex (Miss Winfield). - - V. Orange or lemon, - The bells of St. Clement's [or the bells are a clemming]. - I owe you five farthings, - And when shall I pay you, - To-day or to-morrow? - To-morrow will do. - Here come some great candles - To light you to bed, - Here come some great choppers - To chop off your head. - Come under, come under, - Come run as you ought; - Come under, come under, - Until you are caught; - Then stand just behind us - And pull either way; - Which side pulls the strongest - That side wins the day. - ---Sporle, Norfolk (Miss Matthews). - - VI. Oranges and lemons, - The bells of St. Clement's. - I owe you three farthings, - When shall I pay you? - When I get rich. - Here comes a candle to light you to bed, - Here comes a hatchet to chop off your head. - ---Brigg (from a Lincolnshire friend of Miss Barker). - - VII. Oranges and lemons, - Say the bells of St. Clemen's. - I owe you five farthins, - Say the bells of St. Martin's. - When shall I pay you? - Monday, Tuesday, Wednesday, - Thursday, Friday, Saturday, - Or Sunday? - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 216). - - VIII. I owe you five farthings. - When will you pay me, - To-day or to-morrow? - Here comes a candle to light you to bed, - Here comes a chopper to chop off your head. - ---Broadwinsor, Dorset (_Folk-lore Journal_, vii. 217). - - IX. Oranges and lemons, the bells of St. Clement's [or St. - Helen's]. - I owe you five farthings. And when will you pay me? - I'm sure I don't know. - Here comes a candle to light you to bed, - Here comes a chop'n bill to chop off your head-- - Chop--chop--chop--chop. - [Or Here comes a chop'n bill to chop off the last man's - head.] - ---Earls Heaton, Yorks. (Herbert Hardy). - - X. Lend me five shillings, - Said the bells of St. Helen's. - - When will you pay me? - Said the bells of St. Philip's. - - I do not know, - Said the Great Bell of Bold. - - Ring a ding, ding, - Ring a ding, ding, - Ring a ding, ding, ding, ding. - ---Earls Heaton (Herbert Hardy, as told him by A. K.). - - XI. Oranges and lemons, say the bells of St. Clement's; - You owe me five farthings, and when will you pay me? - Say the bells of Old Bailey. - When I grow rich, say the bells of Shoreditch. - And the last one that comes shall be chop, chop. - ---Hersham, Surrey (_Folk-lore Record_, v. 86). - - XII. Orange and lemon, - Say the bells of St. Martin (or the bells of Sweet Lemon); - I owe you five farthings, - But when shall I pay you? - - Here comes a candle - To light you to bed, - Here comes a hatchet - To chop off your head. - ---Eckington, Derbyshire (S. O. Addy). - - XIII. Oranges and lemons, - The bells of St. Clement's; - I owe you five farthings, - And when will you pay me? - Oh, that I can't tell you; - Sim, Bim, bim, bow, bay. - ---Settle, Yorks. (Rev. W. E. Sykes). - - XIV. Oranges or lemons, - The bells of St. Clement's; - You owe me five farthings, - Pray, when will you pay me? - Here come the clappers to knock you down backwards, carwoo! - ---Suffolk (Mrs. Haddon). - - XV. Oranges and lemons, say the bells of St. Clement's; - Brick dust and tiles, say the bells of St. Giles; - You owe me three farthings, say the bells of St. Martin's; - When will you pay me? say the bells of Old Bailey; - When I grow rich, say the bells of Shoreditch; - When will that be? say the bells of Stepney; - I'm sure I don't know, says the Great Bell of Bow. - ---Perth (Rev. W. Gregor). - - XVI. Pancakes and fritters, - Says the bells of St. Peter's; - Where must we fry 'em? - Says the bells of Cold Higham; - In yonder land thurrow (furrow), - Says the bells of Wellingborough; - You owe me a shilling, - Says the bells of Great Billing; - When will you pay me? - Says the bells of Widdleton Cheney; - When I am able, - Say the bells at Dunstable; - That will never be, - Says the bells at Coventry; - Oh, yes, it will, - Says Northampton Great Bell; - White bread and sop, - Says the bells at Kingsthorp; - Trundle a lantern, - Says the bells at Northampton. - ---Northamptonshire (Baker's _Words and Phrases_). - -(_c_) This game is generally played as follows:-- - -Two of the taller children stand facing each other, holding up their -clasped hands. One is named Orange and the other Lemon. The other -players, grasping one another's dresses, run underneath the raised arms -and round Orange, and then under the arms again and round Lemon, while -singing the verses. The three concluding lines are sung by "Orange" and -"Lemon" in a slow emphatic manner, and at the word "head" they drop -their arms over one of the children passing between them, and ask her -secretly whether she will be _orange_ or _lemon_. The captive chooses -her side, and stands behind whichever leader she selects, placing her -arms round her waist. The game continues till every one engaged in it -has ranged herself behind one or other of the chiefs. When the two -parties are ranged a "tug of war" takes place until one of the parties -breaks down, or is pulled over a given mark. - -[Illustration: Fig. 1 - -Fig. 2 - -Fig. 3] - -In the Middlesex version (Miss Winfield) the children form a ring and go -round singing the verses, and apparently there is neither catching the -"last man" nor the "tug." Mr. Emslie says he has seen and played the -game in Middlesex, and it always terminated with the cutting off the -last man's head. In the Symondsbury version the players drop their hands -when they say "Sunday." No tug is mentioned in the first Earls Heaton -version of the game (Mr. Hardy). In the second version he says bells are -represented by children. They should have in their hands, bells, or some -article to represent them. All stand in a row. First, second, and third -bells stand out in turn to sing. All rush for bells to sing chorus. Miss -Barclay writes: The children of the Fernham and Longcot choir, playing -on Christmas Eve, 1891, pulled across a handkerchief. In Monton, -Lancashire, Miss Dendy says the game is played as elsewhere, but without -words. In a Swaffham version (Miss Matthews), the girls sometimes call -themselves "Plum pudding and roast beef," or whatever fancy may suggest, -instead of oranges and lemons. They join hands high enough for the -others to pass under, which they do to a call of "Ducky, Ducky," -presently the hands come down and catch one, who is asked in -_confidence_ which she likes best. The game then proceeds in the usual -way, one side trying to pull the other over a marked line. Oranges and -lemons at Bocking, Essex, is an abbreviated variant of the rhyme printed -by Halliwell (_Folk-lore Record_, iii., part II., 171). In -Nottinghamshire, Miss Peacock says it is sometimes called "Tarts and -Cheesecakes." Moor (_Suffolk Words_) mentions "Oranges and Lemons" as -played by both girls and boys, and adds, "I believe it is nearly the -same as 'Plum Pudding and Roast Beef.'" In the Suffolk version sent by -Mrs. Haddon a new word is introduced, "carwoo." This is the signal for -one of the line to be caught. Miss Eddleston, Gainford, Durham, says -this game is called-- - - Through and through the shally go, - The last shall be taken. - -Mr. Halliwell (_Nursery Rhymes_, No. cclxxxi.) adopts the verses -entitled, "The Merry Bells of London," from Gammer Gurton's _Garland_, -1783, as the origin of this game. In Aberdeen, Mr. M. L. Rouse tells me -he has heard Scotch children apparently playing the same game, "Oranges -and Lemons, ask, Which would you have, 'A sack of corn or a sack of -coals?'" - -(_d_) This game indicates a contest between two opposing parties, and a -punishment, and although in the game the sequence of events is not at -all clear, the contest taking place after the supposed execution, these -two events stand out very clearly as the chief factors. In the endeavour -to ascertain who the contending parties were, one cannot but be struck -with the significance of the bells having different saint's names. Now -the only places where it would be probable for bells to be associated -with more than one saint's name within the circuit of a small area are -the old parish units of cities and boroughs. Bells were rung on -occasions when it was necessary or advisable to call the people -together. At the ringing of the "alarm bell" the market places were -quickly filled by crowds of citizens; and by turning to the customs of -these places in England, it will be found that contest games between -parishes, and between the wards of parishes, were very frequent (see -Gomme's _Village Community_, pp. 241-243). These contests were generally -conducted by the aid of the football, and in one or two cases, such as -at Ludlow, the contest was with a rope, and, in the case of Derby, it is -specially stated that the victors were announced by the joyful ringing -of their parish bells. Indeed, Halliwell has preserved the "song on the -bells of Derby on football morning" (No. clxix.) as follows:-- - - Pancake and fritters, - Say All Saints and St. Peter's; - When will the _ball_ come, - Say the bells of St. Alkmun; - At two they will throw, - Says Saint Werabo; - O! very well, - Says little Michel. - -This custom is quite sufficient to have originated the game, and the -parallel which it supplies is evidence of the connection between the -two. Oranges and lemons were, in all probability, originally intended -to mean the _colours_ of the two contesting parties, and not _fruits_ of -those names. In contests between the people of a town and the authority -of baron or earl, the adherents of each side ranged themselves under and -wore the colours of their chiefs, as is now done by political partizans. - -The rhymes are probably corrupted, but whether from some early cries or -calls of the different parishes, or from sentences which the bells were -supposed to have said or sung when tolled, it is impossible to say. The -"clemming" of the bells in the Norfolk version (No. 5) may have -originated "St. Clements," and the other saints have been added at -different times. On the other hand, the general similarity of the rhymes -indicates the influence of some particular place, and, judging by the -parish names, London seems to be that place. If this is so, the main -incident of the rhymes may perhaps be due to the too frequent -distribution of a traitor's head and limbs among different towns who had -taken up his cause. The exhibitions of this nature at London were more -frequent than at any other place. The procession of a criminal to -execution was generally accompanied by the tolling of bells, and by -torches. It is not unlikely that the monotonous chant of the last lines, -"Here comes a light to light you to bed," &c., indicates this. - - -'Otmillo - -A boy (A) kneels with his face in another's (B) lap; the other players -standing in the background. They step forward one by one at a signal -from B, who says to each in turn-- - - 'Otmillo, 'Otmillo, - Where is this poor man to go? - -A then designates a place for each one. When all are despatched A -removes his face from B's knees, and standing up exclaims, "Hot! Hot! -Hot!" The others then run to him, and the laggard is blinded instead of -A.--Warwickshire (Northall's _Folk Rhymes_, p. 402). - -This is probably the same game as "Hot Cockles," although it apparently -lacks the hitting or buffeting the blinded wizard. - - -Over Clover - -The name for the game of "Warner" in Oxfordshire. They have a song used -in the game commencing-- - - Over clover, - Nine times over. - ---Halliwell's _Dictionary_. - -See "Stag Warning." - - -Paddy from Home - -[Music] - ---Long Eaton, Notts. (Miss Youngman). - - Paddy from home has never been, - A railway train he's never seen, - He longs to see the great machine - That travels along the railway. - ---Long Eaton, Nottinghamshire and Derbyshire borders (Miss Youngman). - -(_c_) The children form a ring, and hold in their hands a string tied at -the ends, and on which a ring is strung. They pass the ring from one to -another, backwards and forwards. One child stands in the centre, who -tries to find the holder of the ring. Whoever is discovered holding it -takes the place of the child in the centre. - -(_d_) This game is similar to "Find the Ring." The verse is, no doubt, -modern, though the action and the string and ring are borrowed from an -older game. Another verse used for the same game at Earl's Heaton (Mr. -Hardy) is-- - - The ring it is going; - Oh where? oh where? - I don't care where, - I can't tell where. - - -Paip - -Three cherry stones are placed together, and another above them. These -are all called a castle. The player takes aim with a cherry stone, and -when he overturns the castle he claims the spoil.--Jamieson. See "Cob -Nut." - - -Pallall - -A Scottish name for "Hop Scotch."--Jamieson. - - -Pally Ully - -See "Hop Scotch." - - -Pat-ball - -A child's name for the simple game of throwing a ball from one to -another.--Lowsley's _Berkshire Glossary_. - - -Pay-swad - -A boys' game, somewhat similar to "Duckstone." Each boy, when he threw -his stone, had to say "Pay-swad," or he had to go down -himself.--Holland's _Cheshire Glossary_. - -See "Duckstone." - - -Pednameny - -A game played with pins: also called "Pinny Ninny," "Pedna-a mean," -"Heads and Tails," a game of pins.--Courtenay's _West Cornwall -Glossary_. - - -Peesie Weet - -The game of "Hide and Seek." When the object is hidden the word -"Peesie-weet" is called out.--Fraserburgh, Aberdeenshire (Rev. W. -Gregor). - -See "Hide and Seek (2)." - - -Peg and Stick - -The players provide themselves with short, stout sticks, and a peg (a -piece of wood sharpened at one or both ends). A ring is made, and the -peg is placed on the ground so as to balance. One boy then strikes it -with his stick to make it spring or bounce up into the air; while in the -air he strikes it with his stick, and sends it as far as he possibly -can. His opponent declares the number of leaps in which the striker is -to cover the distance the peg has gone. If successful, he counts the -number of leaps to his score. If he fails, his opponent leaps, and, if -successful, the number of leaps count to his score. He strikes the next -time, and the same process is gone through.--Earls Heaton, Yorks. -(Herbert Hardy). - -See "Tip-cat." - - -Peg-fiched - -A west country game. The performers in this game are each furnished with -a sharp-pointed stake. One of them then strikes it into the ground, and -the others, throwing their sticks across it, endeavour to dislodge it. -When a stick falls, the owner has to run to a prescribed distance and -back, while the rest, placing the stick upright, endeavour to beat it -into the ground up to the very top.--Halliwell's _Dictionary_. - - -Peggy Nut - -A boyish game with nuts.--Dickinson's _Cumberland Glossary_. - - -Peg-in-the-Ring - -A game of "Peg-top." The object of this game is to spin the top within a -certain circle marked out, in which the top is to exhaust itself without -once overstepping the bounds prescribed (Halliwell's _Dict. -Provincialisms_). Holloway (_Dictionary_) says, "When boys play at -'Peg-top,' a ring is formed on the ground, within which each boy is to -spin his top. If the top, when it has ceased spinning, does not roll -without the circle, it must remain in the ring to be pegged at by the -other boys, or he redeems it by putting in an inferior one, which is -called a 'Mull.' When the top does not roll out, it is said to be -'mulled.'" Mr. Emslie writes: "When the top fell within the ring the -boys cried, 'One a penny!' When two had fallen within the ring it was, -'Two a penny!' When three, 'Three a penny, good as any!' The aim of each -spinner was to do what was called 'drawing,' _i.e._, bring his top down -into the ring, and at the same time draw the string so as to make the -top spin within the ring, and yet come towards the player and out of the -ring so as to fall without." - -See "Tops." - - -Peg-top - -One of the players, chosen by lot, spins his top. The other players -endeavour to strike this top with the pegs of their own tops as they -fling them down to spin. If any one fails to spin his top in due form, -he has to lay his top on the ground for the others to strike at when -spinning. The object of each spinner is to split the top which is being -aimed at, so as to release the peg, and the boy whose top has succeeded -in splitting the other top obtains the peg as his trophy of victory. It -is a matter of ambition to obtain as many pegs in this manner as -possible.--London (G. L. Gomme). - -See "Peg-in-the-Ring," "Tops." - - -Penny Cast - -A game played with round flat stones, about four or six inches across, -being similar to the game of quoits; sometimes played with pennies when -the hobs are a deal higher. It was not played with pennies in -1810.--Easther's _Almondbury Glossary_. In an article in _Blackwood's -Magazine_, August 1821, p. 35, dealing with children's games, the writer -says, Pennystanes are played much in the same manner as the quoits or -discus of the ancient Romans, to which warlike people the idle tradesmen -of Edinburgh probably owe this favourite game. - -See "Penny Prick." - - -Penny Hop - -A rude dance, which formerly took place in the common taverns of -Sheffield, usually held after the bull-baiting.--Wilson's Notes to -_Mather's Songs_, p. 74, cited by Addy, _Sheffield Glossary_. - - -Penny Prick - -"A game consisting of casting oblong pieces of iron at a -mark."--Hunter's _Hallamsh. Gloss._, p. 71. Grose explains it, "Throwing -at halfpence placed on sticks which are called hobs." - - Their idle houres, I meane all houres beside - Their houres to eate, to drinke, drab, sleepe, and ride, - They spend at shove-boord, or at pennie-pricke. - ---Scots' _Philomythie_, 1616. - -Halliwell gives these references in his _Dictionary_; Addy, _Sheffield -Glossary_, describes it as above; adding, "An old game once played by -people of fashion." - -See "Penny Cast." - - -Penny Stanes - -See "Penny Cast." - - -Ph[oe]be - -The name of a dance mentioned in an old nursery rhyme. A correspondent -gave Halliwell the following lines of a very old song, the only ones he -recollected:-- - - Cannot you dance the Ph[oe]be? - Don't you see what pains I take; - Don't you see how my shoulders shake? - Cannot you dance the Ph[oe]be? - ---Halliwell's _Dictionary_. - -These words are somewhat of the same character as those of "Auntie -Loomie," and are evidently the accompaniment of an old dance. - -See "Lubin." - - -Pick and Hotch - -The game of "Pitch and Toss."--Brogden's _Provincial Words_, -Lincolnshire. It is called Pickenhotch in Peacock's _Manley and -Corringham Glossary_. - - -Pi-cow - -A game in which one half of the players are supposed to keep a castle, -while the others go out as a foraging or marauding party. When the -latter are all gone out, one of them cries _Pee-ku_, which is a signal -to those within to be on the alert. Then those who are without attempt -to get in. If any one of them gets in without being seized by the -holders of the castle, he cries to his companions, _The hole's won_; and -those who are within must yield the fortress. If one of the assailants -be taken before getting in he is obliged to change sides and to guard -the castle. Sometimes the guards are successful in making prisoners of -all the assailants. Also the name given to the game of Hide and -Seek.--Jamieson. - - -Pigeon Walk - -A boy's game [undescribed].--Patterson's _Antrim and Down Glossary_. - - -Pig-ring - -A game at marbles where a ring is made about four feet in diameter, and -boys "shoot" in turn from any point in the circumference, keeping such -marbles as they may knock out of the ring, but loosing their own "taw" -if it should stop within.--Lowsley's _Berkshire Glossary_. See "Ring -Taw." - - -Pillie-Winkie - -A sport among children in Fife. An egg, an unfledged bird, or a whole -nest is placed on a convenient spot. He who has what is called the first -_pill_, retires a few paces, and being provided with a cowt or rung, is -blindfolded, or gives his promise to wink hard (whence he is called -_Winkie_), and moves forward in the direction of the object, as he -supposes, striking the ground with the stick all the way. He must not -shuffle the stick along the ground, but always strike perpendicularly. -If he touches the nest without destroying it, or the egg without -breaking it, he loses his vice or turn. The same mode is observed by -those who succeed him. When one of the party breaks an egg he is -entitled to all the rest as his property, or to some other reward that -has been previously agreed on. Every art is employed, without removing -the nest or egg, to mislead the blindfolded player, who is also called -the Pinkie.--Jamieson. See "Blind Man's Stan." - - -Pinch - -The game of "Pitch-Halfpenny," or "Pitch and Hustle."--Halliwell's -_Dictionary_. Addy (_Sheffield Glossary_) says this game consists of -pitching halfpence at a mark. - -See "Penny Cast," "Penny Prick." - - -Pinny Show - -A child's peep-show. The charge for a peep is a pin, and, under -extraordinary circumstances of novelty, two pins. - -I remember well being shown how to make a peep or poppet-show. It was -made by arranging combinations of colours from flowers under a piece of -glass, and then framing it with paper in such a way that a cover was -left over the front, which could be raised when any one paid a pin to -peep. The following words were said, or rather sung, in a sing-song -manner:-- - - A pin to see the poppet-show, - All manner of colours oh! - See the ladies all below. - ---(A. B. Gomme). - -Pansies or other flowers are pressed beneath a piece of glass, which is -laid upon a piece of paper, a hole or opening, which can be shut at -pleasure, being cut in the paper. The charge for looking at the show is -a pin. The children say, "A pin to look at a pippy-show." They also -say-- - - A pinnet a piece to look at a show, - All the fine ladies sat in a row. - Blackbirds with blue feet - Walking up a new street; - One behind and one before, - And one beknocking at t'barber's door. - ---Addy's _Sheffield Glossary_. - -In Perth (Rev. W. Gregor) the rhyme is-- - - A pin to see a poppy show, - A pin to see a die, - A pin to see an old man - Sitting in the sky. - -Described also in Holland's _Cheshire Glossary_, and Lowsley's -_Berkshire Glossary_. Atkinson's _Cleveland Glossary_ describes it as -having coloured pictures pasted inside, and an eye-hole at one of the -ends. The _Leed's Glossary_ gives the rhyme as-- - - A pin to look in, - A very fine thing. - -Northall (_English Folk-rhymes_, p. 357), also gives a rhyme. - - -Pins - -On the 1st of January the children beg for some pins, using the words, -"Please pay Nab's New Year's gift." They then play "a very childish -game," but I have not succeeded in getting a description of -it.--Yorkshire. - -See "Prickie and Jockie." - - -Pirley Pease-weep - -A game played by boys, "and the name demonstrates that it is a native -one, for it would require a page of close writing to make it -intelligible to an Englishman." The rhyme used at this play is-- - - Scotsman, Scotsman, lo! - Where shall this poor Scotsman go? - - Send him east, or send him west, - Send him to the craw's nest. - ---_Blackwood's Magazine_, August 1821, p. 37. - -The rhyme suggests comparison with the game of "Hot Cockles." - - -Pitch - -A game played with pennies, or other round discs. The object is to pitch -the penny into a hole in the ground from a certain point.--Elworthy, -_West Somerset Words_. - -Probably "Pick and Hotch," mentioned in an article in _Blackwood's -Mag._, Aug. 1821, p. 35. Common in London streets. - - -Pitch and Hustle - -"Chuck-Farthing." The game of "Pitch and Toss" is very common, being -merely the throwing up of halfpence, the result depending on a guess of -heads or tails.--Halliwell's _Dictionary_. - - -Pitch and Toss - -This game was played by two or more players with "pitchers"--the stakes -being buttons. The ordinary bone button, or "scroggy," being the unit of -value. The "pitcher" was made of lead, circular in form, from one and a -half inch to two inches in diameter, and about a quarter of an inch -thick, with an "[H]" to stand for "Heads" cut on one side, and a "[T]" -for "Tails" on the other side. An old-fashioned penny was sometimes -used, and an old "two-penny" piece I have by me bears the marks of much -service in the same cause. A mark having been set up--generally a -stone--and the order of play having been fixed, the first player, A, -threw his "pitcher" to the mark, from a point six or seven yards -distant. If he thought he lay sufficiently near the mark to make it -probable that he would be the nearest after the others had thrown, he -said he would "lie." The effect of that was that the players who -followed had to lie also, whatever the character of their throw. If A's -throw was a poor one he took up his "pitcher." B then threw, if he threw -well he "lay," if not he took up his pitcher, in hope of making a better -throw, as A had done. C then played in the same manner. D followed and -"lay." E played his pitcher, and had no choice but to lie. F followed in -the same way. These being all the players, A threw again, and though his -second might have been worse than his first, he has to lie like the -others. B and C followed. All the pitchers have been thrown, and are -lying round the mark, in the following order of proximity--for that -regulates the subsequent play--B's is nearest, then D's follows, in -order by A, C, F, E. B takes the pitchers, and piles them up one above -the other, and tosses them into the air. Three (let us say) fall head -up, D's, A's, and F's. These three B keeps in his hand. D, who was next -nearest the mark, takes the three remaining pitchers, and in the same -manner tosses them into the air. B's and C's fall head up, and are -retained by D. A, who comes third, takes the remaining pitcher, E's, and -throws it up. If it falls a head he keeps it, and the game is finished -except the reckoning; if it falls a tail it passes on to the next -player, C, who throws it up. If it falls a head he keeps it, if a tail, -it is passed on to F, and from him to E, and on to B, till it turns up a -head. Let us suppose that happens when F throws it up. The game is now -finished, and the reckoning takes place-- - - B has three pitchers, D's, A's, and F's. - D " two " B's and C's. - F " one " E's. - A, C, and E have none. - -Strictly speaking, D, A, and F should each pay a button to B. B and C -should each pay one to D. E should pay one to F. But in practice it was -simpler, F holding one pitcher had, in the language of the game, "freed -himself." D had "freed himself," and was in addition one to the good. B -had "freed himself," and was two to the good. A, C, and E, not having -"freed themselves," were liable for the one D had won and the two B had -won, and settled with D and B, without regard to the actual hand that -held the respective pitchers. It simplified the reckoning, though -theoretically the reckoning should have followed the more roundabout -method. Afterwards the game was begun _de novo_. E, who was last, having -first pitch--the advantage of that place being meant to compensate him -in a measure for his ill luck in the former game. The stakes were the -plain horn or bone buttons--buttons with nicks were more valuable--a -plain one being valued at two "scroggies," or "scrogs," the fancy ones, -and especially livery buttons, commanding a higher price.--Rev. W. -Gregor. See "Buttons." - - -Pit-counter - -A game played by boys, who roll counters in a small hole. The exact -description I have not been able to get.--Halliwell's _Dictionary_. - - -Pits - -A game at marbles. The favourite recreation with the young fishermen in -West Cornwall. Forty years ago "Pits" and "Towns" were the common games, -but the latter only is now played. Boys who hit their nails are looked -on with great contempt, and are said "to fire Kibby." When two are -partners, and one in playing accidentally hits the other's marble, he -cries out, "No custance," meaning that he has a right to put back the -marble struck; should he fail to do so, he would be considered -"out."--_Folk-lore Journal_, v. 60. There is no description of the -method of playing. It may be the same as "Cherry Pits," played with -marbles instead of cherry stones (vol. i. p. 66). Mr. Newell, _Games and -Songs of American Children_, p. 187, says "The pits are thrown over the -palm; they must fall so far apart that the fingers can be passed between -them. Then with a fillip of the thumb the player makes his pit strike -the enemy's and wins both." - - -Pize Ball - -Sides are picked; as, for example, six on one side and six on the other, -and three or four marks or tuts are fixed in a field. Six go out to -field, as in cricket, and one of these throws the ball to one of those -who remain "at home," and the one "at home" strikes or pizes it with his -hand. After pizing it he runs to one of the "tuts," but if before he can -get to the "tut" he is struck with the ball by one of those in the -field, he is said to be _burnt_, or out. In that case the other side go -out to field.--Addy's _Sheffield Glossary_. - -See "Rounders." - - -Plum Pudding - -A game at marbles of two or more boys. Each puts an equal number of -marbles in a row close together, a mark is made at some little distance -called taw; the distance is varied according to the number of marbles in -a row. The first boy tosses at the row in such a way as to pitch just on -the marbles, and so strike as many as he can out of the line; all that -he strikes out he takes; the rest are put close together again, and two -other players take their turn in the same manner, till all the marbles -are struck out of the line, when they all stake afresh and the game -begins again.--Baker's _Northamptonshire Glossary_. - - -Plum Pudding and Roast Beef - -Mentioned by Moor, _Suffolk Words and Phrases_, as the name of a game. -Undescribed, but nearly the same as French and English. - - -Pointing out a Point - -A small mark is made on the wall. The one to point out the point, who -must not know what is intended, is blindfolded, and is then sent to put -the finger on the point or mark. Another player has taken a place in -front of the point, and bites the finger of the blindfolded -pointer.--Fraserburgh, Aberdeenshire (Rev. W. Gregor). - - -Poncake - -Name of a girl's game the same as Cheeses.--Holland's _Cheshire -Glossary_. See "Turn Cheeses, Turn." - - -Poor and Rich - -An old game mentioned in Taylor's _Motto_, sig. D, iv. London, 1622. - - -Poor Mary sits a-weeping - -[Music] - -[Music] - ---Barnes (A. B. Gomme). - -[Illustration: "Poor Mary sits a-weeping."] - - I. Poor Mary sits a-weepin', - A-weepin', a-weepin'; - Poor Mary sits a-weepin' - On a bright summer's day. - - Pray, Mary, what're you weepin' for, - A-weepin' for, a-weepin' for? - Pray, Mary, what're you weepin' for? - On a bright summer's day. - - I'm weepin' for a sweetheart, - A sweetheart, a sweetheart; - I'm weepin' for a sweetheart, - On a bright summer's day. - - Pray, Mary, choose your lover, - Your lover, your lover; - Pray, Mary, choose your lover - On a bright summer's day. - - Now you're married, I wish you joy; - First a girl, and then a boy; - Seven years after, son and daughter; - Pray, young couple, come kiss together. - - Kiss her once, kiss her twice, - Kiss her three times over. - ---Barnes, Surrey (A. B. Gomme). - - II. Poor Mary is weeping, is weeping, is weeping, - Poor Mary is weeping on a bright summer's day. - - Pray tell me what you're weeping for, weeping for, weeping - for, - Pray tell me what you're weeping for, on a bright summer's - day? - - I'm weeping for my true love, my true love, my true love, - I'm weeping for my true love, on a bright summer's day. - - Stand up and choose your lover, your lover, your lover, - Stand up and choose your lover, on a bright summer's day. - - Go to church with your lover, your lover, your lover, - Go to church with your lover, on a bright summer's day. - - Be happy in a ring, love; a ring, love; a ring, love. - Kiss both together, love, on this bright summer's day. - ---Upton-on-Severn, Worcestershire (Miss Broadwood). - - III. Pray, Sally, what are you weeping for-- - Weeping for--weeping for? - Pray, Sally, what are you weeping for, - On a bright shiny day? - - I am weeping for a sweetheart-- - A sweetheart--a sweetheart; - I am weeping for a sweetheart, - On a bright shiny day. - - Pray, Sally, go and get one-- - Go and get one--get one; - Pray, Sally, go and get one, - On a bright shiny day. - - Pray, Sally, now you've got one-- - You've got one--got one; - Pray, Sally, now you've got one, - On a bright sunny day. - - One kiss will never part you-- - Never part you--part you; - One kiss will never part you, - On a bright sunny day. - ---Dorsetshire (_Folk-lore Journal_, vii. 209). - - IV. Poor ---- sat a-weeping, - A-weeping, a-weeping; - Poor ---- sat a-weeping, - On a bright summer's day. - - I'm weeping for a sweetheart, - A sweetheart, a sweetheart; - I'm weeping for a sweetheart, - On a bright summer's day. - - Oh, pray get up and choose one, - And choose one, and choose one; - Oh, pray get up and choose one, - On a bright summer's day. - - Now you're married, you must obey; - You must be true to all you say. - You must be kind, you must be good, - And help your wife to chop the wood. - ---Sporle, Norfolk (Miss Matthews). - - V. Poor Mary sat a-weeping, a-weeping, a-weeping, - Poor Mary sat a-weeping, down by the sea-side. - - By the side of the river, by the side of the river, - She sat down and cried. - - Oh, pray get up and choose one, and choose one, and choose - one, - Oh, pray get up and choose one, down by the sea-side. - - Now you're married, I wish you joy; - Father and mother you must obey; - Love one another like sister and brother, - And pray, young couple, come kiss one another. - ---Colchester (Miss G. M. Frances). - - VI. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping on a fine summer's day. - - What is she weeping for, weeping for, weeping for, - What is she weeping for on a fine summer's day? - - She's weeping for her sweetheart, her sweetheart, her - sweetheart, - She's weeping for her sweetheart on a fine summer's day. - - Pray get up and choose one, choose one, choose one, - Pray get up and choose one on a fine summer's day. - - Pray go to church, love; church, love; church, love; - Pray go to church, love, on a fine summer's day. - - Pray put the ring on, ring on, ring on, - Pray put the ring on, on a fine summer's day. - - Pray come back, love; back, love; back, love; - Pray come back, love, on a fine summer's day. - - Now you're married, we wish you joy; - Your father and mother you must obey; - Love one another like sister and brother; - And now it's time to go away. - ---(_Suffolk County Folk-lore_, pp. 66, 67.) - - VII. Poor Mary sits a-weeping, a-weeping, a-weeping, - Poor Mary sits a-weeping on a bright summer's day. - - Pray tell me what you are weeping for, weeping for, weeping - for, - Pray tell me what you are weeping for on a bright summer's - day? - - I'm weeping for a sweetheart, a sweetheart, a sweetheart, - I'm weeping for a sweetheart on a bright summer's day. - - Poor Mary's got a shepherd's cross, a shepherd's cross, a - shepherd's cross, - Poor Mary's got a shepherd's cross on a bright summer's day. - ---Berkshire (Miss Thoyts, _Antiquary_, xxvii. 254). - - VIII. Mary sits a-weeping, a-weeping, a-weeping, - Mary sits a-weeping, close by the sea-side. - - Mary, what are you weeping for, weeping for, weeping for, - Mary, what are you weeping for, close by the sea-side? - - I'm a-weeping for my sweetheart, my sweetheart, my - sweetheart, - I'm a-weeping for my sweetheart, close by the sea-side. - - Pray get up and choose one, and choose one, and choose one, - Pray get up and choose one, close by the sea-side. - ---Winterton and Lincoln (Miss M. Peacock). - - IX. Poor Mary sits a-weeping, a-weeping, - Poor Mary sits a-weeping, on a bright summer's day. - - She is weeping for her lover, her lover, - She is weeping for her lover on a bright summer's day. - - Stand up and choose your lover, your lover, - Stand up and choose your lover, on a bright summer's day. - - And now she's got a lover, a lover, - And now she's got a lover, on a bright summer's day. - ---Hanbury, Staffs. (Miss E. Hollis). - - X. Oh, what is Nellie weeping for, - A-weeping for, a-weeping for? - Oh, what is Nellie weeping for, - On a cold and sunshine day? - - I'm weeping for my sweetheart, - My sweetheart, my sweetheart; - I'm weeping for my sweetheart - On a cold and sunshine day. - - So now stand up and choose the one, - And choose the one, and choose the one; - So now stand up and choose the one, - On a cold and sunshine day. - ---Forest of Dean, Gloucestershire (Miss Matthews). - - XI. Poor Mary sits a-weeping, a-weeping, a-weeping, - Poor Mary sits a-weeping, on a bright summer's day. - - Pray what are you a-weeping for, a-weeping for, a-weeping - for, - Pray what are you a-weeping for on a bright summer's day? - - She's weeping for a lover, a lover, a lover, - She's weeping for a lover, this bright summer's day. - - Rise up and choose your lover, your lover, your lover, - Rise up and choose your lover, this bright summer's day. - - Now Mary she is married, is married, is married, - Now Mary she is married this bright summer's day. - ---Enborne School, Newbury, Berks. (Miss M. Kimber). - - XII. Poor Sarah's a-weeping, - A-weeping, a-weeping; - Oh, what is she a-weeping for, - A-weeping for, a-weeping for? - - I'm weeping for a sweetheart, - A sweetheart, a sweetheart; - I'm weeping for a sweetheart - This bright summer day. - - Oh, she shall have a sweetheart, - A sweetheart, a sweetheart; - Oh, she shall have a sweetheart - This bright summer day. - - Go to church, loves, - Go to church, loves. - Say your prayers, loves, - Say your prayers, loves. - Kiss your lovers, - Kiss your lovers; - Rise up and choose your love. - ---Liphook, Hants. (Miss Fowler). - - XIII. Poor Mary sits weeping, weeping, weeping, - Poor Mary sits weeping on a bright summer's day; - On the carpet she must kneel till the grass grows on the - field. - - Stand up straight upon your feet, - And show me the one you love so sweet. - - Now you're married, I wish you joy; - First a girl, and second a boy; - If one don't kiss, the other must, - So kiss, kiss, kiss. - ---Cambridge (Mrs. Haddon). - - XIV. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping on a bright summer's day; - Pray what is she a-weeping for, a-weeping for, a-weeping - for, - Pray what is she a-weeping for, on a bright summer's day? - - I'm weeping for my true love, my true love, my true love, - I'm weeping for my true love, on a bright summer's day. - - Stand up and choose your true love, your true love, your - true love, - Stand up and choose your true love, on a bright summer's - day. - - Ring a ring o' roses, o' roses, o' roses, - Ring a ring o' roses; a pocketful of posies. - ---Ogbourne, Wilts. (H. S. May). - - XV. Poor Sally is a-weeping, a-weeping, a-weeping, - Poor Sally is a-weeping, down by the sea-side. - Pray tell me what you're weeping for, you're weeping for, - you're weeping for, - Pray tell me what you're weeping for, down by the sea-side? - - I'm weeping for my sweetheart, my sweetheart, my sweetheart, - I'm weeping for my sweetheart, down by the sea-side. - - A ring o' roses, - A pocketful of posies; - Isham! Isham! - We all tumble down. - ---Manton, Marlborough, Wilts. (H. S. May). - - XVI. Poor Mary is a-weeping, a-weeping, a-weeping, - On a fine summer's day; - What is she weeping for, weeping for, weeping for? - - She is weeping for her lover, her lover, her lover; - And who is her love, who is her lover? - - Johnny Baxter is her lover, Johnny Baxter is her lover; - And where is her lover, where is her lover? - - Her lover is a-sleeping, her lover is a-sleeping, - Is a-sleeping at the bottom of the sea. - ---South Devon (_Notes and Queries_, 8th Series, i. 249, Miss R. H. -Busk). - - XVII. Poor Mary, what are you weeping for? - You weeping for? - You weeping for? - Poor Mary, what are you weeping for, - On a bright summer's day? - - Pray tell us what you are weeping for? - You are weeping for? - You are weeping for? - - Pray tell us what you are weeping for, - On a bright summer's day. - - My father he is dead, sir; - Is dead, sir; - Is dead, sir. - My father he is dead, sir, - On a bright summer's day. - ---Earls Heaton (Herbert Hardy). - - XVIII. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping, on a fine summer's day. - Pray tell me what you're weeping for? &c. - - Because my father's dead and gone, is dead and gone, is dead - and gone; - Because my father's dead and gone, on a fine summer's day. - - She is kneeling by her father's grave, her father's grave, - her father's grave; - She is kneeling by her father's grave, on a fine summer's - day. - - Stand up and choose your love, choose your love, choose your - love; - Stand up and choose your love, on a bright summer's day. - ---(Rev. W. Gregor). - - XIX. Oh, what is Jennie weeping for, - A-weeping for, a-weeping for? - Oh, what is Jennie weeping for, - All on this summer's day? - - I'm weeping for my own true love, - My own true love, my own true love; - I'm weeping for my own true love, - All on this summer's day. - - Rise up and choose another love, - Another love, another love; - Rise up and choose another love, - All on this summer's day. - ---Berwickshire (A. M. Bell, _Antiquary_, xxx. 16). - - +---+----------------------+----------------------+----------------------+ - |No.| Barnes. | Enborne. | Dorsetshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary sits a- |Poor Mary sits a- | -- | - | |weeping. |weeping. | | - | 2.|Pray, Mary, what are |Pray, what are you a- |Pray, Sally, what are | - | |you weeping for? |weeping for? |you weeping for? | - | 3.| -- | -- | -- | - | 4.|I'm weeping for a |She's weeping for a |I'm weeping for a | - | |sweetheart. |lover. |sweetheart. | - | 5.|On a bright summer's |This bright summer's |On a bright shiny day.| - | |day. |day. | | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Pray, Mary, choose |Rise up and choose | -- | - | |your lover. |your lover. | | - |11.| -- | -- |Pray, Sally, go and | - | | | |get one. | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.|Now you're married, I |Now Mary she is | -- | - | |wish you joy. |married. | | - |15.|First a girl, then a | -- | -- | - | |boy. | | | - |16.|Seven years after, son| -- | -- | - | |and daughter. | | | - |17.| -- | -- |Pray, Sally, now | - | | | |you've got one. | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.|Pray, young couple, | -- | -- | - | |come kiss together. | | | - |25.| -- | -- |One kiss will never | - | | | |part you. | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.|Kiss her once, twice, | -- | -- | - | |kiss three times over.| | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Upton. | Sporle. | Colchester. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary is weeping. |Poor [] sat a- |Poor Mary sat a- | - | | |weeping. |weeping. | - | 2.|Pray, tell me what | -- | -- | - | |you're weeping for. | | | - | 3.| -- | -- | -- | - | 4.|I am weeping for my |I'm weeping for a | -- | - | |true love. |sweetheart. | | - | 5.|On a bright summer's |On a bright summer's | -- | - | |day. |day. | | - | 6.| -- | -- |By the side of the | - | | | |river. | - | 7.| -- | -- |She sat down and | - | | | |cried. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Stand up and choose |Pray, get up and |Pray, get up and | - | |your lover. |choose one. |choose one. | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- | -- |Now you're married, I | - | | | |wish you joy. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |Now you're married you| -- | - | | |must obey. | | - |19.| -- |You must be true to | -- | - | | |all you say. | | - |20.| -- |You must be kind and | -- | - | | |good. | | - |21.| -- |Help wife to chop | -- | - | | |wood. | | - |22.| -- | -- |Father and mother you | - | | | |must obey. | - |23.| -- | -- |Love one another like | - | | | |sister and brother. | - |24.| -- | -- |Pray, young couple, | - | | | |come kiss together. | - |25.| -- | -- | -- | - |26.|Go to church with your| -- | -- | - | |lover. | | | - |27.|Be happy in a ring, | -- | -- | - | |love. | | | - |28.| -- | -- | -- | - |29.|Kiss both together, | -- | -- | - | |love. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Winterton. | Forest of Dean. | Liphook. | - +---+----------------------+----------------------+----------------------+ - | 1.|Mary sits a-weeping. | -- |Poor Sarah's a- | - | | | |weeping. | - | 2.|Mary, what are you |Oh! what is Nellie |Oh, what is she a- | - | |weep'ng for? |weeping for? |weeping for? | - | 3.| -- | -- | -- | - | 4.|I'm weeping for a |I'm weeping for my |I'm weeping for a | - | |sweetheart. |sweetheart. |sweetheart. | - | 5.| -- | -- |This bright summer's | - | | | |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.|Close by the sea side.| -- | -- | - | 9.| -- |On a cold and sunshine| -- | - | | |day. | | - |10.|Pray, get up and |Now stand up and |Rise up and choose | - | |choose one. |choose one. |your lover. | - |11.| -- | -- | -- | - |12.| -- | -- |She shall have a | - | | | |sweetheart. | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- |Go to church, love. | - |27.| -- | -- | -- | - |28.| -- | -- |Say your prayers, | - | | | |love. | - |29.| -- | -- |Kiss your lovers. | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Earls Heaton. | Suffolk. | Berkshire. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Poor Mary sits a- |Poor Mary sits a- | - | | |weeping. |weeping. | - | 2.|Poor Mary, what are |What is she weeping | -- | - | |you weeping for? |for? | | - | 3.|Pray tell us what you | -- |Pray tell me what she | - | |are weeping for? | |is weeping for?| | - | 4.| -- |She's weeping for a |I'm weeping for a | - | | |sweetheart. | | - | 5.|On a bright summer's |On a fine summer's |On a bright summer's | - | |day. |day. |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- |Pray get up and choose| -- | - | | |one. | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Now you're married, we| -- | - | | |wish you joy. | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- |Father and mother you | -- | - | | |must obey. | | - |23.| -- |Love one another like | -- | - | | |brother and sister. | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- |Pray go to church, | -- | - | | |love. | | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.| -- | -- | -- | - |30.|My father he is dead, | -- | -- | - | |sir. | | | - |31.| -- | -- | -- | - |32.| -- |Pray put the ring on. | -- | - |33.| -- |Pray come back, love. | -- | - |34.| -- |Now it's time to go | -- | - | | |away. | | - |35.| -- | -- |Mary's got a | - | | | |shepherd's cross. | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Staffordshire. | Newbury. | South Devon. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary sits a- |Poor Mary sits a- |Poor Mary is a- | - | |weeping. |weeping. |weeping. | - | 2.| -- |Pray what are you |What is she weeping | - | | |weeping for? |for? | - | 3.| -- | -- | -- | - | 4.|She's weeping for her |She's weeping for a |She's weeping for her | - | |lover. |lover. |lover. | - | 5.|On a bright summer's |This bright summer's |On a fine summer's | - | |day. |day. |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- |[See No. 41.] | - | 9.| -- | -- | -- | - |10.|Stand up and choose |Rise up and choose | -- | - | |your lover. |your lover. | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Now Mary she is | -- | - | | |married. | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.| -- | -- | -- | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.|Now she's got a lover.| -- | -- | - |37.| -- | -- |Who is her lover? | - |38.| -- | -- |I. O. is her lover. | - |39.| -- | -- |Where is her lover? | - |40.| -- | -- |Her lover is sleeping.| - |41.| -- | -- |At the bottom of the | - | | | |sea. | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Cambridge. | Ogbourne. | Manton. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary is a- |Poor Mary is a- |Poor Sally is a- | - | |weeping. |weeping. |weeping. | - | 2.| -- |Pray what is she |Pray tell me what | - | | |weeping for? |you're weeping for. | - | 3.| -- | -- | -- | - | 4.| -- |I'm weeping for my |I'm weeping for my | - | | |true love. |sweetheart. | - | 5.| -- |On a bright summer's | -- | - | | |day. | | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- |Down by the seaside. | - | 9.| -- | -- | -- | - |10.|Stand up upon your |Stand up and choose | -- | - | |feet and show the one |your true love. | | - | |you love so sweet. | | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|On the carpet she | -- | -- | - | |shall kneel till the | | | - | |grass grows on the | | | - | |field. | | | - |14.|Now you're married I | -- | -- | - | |wish you joy. | | | - |15.|First a girl and | -- | -- | - | |second a boy. | | | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.|If one don't kiss, the| -- | -- | - | |other must. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- |Ring a ring o' roses a|A ring of roses a | - | | |pocketful of posies. |pocketful of posies. | - |43.| -- | -- |We all tumble down. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+ - |No.| Berwickshire. | Scotland. | - +---+----------------------+----------------------+ - | 1.|What is Jennie weeping|Poor Mary is a- | - | |for? |weeping. | - | 2.| -- |Pray tell me what | - | | |you're weeping for. | - | 3.| -- | -- | - | 4.|I'm weeping for my own| -- | - | |true love. | | - | 5.|All on this summer's |On a fine summer's | - | |day. |day. | - | 6.| -- | -- | - | 7.| -- | -- | - | 8.| -- | -- | - | 9.| -- | -- | - |10.| -- |Stand up and choose | - | | |your love. | - |11.| -- | -- | - |12.|Rise up and choose | -- | - | |another love. | | - |13.| -- | -- | - |14.| -- | -- | - |15.| -- | -- | - |16.| -- | -- | - |17.| -- | -- | - |18.| -- | -- | - |19.| -- | -- | - |20.| -- | -- | - |21.| -- | -- | - |22.| -- | -- | - |23.| -- | -- | - |24.| -- | -- | - |25.| -- | -- | - |26.| -- | -- | - |27.| -- | -- | - |28.| -- | -- | - |29.| -- | -- | - |30.| -- |Because my father's | - | | |dead and gone. | - |31.| -- |She's kneeling by her | - | | |father's grave. | - |32.| -- | -- | - |33.| -- | -- | - |34.| -- | -- | - |35.| -- | -- | - |36.| -- | -- | - |37.| -- | -- | - |38.| -- | -- | - |39.| -- | -- | - |40.| -- | -- | - |41.| -- | -- | - |42.| -- | -- | - |43.| -- | -- | - +---+----------------------+----------------------+ - -(_b_) A ring is formed by the children joining hands. One child kneels -in the centre, covering her face with her hands. The ring dances round, -and sings the first two verses. The kneeling child then takes her hands -from her face and sings the next verse, still kneeling. While the ring -sings the next verse, she rises and chooses one child out of the ring. -They stand together, holding hands while the others sing the marriage -formula, and kiss each other at the command. The ring of children dance -round quickly while singing this. When finished the first "Mary" takes a -place in the ring, and the other child kneels down (Barnes and other -places). At Enborne school, Newbury (Miss Kimber), this game is played -by boys and girls. All the children in the ring sing the first two -verses. Then the boys alone in the ring sing the next verse; all the -ring singing the fourth. While singing this the kneeling child rises and -holds out her hand to any boy she prefers, who goes into the ring with -her. When he is left in the ring at the commencement of the game again, -a boy's name is substituted for that of "Mary." There appears to be no -kissing. In the Liphook version (Miss Fowler), after the girl has chosen -her sweetheart the ring breaks, and the two walk out and then kneel -down, returning to the ring and kissing each other. A version identical -with that of Barnes is played by the girls of Clapham High School. All -tunes sent me were similar to that given. - -(_c_) The analysis of the game rhymes is on pp. 56-60. - -This analysis shows that the incidents expressed by the rhymes are -practically the same in all the versions. In the majority of the cases -the weeping is depicted as part of a ceremony, by which it is known that -a girl desires a lover; she is enabled then to choose one, and to be -married. The marriage formula is the usual one in the Barnes' version, -but follows another set of words in three other versions. In the cases -where the marriage is neither expressed by a formula, nor implied by -other means (Winterton and Forest of Dean), the versions are evidently -fragments only, and probably at one time ended, as in the other cases, -with marriage. But in three other cases the ending is not with marriage. -The Earls Heaton and Scottish versions represent the cause of weeping as -the death of a father, the Berkshire version introduces the apparently -unmeaning incident of Mary bearing a shepherd's cross, and the South -Devon version represents the cause of weeping the death of a lover at -sea. It is obvious that at places where sailors abound, the incident of -weeping for a sailor-lover who is dead would get inserted, and the fact -of this change only occurring once in the versions I have collected, -tells all the more strongly in favour of the original version having -represented marriage and love, and not death, but it does not follow -that the marriage formula belongs to the oldest or original form of the -game. I am inclined to think this has been added since marriage was -thought to be the natural and proper result of choosing a sweetheart. - -(_d_) The change in some of the verses, as in the Cambridge version, is -due to corruption and the marked decadence now occurring in these games. -No. 13 in the analysis is from the game "Pretty little girl of mine," -and Nos. 42-3 "Ring o' Roses." - - -Poor Widow - - I. Here's an old widow who lies alone, - Lies alone, lies alone, - Here's an old widow who lies alone, - She wants a man and can't get one. - Choose one, choose two, choose the fairest. - The fairest one that I can see - Is [Mary Hamilton], come unto me. - Now she is married and tied to a bag, - She has got a man with a wooden leg. - ---Belfast (W. H. Patterson). - - II. There was an old soldier he came from the war, - His age it was sixty and three. - Go you, old soldier, and choose a wife, - Choose a good one or else choose none. - - Here's a poor widow she lives her lone, - She hasn't a daughter to marry but one. - Come choose to the east, choose to the west, - And choose the very one you love best. - - Here's a couple married in joy, - First a girl and then a boy, - Seven years after, and seven years come, - Pree[1] young couple kiss and have done. - ---Belfast (W. H. Patterson). - - III. There was a poor widow left alone, - And all her children dead and gone. - Come, choose you east, - Come, choose you west, - Take the man you love best. - Now they're married, - I wish them joy, - Every year a girl or a boy, - I hope this couple may kiss each other. - ---Nairn (Rev. W. Gregor). - -(_b_) One child is chosen to act the part of the widow. The players join -hands and form a circle. The widow takes her stand in the centre of the -circle in a posture indicating sorrow. The girls in the circle trip -round and round, and sing the first five lines. The widow then chooses -one of the ring. The ring then sings the marriage formula, the two kiss -each other, and the game is continued, the one chosen to be the mate of -the first widow becoming the widow in turn (Nairn). - -(_c_) This game is probably the same as "Silly Old Man." Two separate -versions may have arisen by girls playing by themselves without boys. - - [1] Sometimes "pray," but "pree" seems to be the Scotch for - taste:--"pree her moo" = taste her mouth = to kiss. - - -Pop Goes the Weasel - - Half a pound of tup'ny rice, - Half a pound of treacle; - Mix it up and make it nice, - Pop goes the weasel. - ---Earls Heaton (Herbert Hardy). - -(_b_) Children stand in two rows facing each other, they sing while -moving backwards and forwards. At the close one from each side selects a -partner, and then, all having partners, they whirl round and round. - -(_c_) An additional verse is sometimes sung with or in place of the -above in London. - - Up and down the City Road; - In and out the Eagle; - That's the way the money goes, - Pop goes the weasel. - ---(A. Nutt). - -Mr. Nutt writes: "The Eagle was (and may be still) a well-known tavern -and dancing saloon." - - -Pop-the-Bonnet - -A game in which two, each putting down a pin on the crown of a hat or -bonnet, alternately pop on the bonnet till one of the pins crosses the -other; then he at whose pop or tap this takes place, lifts the -stakes.--Teviotdale (Jamieson). The same game is now played by boys with -steel pens or nibs. - -See "Hattie." - - -Poppet-Show - -See "Pinny Show." - - -Port the Helm - -This is a boys' game. Any number may join in it. The players join hands -and stand in line. The leader, generally a bigger boy, begins to bend -round, at first slowly, then with more speed, drawing the whole line -after him. The circular motion is communicated to the whole line, and, -unless the boys at the end farthest from the leader run very quickly, -the momentum throws them off their feet with a dash if they do not drop -their hold.--Keith, Nairn (Rev. W. Gregor). - - -Pots, or Potts - -Throwing a ball against a wall, letting it bounce and catching it, -accompanied by the following movements:-- - -1. Simply three times each. - -2. Throw, twist hands, and catch. - -3. Clap hands in front, behind, in front. - -4. Turn round. - -5. Beat down ball on ground three times, and catch. - -6. Again on ground and catch (once) at end of first "pot," and twice for -second "pot." - ---Hexham (Miss J. Barker). - - -Pray, Pretty Miss - - I. Priperty Miss, will you come out, - Will you come out, will you come out? - Priperty Miss, will you come out - To help us with our dancing? - - No! - - The naughty girl, she won't come out, - She won't come out, she won't come out; - The naughty girl, she won't come out - To help us with our dancing. - - Priperty Miss, will you come out, - Will you come out, will you come out? - Priperty Miss, will you come out - To help us with our dancing? - - Yes! - - Now we've got another girl, - Another girl, another girl; - Now we've got another girl - To help us with our dancing. - ---Fochabers (Rev. W. Gregor). - - II. Pray, pretty Miss, will you come out, - Will you come out, will you come out? - Pray, pretty Miss, will you come out - To help me in my dancing? - - No! - - Then you are a naughty Miss! - Then you are a naughty Miss! - Then you are a naughty Miss! - Won't help me in my dancing. - - Pray, pretty Miss, will you come out, - Will you come out, will you come out? - Pray, pretty Miss, will you come out - To help me in my dancing? - - Yes! - - Now you are a good Miss! - Now you are a good Miss! - Now you are a good Miss! - To help me in my dancing. - ---Cornwall (_Folk-lore Journal_, v. 47, 48). - - III. Pray, pretty Miss, will you come out to help us in our - dancing? - No! - Oh, then you are a naughty Miss, won't help us with our - dancing. - Pray, pretty Miss, will you come out to help us in our - dancing? - Yes! - Now we've got our jolly old lass to help us with our - dancing. - ---Sheffield, Yorks. (_Folk-lore Record_, v. 87). - - IV. Oh, will you come and dance with me, - Oh, will you come and dance with me? - No! - -[They say as above to the next girl, who says "Yes."] - - Now we've got our bonny bunch - To help us with our dancing. - ---Hurstmonceux, Sussex (Miss Chase). - -(_b_) The Scottish version of this game is played as follows:--All the -players stand in a line except two, who stand facing them. These two -join hands crosswise, and then advancing and retiring, sing to the child -at the end of the line the first four lines. The first child refuses, -and they then dance round, singing the second verse. They sing the first -verse again, and on her compliance she joins the two, and all three -dance round together, singing the last verse. The three then advance and -retire, singing the first verse to another child. - -The Cornish version is played differently: a ring is formed, boy and -girl standing alternately in the centre. The child in the middle holds -a white handkerchief by two of its corners; if a boy he would single out -one of the girls, dance backwards and forwards opposite to her, and sing -the first verse. If the answer were "No!" spoken with averted head over -the left shoulder, he sang the second verse. Occasionally three or four -in turn refused. When the request was granted the words were changed to -the fourth verse. The handkerchief was then carefully spread on the -floor; the couple knelt on it and kissed: the child formerly in the -middle joined the ring, and the other took his place, or if he preferred -it remained in the centre; in that case the children clasped hands and -sang together the first verse over again, the last to enter the ring -having the privilege of selecting the next partner. - -(_c_) Miss Courtney says (_Folk-lore Journal_, v. 47), that this game is -quite a thing of the past. Of the Hurstmonceux version, Miss Chase says, -"This game is not fully remembered. It was played about 1850." The words -indicate an invitation to the dance similar to those in "Cushion Dance," -"Green Grass." - - -Pretty Little Girl of Mine - -[Music] - ---Monton, Lancashire (Miss Dendy). - -[Music] - ---Tean, North Staffordshire (Miss Burne). - -[Music] - ---Eccleshall (Miss Burne). - -[Music] - ---Nottingham (Miss Youngman). - -[Music] - ---Hanbury, Staffordshire (Edith Hollis). - - I. Here's a pretty little girl of mine, - She's brought me many a bottle of wine; - A bottle of wine she gave me too-- - See what this little girl can do. - - On the carpet she shall kneel - As the grass grows on the fiel'; - Stand upright on your feet, - And choose the one you love so sweet. - - Now you are married I wish you joy, - First a girl and then a boy; - Seven years after, son and daughter; - Pray, young couple, kiss together. - ---Symondsbury, Dorset (Folk-lore Journal, vii. 207). - - II. Oh, this pretty little girl of mine, - Brought me many a bottle of wine; - A bottle of wine and a guinea, too, - See what my little girl _can_ do. - - Down on the carpet she shall kneel, - As the grass grows in the field; - Stand upright on your feet, - And choose the one you love so sweet. - - Now I'm married and wish you joy, - First a girl and then a boy; - Seven years after, seven years past, - Kiss one another and go to your class. - ---Hampshire (Miss Mendham). - - III. Here's a pretty little girl of mine, - Who's brought her bottle and glass of wine; - A glass of wine and a biscuit too, - See what my pretty girl will do. - - On the carpet she shall kneel, - While the grass grows in the field; - Stand upright upon your feet, - Choose the one you love so sweet. - - When you're married I wish you joy, - First a girl and second a boy, - Seven years after, son and daughter, - Now, young couple, kiss together. - ---Gambledown, Hants (Mrs. Pinsent). - - IV. Oh! this pretty little girl of mine, - Has cost me many a bottle of wine; - A bottle of wine and a guinea or two, - So see what my little girl can do. - - Down on the carpet she shall kneel, - While the grass grows on her field; - Stand upright upon your feet, - And choose the one you love so sweet. - - Now you are married you must obey, - Must be true in all you say; - You must be kind and very good, - And help your wife to chop the wood. - ---Maxey (_Northants Notes and Queries_, i. 214). - - V. Here's a pretty little girl of mine, - She's cost me many a bottle of wine; - A bottle of wine and a guinea too, - See what my little girl can do. - - Down on the carpet she must kneel, - As the grass grows in the field; - Stand upright upon her feet, - And choose the one she loves so sweet. - - Now you're married I wish you joy, - Father and mother you must obey; - Love one another like sister and brother, - And pray, young couple, come kiss one another. - ---Colchester (Miss G. M. Frances). - - VI. Oh! this pretty little girl of mine, - She bought me many a bottle of wine, - A bottle of wine she gave me too, - So see what my little girl could do. - - Stand up, stand up upon your feet, - And choose the one you love so sweet. - ---Liphook, Hants (Miss Fowler). - - VII. See what a pretty little girl have I, - She brings me many a bottle of wi'; - A bottle of wine and a biscuit too, - See what a little girl can do. - On the carpet she shall kneel, - As the grass grows in the fiel'; - Stand upright upon your feet, - And choose the one you love so sweet. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after, son and daughter, - May you couple kiss together. - ---South Devon (_Notes and Queries_, 8th series, i. 249; Miss R. H. -Busk). - - VIII. See what a pretty little girl I am, - She gave me many a bottle of wine, - Many a bottle of wine, and a biscuit too, - See what a pretty little girl can do. - On the carpet you shall kneel, - Stand up straight all in the field, - Choose the one that you love best. - - Now we are married and hope we enjoy, - First a girl and then a boy, - Seven years after and seven years to come, - May young company kiss have done. - ---Holywood, Co. Down (Miss C. M. Patterson). - - IX. See what a pretty little girl I am! - Brought me many a bottle o' wine! - Bottle o' wine to make me shine! - See what a pretty little girl I am! - - Upon the carpets we shall kneel, - As the grass grows in yonder field; - Stand up lightly on your feet, - And choose the one you love so sweet. - - Now these two are going to die, - First a girl, and then a boy; - Seven years at afterwards, seven years ago, - And now they are parted with a kiss and a go. - ---Monton, Lancashire (Miss Dendy). - - X. See this pretty little maid of mine! - She's brought me many a bottle of wine; - A bottle of wine, a good thing, too; - See what this pretty maid can do! - - Down on the carpet she must kneel, - Till the grass grows on her feet; - Stand up straight upon thy feet, - Choose the very one that you love sweet. - - Take her by her lily-white hand, - Lean across the water; - Give a kiss,--one, two, three,-- - To Mrs. ----'s daughter. - ---Suffolk (Mrs. Haddon). - - XI. See what a pretty little girl I am! - They brought me many a bottle of wine-- - Bottle of wine to make me shine; - See what a pretty little girl I am! - - On the carpets we must kneel, - As the grass grows in yonder field; - Rise up lightly on your feet, - And kiss the one you love so sweet. - - My sister's going to get married, - My sister's going to get married, - My sister's going to get married, - Ee! Ii! Oh! - - Open your gates as wide as high, - And let the pretty girls come by, - And let the {jolly} matrons[2] by. - {bonny} - One in a bush, - Two in a bush, - Ee! Ii! Oh! - ---Colleyhurst, Manchester (Miss Dendy). - - XII. On the carpet you shall kneel - Where the grass grows fresh and {green; - {clean; - Stand up, stand up on your pretty feet, - And show me the one you love so sweet. - Now Sally's got married, we wish her good joy, - First a girl, and then a boy; - Seven years arter, a son and darter, - So, young couple, kiss together. - -Or, - - Seven years now, and seven to come, - Take her and kiss her and send her off home. - ---Eccleshall, Staffs. (Miss Burne). - - XIII. On the carpet you shall kneel, - As the grass grows on the field; - Stand up straight upon your feet, - And tell me the one you love so sweet. - - ---- is married with a good child, - First with a girl and then with a boy; - Seven years after son and daughter, - Play with a couple and kiss together. - ---Tean, North Staffs. (from a Monitor in the National School). - - XIV. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up upon your feet, - And tell me whom you love so sweet. - - Now you're married I wish you joy, - First a girl, and then a boy; - Seven years after son and daughter, - Come, young couple, come kiss together. - ---Middlesex (Miss Winfield). - - XV. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up on your feet, - Show the girl you love so sweet. - - Now you're married I hope you'll enjoy - A son and a daughter, so - Kiss and good-bye. - ---Long Eaton, Nottinghamshire (Miss Youngman). - - XVI. Down on the carpet you shall kneel, - While the grass grows on your field;[3] - Stand up straight upon your feet, - And choose the one you love so sweet. - Marry couple, married in joy, - First a girl and then a boy; - Seven years after, seven years come, - Please,[4] young couple, kiss and have done. - ---Belfast (W. H. Patterson). - - XVII. On the carpet you shall kneel, - While the grass grows fresh and green; - Stand up straight upon your feet, - And kiss the one you love so sweet. - - Now they're married, love and joy, - First a girl and then a boy; - Seven years after, seven years ago, - Now's the time to kiss and go. - ---Liverpool and neighbourhood (Mrs. Harley). - - XVIII. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up on your feet, - And shew me the girl you love so sweet. - Now Sally's married I hope she'll enjoy, - First with a girl and then with a boy; - Seven years old and seven years young, - Pray, young lady, walk out of your ring. - ---Derbyshire (_Folk-lore Journal_, i. 385). - - XIX. On the carpet you shall kneel, - Where the grass grows fresh and green; - Stand up, stand up on your pretty feet, - And show me the one you love so sweet. - ---Berrington (Burne's _Shropshire Folk-lore_, p. 509). - -[Same ending as Eccleshall version.] - - XX. On the carpitt you shall kneel, - While the grass grows in the field; - Stand up, stand up on your feet, - Pick the one you love so sweet. - ---Wakefield, Yorks. (Miss Fowler). - - XXI. King William was King David's son, - And all the royal race is run; - Choose from the east, choose from the west, - Choose the one you love the best.[5] - - Down on this carpet you shall kneel, - While the grass grows in yond field; - Salute your bride and kiss her sweet, - Rise again upon your feet. - ---Hanging Heaton, Yorks. (Herbert Hardy). - - XXII. On the carpet you shall kneel, while the grass grows at your - feet; - Stand up straight upon your feet, and choose the one you - love so sweet. - Now Sally is married, life and joy, first a girl and then a - boy; - Seven years after, seven years ago, three on the carpet, - kiss and go. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - XXIII. I had a bonnet trimmed wi' blue. - Why dosn't ware it? Zo I do; - I'd ware it where I con, - To take a walk wi' my young mon. - My young mon is a-gone to sea, - When he'd come back he'll marry me. - Zee what a purty zister is mine, - Doan't 'e think she's ter'ble fine? - She's a most ter'ble cunnn too, - Just zee what my zister can do. - On the carpet she can kneel, - As the grass grow in the fiel'. - Stand upright upon thy feet, - And choose the prettiest you like, sweet. - ---Hazelbury Bryan, Dorset (_Folk-lore Journal_, vii. 208). - - XXIV. Kneel down on the carpets, we shall kneel; - The grass grows away in yonder fiel', - Stand up, stand up upon your feet, - And show me the one you love so sweet. - - Now they get married, I wish they may joy - Every year a girl or a boy; - Loving together like sister and brother, - Now they are coupled to kiss together. - ---Galloway, N.B. (J. G. Carter). - -(_c_) This game is played in the same way in all the different variants -I have given, except a slight addition in the Suffolk (Mrs. Haddon). A -ring is formed by the children joining hands--one child stands in the -centre. The ring dances or moves slowly round, singing the verses. The -child in the centre kneels down when the words are sung, rises and -chooses a partner from the ring, kisses her when so commanded, and then -takes a place in the ring, leaving the other child in the centre. In -those cases where the marriage formula is not given, the kissing would -probably be omitted. - -(_d_) Of the twenty-four versions given there are not two alike, and -this game is distinguished from all others by the singular diversity of -its variants; although the original structure of the verses has been -preserved to some extent, they seem to have been the sport of the -inventive faculty of each different set of players. Lines have been -added, left out, and altered in every direction, and in the example from -Hazelbury Bryan, in Dorsetshire (No. xxiii.), a portion of an old song -or ballad has been added to the game rhyme. These alterations occur not -only in different counties, but in the same counties, as may be seen by -the Dorset, Hants, Staffordshire, and Northants examples. Mr. Carter -says of the Galloway game that the kissing match sometimes degenerates -into a spitting match, according to the temper of the parties concerned. -In the Suffolk version (Mrs. Haddon), at the words "Lean across the -water," the two in the centre lean over the arms of those forming the -ring. These words and action are probably an addition. They belong to -the "Rosy Apple, Lemon and Pear" game. - -These peculiar characteristics of the game do not permit of much -investigation into the original words of the game-rhyme, but they serve -to illustrate, in a very forcible manner, the exactly opposite -characteristics of nearly all the other games, which preserve, in almost -stereotyped fashion, the words of the rhymes. It appears most probable -that the verses belonged originally to some independent game like -"Sally, Sally Water," and that, when divorced from their original -context, they lent themselves to the various changes which have been -made. The minute application of modern ideas is seen in the version from -Gambledown, where "A bottle of wine and a guinea, too," becomes "A -bottle of wine and a biscuit, too;" and at West Haddon, in -Northamptonshire, a variant of the marriage formula is given in -_Northants Notes and Queries_, ii. 106, as-- - - Now you're married, we wish you joy, - First a girl and then a boy; - Cups and saucers, sons and daughters, - Now join hands and kiss one another. - -Another version from Long Itchington, given in _Notes and Queries_, 7th -series, x. 450, concludes with-- - - Up the kitchen and down the hall, - Choose the fairest of them all; - Seven years now and seven years then, - Kiss poor Sally and part again. - - [2] Matron is _not_ a word in common use among Lancashire people. - - [3] _d_ not sounded. - - [4] Another version has "pree," which means in Scotch, _taste_, hence - _kiss_. - - [5] At Earls Heaton two verses or lines are added, viz.:-- - - "If she is not here to take her part, - Choose another with all your heart." - - -Pretty Miss Pink - - Pretty Miss Pink, will you come out, - Will you come out, will you come out? - Pretty Miss Pink, will you come out, - To see the ladies dancing? - - No, I won't. - - Pretty Miss Pink, she won't come out, - Won't come out, won't come out, &c. - She will come out. - Pretty Miss Pink, she has come out, &c. - ---Winterton, Lincs and Nottinghamshire (Miss M. Peacock.) - -(_b_) The children place themselves in a row. They each choose a colour -to represent them. One player must be _pink_. Another player stands -facing them, and dances to and fro, singing the first four lines. The -dancer then sings the next two lines, and Miss Pink having answered -rushes forward, catches hold of the dancer's hand, and sings the next -verse. Each colour is then taken in turn, but Miss Pink must always be -first. - -(_c_) This is clearly a variant of "Pray, Pretty Miss," colours being -used perhaps from a local custom at fairs and May meetings, where girls -were called by the colours of the ribbons they wore. - - -Prick at the Loop - -A cheating game, played with a strap and skewer at fairs, &c, by persons -of the thimble-rig class, probably the same as the game called "Fast and -Loose." - - -Prickey Sockey - -Christmas morning is ushered in by the little maidens playing at the -game of "Prickey Sockey," as they call it. They are dressed up in their -best, with their wrists adorned with rows of pins, and run about from -house to house inquiring who will play at the game. The door is opened -and one cries out-- - - Prickey sockey for a pin, - I car not whether I loss or win. - -The game is played by the one holding between her two forefingers and -thumbs a pin, which she clasps tightly to prevent her antagonist seeing -either part of it, while her opponent guesses. The head of the pin is -"sockey," and the point is "prickey," and when the other guesses she -touches the end she guesses at, saying, "this for prickey," or "this for -sockey," At night the other delivers her two pins. Thus the game is -played, and when the clock strikes twelve it is declared up; that is, no -one can play after that time.--_Mirror_, 1828, vol. x. p. 443. - -See "Headicks and Pinticks." - - -Prickie and Jockie - -A childish game, played with pins, and similar to "Odds or -Evens,"--Teviotdale (Jamieson), but it is more probable that this is the -game of "Prickey Sockey," which Jamieson did not see played. - - -Priest-Cat (1) - -See "Jack's Alive." - - -Priest-Cat (2) - -A peat clod is put into the shell of the crook by one person, who then -shuts his eyes. Some one steals it. The other then goes round the circle -trying to discover the thief, and addressing particular individuals in a -rhyme-- - - Ye're fair and leal, - Ye canna steal; - Ye're black and fat, - Ye're the thief of my priest-cat! - -If he guesses wrong he is in a wadd, if right he has found the -thief.--Chambers' _Popular Rhymes_, p. 128. - -This is an entirely different game to the "Priest-Cat" given by -Mactaggart (see "Jack's Alive"), and seems to have originated in the -discovery of stolen articles by divination. - - -Priest of the Parish - -William Carleton describes this game as follows:--"One of the boys gets -a wig upon himself, goes out on the floor, places the boys in a row, -calls on his man Jack, and says to each, 'What will you be?' One -answers, 'I'll be Black Cap,' another, 'Red Cap,' and so on. He then -says, 'The priest of the parish has lost his considering-cap. Some says -this, and some says that, but I say my man Jack.' Man Jack then, to put -it off himself, says, 'Is it me, sir?' 'Yes you, sir.' 'You lie, sir.' -'Who then, sir?' 'Black Cap.' If Black Cap then doesn't say, 'Is it me, -sir?' before the priest has time to call him he must put his hand on his -ham and get a pelt of the brogue. A boy must be supple with the tongue -in it."--_Traits and Stories of the Irish Peasantry_, p. 106 (Tegg's -reprint). - -This game is no doubt the original form of the game imperfectly played -under the name of "King Plaster Palacey" (see _ante_, i. 301). - - -Prisoner's Base or Bars - -The game of "The Country Base" is mentioned by Shakespeare in -"Cymbeline"-- - - "He, with two striplings (lads more like to run - The country base, than to commit such slaughter), - Made good the passage."--Act v., sc. 3. - -Also in the tragedy of Hoffman, 1632-- - - "I'll run a little course - At _base_, or barley-brake." - -Again, in the Antipodes, 1638-- - - "My men can runne at _base_." - -Also, in the thirtieth song of Drayton's "Polyolbion"-- - - "At hood-wink, barley-brake, at tick, or _prison-base_." - -Again, in Spenser's "Faerie Queen," v. 8-- - - "So ran they all as they had been at _bace_." - -Strutt (_Sports and Pastimes_, p. 78), says, "This game was much -practised in former times. The first mention of this sport that I have -met with occurs in the Proclamations at the head of the Parliamentary -proceedings, early in the reign of Edward III., where it is spoken of as -a childish amusement; and prohibited to be played in the avenues of the -palace at Westminster during the Sessions of Parliament, because of the -interruption it occasioned to the members and others in passing to and -fro.... The performance of this pastime requires two parties of equal -number, each of them having a base or home, as it is usually called to -themselves, at the distance of about twenty or thirty yards. The players -then on either side taking hold of hands extend themselves in length and -opposite to each other, as far as they conveniently can, always -remembering that one of them must touch the base; when any one of them -quits the hand of his fellow and runs into the field, which is called -giving the chase, he is immediately followed by a second from the former -side, and he by a second opponent; and so on alternately, until as many -are out as choose to run, every one pursuing the man he first followed -and no other; and if he overtake him near enough to touch him, his party -claims one toward their game, and both return home. Then they run forth -again and again in like manner, until the number is completed that -decides the victory; this number is optional. It is to be observed that -every person on either side who touches another during the chase, claims -one for his party." - -Strutt describes the game in Essex as follows:--"They play this game -with the addition of two prisons, which are stakes driven into the -ground, parallel with the home boundaries, and about thirty yards from -them; and every person who is touched on either side in the chase is -sent to one or other of these prisons, where he must remain till the -conclusion of the game, if not delivered previously by one of his -associates, and this can only be accomplished by touching him, which is -a difficult task, requiring the performance of the most skilful players, -because the prison belonging to either party is always much nearer to -the base of their opponents than to their own; and if the person sent to -relieve his confederate be touched by an antagonist before he reaches -him, he also becomes a prisoner, and stands in equal need of -deliverance."--_Sports and Pastimes_, p. 80. - -[Illustration] - -But this is not quite the same as it is played in London. There the -school ground is divided in the following manner:-- The boys being -divided into equal sides, with a captain for each, one party takes up -its quarters in A, the other in B. Lots are chosen as to which side -commences. Then one member of the side so chosen (say B) starts off for -the middle of the playground and cries out "Chevy, Chevy Chase, one, -two, three;" thereupon it becomes the object of the side B to touch him -before reaching home again. If unsuccessful one from side B goes to the -middle, and so on until a prisoner is secured from one of the sides. -Then the struggle commences in earnest, after the fashion described by -Strutt as above. If a boy succeeds in getting to the prison of his side -without being touched by an opponent, he releases a prisoner, and brings -him back home again to help in the struggle. The object of the -respective sides is to place all their opponents in prison, and when -that is accomplished they rush over to the empty home and take -possession of it. The game then begins again from opposite sides, the -winning side counting one towards the victory.--London (G. L. Gomme). - -This was once a favourite game among young men in North Shropshire (and -Cheshire). It was played yearly at Norton-in-Hales Wakes, and the -winning party were decorated with ribbons. Men-servants, in the last -century, were wont to ask a day's holiday to join or witness a game of -"Prison-bars," arranged beforehand as a cricket-match might be (see -_Byegones_, 2nd May 1883). A form of the game still survives there among -the school-children, under the name of "Prison Birds." The Birds arrange -themselves in pairs behind each other, facing a large stone or stump -placed at some little distance. Before them, also facing the stone, -stands one player, called the Keeper. When he calls, "Last pair out!" -the couple next behind him run to the stone and touch hands over it. If -they can do so without being touched by the Keeper, they are free, and -return to a position behind the other birds; but any one whom he touches -must remain behind the stone "in prison."--Ellesmere (Burne's -_Shropshire Folk-lore_, p. 524). - -The Ellesmere inhabitants were formerly accustomed to devote their -holiday occasions to the game, and in the year 1764 the poet laureate of -the town (Mr. David Studley) composed some lines on the game as it was -played by the Married _v._ Single at Ellesmere. They are as follows:-- - - "Ye lovers of pleasure, give ear and attend, - Unto these few lines which here I have penned, - I sing not of sea fights, of battles nor wars, - But of a fine game, which is called 'Prison Bars.' - - This game was admired by men of renown, - And played by the natives of fair Ellesmere town; - On the eighth day of August in the year sixty-four, - These nimble heel'd fellows approached on the moor. - - Twenty-two were the number appear'd on the green, - For swiftness and courage none like them were seen; - Eleven were married to females so fair, - The other young gallants bachelors were. - - Jacob Hitchen the weaver commands the whole round, - Looks this way, and that way, all over the ground, - Gives proper directions, and sets out his men, - So far go, my lads, and return back again. - - Proper stations being fixed, each party advance, - And lead one another a many fine dance. - There's Gleaves after Ellis, and Platt after he, - Such running before I never did see. - - Huzza! for the young men, the fair maids did say, - May heaven protect you to conquer this day, - Now, my brave boys, you're not to blame, - Take courage, my lads, nine and eight is the game. - - Now behold the Breeches makers, master and man, - Saddlers, Slaters, and Joiners, do all they can; - The Tailor so nimble, he brings up the rear, - Cheer up, my brave boys, you need not to fear. - - Alas! poor old Jacob, thy hopes are in vain, - Dick Chidley is artful, and spoils all thy schemes. - The Barber is taken, the Currier is down, - The Sawyer is tired, and so is the Clown." - -The moor referred to in the last line of the second verse was the -Pitchmoor. The Clown was a nickname for one of the players, who, on -hearing the song repeated in the presence of the author, became so -exasperated, that, to appease him, the words "the game is our'n" were -substituted for the words "so is the Clown "in the last line of the -concluding verse. - - -Puff-the-Dart - -A game played with a long needle inserted in some worsted, and blown at -a target through a tin tube.--Halliwell's _Dictionary_. This game is -also mentioned in Baker's _Northamptonshire Glossary_. - - -Pun o' mair Weight - -A rough play among boys, adding their weight one upon another, and all -upon the one at the bottom.--Dickinson's _Cumberland Glossary_. - - -Punch Bowl - - I. Round about the punch bowl,-- - One, two, three; - If anybody wants a bonnie lassie, - Just take me. - -Another form of words is-- - - The fillan o' the punch bowl, - That wearies me; - The fillan o't up, an' the drinkan' o't doon, - An' the kissan o' a bonnie lass, - That cheeries me. - ---Fochabers (Rev. W. Gregor). - - II. Round about the punch bowl, - Punch bowl, punch bowl; - Round about the punch bowl, one, two, three. - - First time never to fall, - Never to fall, never to fall; - First time never to fall, one, two, three. - - Second time, the catching time, - Catching time, catching time; - Second time, the catching time, one, two, three. - - Third time, the kissing time, - Kissing time, kissing time, - Third time, the kissing time, one, two, three. - ---Belfast (W. H. Patterson). - - III. Round about the punch bowl,--one, two, three; - Open the gates and let the bride through. - - Half-a-crown to know his name, to know his name, to know his - name, - Half-a-crown to know his name, - On a cold and frosty morning. - - Ah! (Michael Matthews) is his name, is his name, is his - name; - (Michael Matthews) is his name, - On a cold and frosty morning. - - Half-a-crown to know her name, to know her name, to know her - name, - Half-a-crown to know her name, - On a cold and frosty morning. - - (Annie Keenan) is her name, is her name, is her name, - (Annie Keenan) is her name, - On a cold and frosty morning. - - They'll be married in the morning, - Round about the punch bowl, I [? Hi!]. - ---Annaverna, Ravensdale, Co. Louth, Ireland (Miss R. Stephen). - -(_b_) The Fochabers' game is played by girls only. The players join -hands and form a ring. They dance briskly round, singing the verse. The -last word, "me," is pronounced with strong emphasis, and all the girls -jump, and if one falls she has to leave the ring. The game is carried on -until all the players fall. In the Belfast game, at the words "one, two, -three," the players drop down in a crouching position for a few seconds. -In the Louth (Ireland) game the players all curtsey after the first -line, and the one who rises last is the bride. She is led outside the -ring by another, and asked to whom she is engaged. She tells without -letting those in the ring hear, and the two return to the ring saying -the second line. Then all the ring sing the next three lines, and then -the girl who has been told the name tells it to the ring, who thereupon -sing or say the remaining lines of the verse. - -(_c_) The Louth version has more detail in its movements, and probably -represents the oldest form. At all events, it supplies the reason for -the words and movements, which are not quite so obvious in the other -versions. Many ancient monoliths are known as "Punch Bowls," and it may -be that this game is the relic of an old marriage ceremony, "at the -stones." - - -Purposes - -A kind of game. "The prettie game which we call purposes" (Cotgrave in -_v._ "Opinion").--Halliwell's _Dictionary_. - - -Push in the Wash Tub - -A ring of girls is formed. Two go in opposite directions outside the -ring, and try to get back first to the starting-point; the one -succeeding stops there, rejoining the ring, the other girl _pushes_ -another girl into the ring, or _wash tub_, with whom the race is -renewed.--Crockham Hill, Kent (Miss Chase). - - -Push-pin, or Put-pin - -A child's play, in which pins are pushed with an endeavour to cross -them. So explained by Ash, but it would seem, from Beaumont and -Fletcher, vii. 25, that the game was played by aiming pins at some -object.--Halliwell's _Dictionary_. - - "To see the sonne you would admire, - Goe play at push-pin with his sire." - ---_Men's Miracles_, 1656, p. 15. - - "Love and myselfe, beleeve me on a day, - At childish push-pin for our sport did play." - ---Herrick's _Works_, i. 22. - -There is an allusion to it under the name of put-pin in Nash's -_Apologie_, 1593-- - - "That can lay down maidens bedds, - And that can hold ther sickly heds; - That can play at put-pin, - Blow poynte and near lin." - -Two pins are laid upon a table, and the object of each player is to push -his pin across his opponent's pin.--Addy's _Sheffield Glossary_. - -See "Hattie," "Pop the Bonnet." - - -Push the Business On - - I. I hired a horse and borrowed a gig, - And all the world shall have a jig; - And I'll do all 'at ever I can - To push the business on. - To push the business on, - To push the business on; - And I'll do all 'at ever I can - To push the business on. - ---North Kelsey, Anderby, and near the Trent, Nottinghamshire (Miss M. -Peacock). - - II. Beeswax and turpentine make the best of plaster, - The more you try to pull it off, it's sure to stick the - faster. - I'll buy a horse and hire a gig, - And all the world shall have a jig; - And you and I'll do all we can - To push the business on, - To push the business on; - And we'll do all that ever we can - To push the business on. - ---Brigg, Lincolnshire (Miss Barker, from a Lincolnshire friend). - - III. I'll buy a horse and steal a gig, - And all the world shall have a jig; - And I'll do all that ever I can - To pass the business on. - To pass the business on, - To pass the business on; - And I'll do all that ever I can - To pass the business on. - ---Wolstanton, North Staffs. (Miss Bush, Schoolmistress) - - IV. We'll borrow a horse and steal a gig, - And round the world we'll have a jig; - And I'll do all that ever I can - To push the business on. - ---Earls Heaton (Herbert Hardy). - - V. I'll hire a horse and steal a gig, - And all the world shall have a jig; - And I'll do all that ever I can - To push the business on, - To push the business on, to push the business on, - And I'll do all that ever I can to push the business on. - ---Settle, Yorkshire (Rev. W. S. Sykes). - -(_b_) The players stand in a circle, boy and girl alternately, and sing -the lines. At the fourth line they all clap their hands, keeping time -with the song. When singing the seventh line each boy takes the girl on -his left hand,--dances round with her and places her on his right hand. -This is done till each girl has been all round the circle, and has been -turned or danced with by each boy. In the Wolstanton version (Miss -Bush), after singing the first four lines, the children fall behind one -another, march round, clapping their hands and singing; at the seventh -line they all join in couples and gallop round very quickly to the end. -When they finish, the girls stand at the side of the boys in couples, -and change places every time they go round until each girl has partnered -each boy. At Hexham there is rather more of the regular dance about the -game at the beginning. At the fourth line they set to partners and swing -round, the girls changing places at the end, and continuing until they -have been all round each time with a different partner. - -(_c_) This game seems of kin to the old-fashioned country dances. Miss -Bush writes that this game was introduced into the school playground -from Derbyshire a few years ago, and is sung to a simple tune. - - -Puss in the Corner - -The children stand at fixed points: one stands in the middle and chants, -"Poor puss wants a corner." The others beckon with the fore-finger, and -calling, "Puss, puss," run from point to point. Puss runs also to one of -the vacant spaces. The one left out becomes puss.--Monton, Lancashire -(Miss Dendy). - -[Illustration] - -The players place themselves each in some "coign of vantage," as the -play place allows; one player in the middle is "out." Those in the -corners change places with each other at choice, calling, "Puss, puss, -puss," to attract each other's attention. The one who is out watches his -opportunity to slip into a vacant corner, and oblige some one else to be -"out." A favourite game _in the streets_ of Market Drayton.--Burne's -_Shropshire Folk-lore_, p. 523. - -When we played this game, the child who was to be "Puss" was invariably -decided upon by a counting-out rhyme. He or she being the last of the -five players "not he." The words we used when wishful to change corners -were, "Puss, puss, give me a drop of milk." The players in the corners -beckoned with the finger to an opposite player in another corner (A. B. -Gomme). - -The game in Scotland is called "Moosie in the Corner," and is played by -boys or girls, or by both together, either outside or in a room. Each -player takes a corner, and one stands in the middle. On a given signal, -usually by calling out the word "Change," a rush is made from the -corners. The aim of the one standing in the middle is to reach a vacant -corner. If the game is played in a room, as many chairs, or other seats, -are placed as there are players, less one. Each takes a seat, and one is -left standing. On the word "Change" being called out, each jumps from -the seat and makes for another. The one standing strives to get a seat -in the course of the change.--Nairn and Macduff (Rev. W. Gregor). - - -Pussy's Ground - -Name for Tom Tiddler's Ground in Norfolk. - -See "Tom Tiddler's Ground." - - -Pyramid - -A circle of about two feet in diameter is made on the ground, in the -centre of which a pyramid is formed by several marbles. Nine are placed -as the base, then six, then four, and then one on the top. The keeper of -the pyramid then desires the other players to shoot. Each player gives -the keeper one marble for leave to shoot at the pyramid, and all that -the players can strike out of the circle belong to them.--London streets -(A. B. Gomme), and _Book of Sports_. - -See "Castles." - - -Quaker - -Men and women stand alternately in a circle, and one man begins by -placing his left hand on his left knee, and saying, "There was an old -Quaker and he went so." This is repeated all round the circle; the first -man then says the same thing again, but this time he places his _right_ -hand on his _right_ knee. Then he places his hand on the girl's -shoulder, then round her neck, and on her far shoulder, then looks into -her face, and, lastly, kisses her.--Sharleston, Yorks (Miss Fowler). - - -Quaker's Wedding - - Hast thou ever been to a Quaker's wedding? - Nay, friend, nay. - Do as I do; twiddle thy thumbs and follow me. - -The leader walks round chanting these lines, with her eyes fixed on the -ground. Each new comer goes behind till a long train is formed, then -they kneel side by side as close together as possible. The leader then -gives a vigorous push to the one at the end of the line [next herself, -and that one to the next], and the whole line tumble over.--Berkshire -(Miss Thoyts in the _Antiquary_, xxvii. 194). - -See "Obadiah," "Solomon." - - -Queen Anne - - I. Lady Queen Ann she sits in her stand, - And a pair of green gloves upon her hand, - As white as a lily, as fair as a swan, - The fairest lady in a' the land; - Come smell my lily, come smell my rose, - Which of my maidens do you choose? - I choose you one, and I choose you all, - And I pray, Miss (), yield up the ball. - The ball is mine, and none of yours, - Go to the woods and gather flowers. - Cats and kittens bide within, - But we young ladies walk out and in. - ---Chambers' _Pop. Rhymes_, p. 136. - - II. Queen Anne, Queen Anne, who sits on her throne, - As fair as a lily, as white as a swan; - The king sends you three letters, - And begs you'll read one. - - I cannot read one unless I read all, - So pray () deliver the ball. - - The ball is mine and none of thine, - So you, proud Queen, may sit on your throne, - While we, your messengers, go and come. - -(Or sometimes)-- - - The ball is mine, and none of thine, - You are the fair lady to sit on; - And we're the black gipsies to go and come. - ---Halliwell's _Pop. Rhymes_, p. 230. - - III. Queen Anne, Queen Anne, you sit in the sun, - As fair as a lily, as white as a wand, - I send you three letters, and pray read one. - You must read one, if you can't read all, - So pray, Miss or Master, throw up the ball. - ---Halliwell's _Pop. Rhymes_, p. 64. - - IV. Here we come a-piping, - First in spring and then in May. - The Queen she sits upon the sand, - Fair as a lily, white as a wand: - King John has sent you letters three, - And begs you'll read them unto me. - We can't read one without them all, - So pray, Miss Bridget, deliver the ball. - ---Halliwell's _Pop. Rhymes_, p. 73. - - V. Queen Anne, Queen Anne, - She sot in the sun; - So fair as a lily, - So white as a nun; - She had a white glove on, - She drew it off, she drew it on. - - Turn, ladies, turn. - - The more we turn, the more we may, - Queen Anne was born on Midsummer Day; - We have brought dree letters from the Queen, - Wone of these only by thee must be seen. - We can't rade wone, we must rade all, - Please () deliver the ball. - ---Dorsetshire (_Folk-lore Journal_, vii. 229). - - VI. Here come we to Lady Queen Anne, - With a pair of white gloves to cover our hand; - As white as a lily, as fair as the rose, - But not so fair as you may suppose. - - Turn, ladies, turn. - - The more we turn the more we may, - Queen Anne was born on Midsummer Day. - - The king sent me three letters, I never read them all, - So pray, Miss ----, deliver the ball. - - The ball is yours, and not ours, - You must go to the garden and gather the flowers. - - The ball is ours, and not yours, - We go out and gather the flowers. - ---Cornwall (_Folk-lore Journal_, v. 52-53). - - VII. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, so white and wan; - A pair of kid gloves she holds in her hand, - There's no such a lady in all the fair land. - - Turn all. - - The more we turn the better we are, - For we've got the ball between us. - ---North Kelsey, Lincolnshire (Miss M. Peacock). - - VIII. Lady Queen Anne she sits on a stand [sedan], - She is fair as a lily, she is white as a swan; - A pair of green gloves all over her hand, - She is the fairest lady in all the land. - Come taste my lily, come smell my rose, - Which of my babes do you choose? - I choose not one, but I choose them all, - So please, Miss Nell, give up the ball. - - The ball is ours, it is not yours, - We will go to the woods and gather flowers; - We will get pins to pin our clothes, - You will get nails to nail your toes. - ---Belfast (W. H. Patterson). - - IX. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as brown as a bun; - We've brought you three letters, pray can you read one? - I can't read one without I read all, - So pray ---- deliver the ball. - - You old gipsy, sit in the sun, - And we fair ladies go and come; - The ball is mine, and none o' thine, - And so good-morning, Valentine. - ---Swaffham. Norfolk (Miss Matthews). - - X. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as brown as a bun. - - Turn, fair ladies, turn. - - We bring you three letters, and pray you read one. - I cannot read one without I read all, - So please () give up the ball. - -[If the wrong guess is made the girls say--] - - The ball is ours, and none of yours, - And we've the right to keep it. - -[If the right child is named, they say--] - - The ball is yours, and is not ours, - And you've the right to take it. - -[Some of the children said this rhyme should be--] - - The ball is ours, and none of yours, - So you, black gipsies, sit in the sun, - While we the fair ladies go as we come. - ---London (A. B. Gomme). - - XI. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as white as a swan; - I bring you three letters, so pray you choose one, - I cannot read one without I read all, - So pray ---- give up the ball. - -[If the wrong girl is asked, they say--] - - The ball is ours, it is not yours, - And we've the right to keep it. - -[When the right one is guessed--] - - The ball is yours, it is not ours, - And you've the right to keep it. - ---Barnes, Surrey (A. B. Gomme). - - XII. The lady Queen Anne she sat in a tan (sedan), - As fair as a lily, as white as a swan; - The Queen of Morocco she sent you a letter, - So please to read one. - - I won't read one except them all, - So please, Miss ----, deliver the ball. - ---Hersham, Surrey (_Folk-lore Record_, v. 87). - - XIII. Queen Ann, Queen Ann, - She sits in the sun, - As fair as a lily, and bright as one; - King George has sent you three letters, - And desires you to read one. - - I cannot read one - Without I read all, - So pray, Miss (), - Deliver the ball. - -[Rhyme when right is seldom in use, and the one when wrong forgotten.] - - The ball is ours, and none of yours, - So, black gipsies, sit in the sun, - And we, fair ladies, go as we come. - ---Sussex, about 1850 (Miss Chase). - - XIV. Queen Ann, Queen Ann, - She sat in the sun; - A pair of white gloves to cover her hands, - As white as a lily, as red as a rose, - To which young lady do you propose? - ---Devon (Miss Chase). - - XV. Here come seven sisters, - And seven milken daughters, - And with the ladies of the land, - And please will you grant us. - - I grant you once, I grant you twice, - I grant you three times over; - A for all, and B for ball, - And please [] deliver the ball. - ---Bocking, Essex (_Folk-lore Journal_, vi. 211). - -[Illustration] - -(_b_) Sides are chosen, and two lines are formed; the words are said by -each line alternately. One line, in which is the Queen, standing still -or sitting down, the other line advancing and retiring while singing the -words. The latter line gives one of their number a ball or some other -small object to hold in the hand in such a manner that it cannot be -perceived. All the players on this side then assume the same -position--either all put their hands behind them or fold their arms, put -their hands under their armpits, or under their skirts or pinafores. The -object of the other side is to guess which child in the line has the -ball. The line which has the ball commences the game by advancing -singing or saying the first three or four lines. Queen Anne answers, and -then names one of the girls on the opposite side whom she suspects to -have the ball, and if she be right in her guess the lines change sides. -If she be wrong, the line retires in triumph, the girl who possesses the -ball holding it up to show the Queen she is wrong. The children all -curtsey when leaving the Queen's presence. Another girl of the line then -takes the ball and the game continues till the right holder of the ball -is named. When the Queen tells the line of players to "turn," they all -spin round, coming back to face the Queen, and then stand still again. -In the North Kelsey version (Miss Peacock) there is only one player on -Queen Anne's side, the rest form the line. This is also the case with -the Cornish game. - -(_c_) The analysis of the game-rhymes is as follows:-- - - +---+----------------------+----------------------+----------------------+ - |No.| Scotland (Chambers). | Halliwell (1). | Halliwell (2). | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Lady Q. Anne. |Q. Anne, Anne. | Queen Anne. | - | 4.| -- | -- | -- | - | 5.|Sits in her stand. | -- | -- | - | 6.| -- |Sits on her throne. | -- | - | 7.| -- | -- |Sits in the sun. | - | 8.|Pair of green gloves | -- | -- | - | |on her hand. | | | - | 9.|White as a lily, fair |Fair as lily, white as| -- | - | |as a swan. |swan. | | - |10.| -- | -- |Fair as lily, white as| - | | | |wand. | - |11.|Fairest lady in the | -- | -- | - | |land. | | | - |12.| -- | -- | -- | - |13.|Smell my lily, smell | -- | -- | - | |my rose. | | | - |14.|Which of my maidens do| -- | -- | - | |you choose? | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |King sends three |I send you three | - | | |letters. |letters. | - |19.| -- |Begs you'll read one. |Pray read one. | - |20.| -- | -- | -- | - |21.|Choose you one and |Cannot read one |You must read one, | - | |choose you all. |unless I read all. |if you can't all. | - |22.| -- | -- | -- | - |23.|Pray, Miss, yield up |Pray [] deliver |Pray, Miss [], | - | |the ball. |the ball. |throw up the ball. | - |24.| -- | -- | -- | - |25.|The ball is mine, and |The ball is mine, and | -- | - | |none of yours. |none of thine. | | - |26.| -- |You, proud Queen, may | -- | - | | |sit on your throne. | | - |27.| -- |While we, your | -- | - | | |messengers, go and | | - | | |come. | | - |28.|Go to the woods and | -- | -- | - | |gather flowers. | | | - |29.| -- | -- | -- | - |30.| -- |The ball is mine, and | -- | - | | |none of thine. | | - |31.| -- |You are the fair lady | -- | - | | |to sit on. | | - |32.| -- |And we're black gip- | -- | - | | |sies to go and come. | | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.|Cats and kittens, bide| -- | -- | - | |within. | | | - |36.|We young ladies walk | -- | -- | - | |out and in. | | | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Halliwell (3). | Dorsetshire. | Cornwall. | - +---+----------------------+----------------------+----------------------+ - | 1.|Here we come a-piping.| -- | -- | - | 2.|First in Spring, then | -- | -- | - | |in May. | | | - | 3.| -- |Queen Anne. |Lady Queen Anne. | - | 4.|Queen. | -- | -- | - | 5.|Sits upon the sand. | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |Sot in the sun. | -- | - | 8.| -- |White glove on. |Pair of white gloves | - | | | |to cover our hand. | - | 9.| -- | -- |White as lily, fair as| - | | | |rose. | - |10.|Fair as lily, white as|Fair as lily, white as| -- | - | |wand. |nun. | | - |11.| -- | -- | -- | - |12.| -- | -- |Not so fair as you may| - | | | |suppose. | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- |Turn, ladies. |Turn, ladies. | - |16.| -- |More we turn, more we |More we turn, more we | - | | |may. |may. | - |17.| -- |Queen Anne was born on|Q. Anne was born on | - | | |midsummer day. |midsummer day. | - |18.|King John has sent |We've brought three |King sent me three | - | |three letters. |letters. |letters. | - |19.|Begs you'll read them | -- | -- | - | |unto me. | | | - |20.| -- |One of these only by | -- | - | | |you must be seen. | | - |21.|We can't read one |We can't read one, | -- | - | |without all. |must read all. | | - |22.| -- | -- |I never read them all.| - |23.|Pray, Miss [], |Please [] deliver |Pray, Miss [], | - | |deliver the ball. |the ball. |deliver the ball. | - |24.| -- | -- | -- | - |25.| -- | -- |The ball is yours, and| - | | | |not ours. | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- |Go to the garden and | - | | | |gather flowers. | - |29.| -- | -- | -- | - |30.| -- | -- |The ball is ours, and | - | | | |none of yours. | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- |We must go to the | - | | | |garden and gather | - | | | |flowers. | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| North Kelsey. | Belfast. | Swaffham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Queen Anne. |Lady Queen Anne. | Queen Anne. | - | 4.| -- | -- | -- | - | 5.| -- |Sits on a stand. | -- | - | 6.| -- | -- | -- | - | 7.|Sits in the sun. | -- |Sits in the sun. | - | 8.|Pair of kid gloves in |Pair of green gloves | -- | - | |her hand. |all over her hand. | | - | 9.| -- |Fair as lily, white as| -- | - | | |swan. | | - |10.|Fair as lily, white | -- |Fair as lily, brown as| - | |and wan. | |bun. | - |11.|No such lady in the |Fairest lady in the | -- | - | |land. |land. | | - |12.| -- | -- | -- | - |13.| -- |Taste my lily, smell | -- | - | | |my rose. | | - |14.| -- |Which of my babes do | -- | - | | |you choose? | | - |15.|Turn all. | -- | -- | - |16.|More we turn, better | -- | -- | - | |we are. | | | - |17.| -- | -- | -- | - |18.| -- | -- |We've brought three | - | | | |letters. | - |19.| -- | -- |Pray can you read one.| - |20.| -- | -- | -- | - |21.| -- |Choose not one but | -- | - | | |choose all. | | - |22.| -- | -- | -- | - |23.| -- |Please, Miss Nell, |Pray deliver the ball.| - | | |give up the ball. | | - |24.|We've got the ball | -- | -- | - | |between us. | | | - |25.| -- | -- |You, old gipsy sit in | - | | | |the sun. | - |26.| -- | -- |We fair ladies, go and| - | | | |come. | - |27.| -- |The ball is ours, it |The ball is mine, and | - | | |is not yours. |none of thine. | - |28.| -- |We'll go to the woods | -- | - | | |and gather flowers. | | - |29.| -- | -- | -- | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- |We will get pins to | -- | - | | |pin our clothes. | | - |38.| -- |You will get nails to | -- | - | | |nail your toes. | | - |39.| -- | -- |So good morning | - | | | |Valentine. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| London. | Barnes. | Hersham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Queen Anne. |Queen Anne. |Lady Queen Anne. | - | 4.| -- | -- | -- | - | 5.| -- | -- |Sits in a tan. | - | 6.| -- | -- | -- | - | 7.|Sits in the sun. |Sits in the sun. | -- | - | 8.| -- | -- | -- | - | 9.| -- |Fair as lily, white as|Fair as lily, white as| - | | |swan. |swan. | - |10.|Fair as lily, brown as| -- | -- | - | |bun. | | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|We bring you three |I bring you three |Queen of Morocco sent | - | |letters. |letters. |you a letter. | - |19.| Pray you read one. |Pray you choose one. |Please to read one. | - |20.| -- | -- | -- | - |21.|Cannot read one |Cannot read one |I won't read one | - | |without all. |without all. |except all. | - |22.| -- | -- | -- | - |23.|Please give up the |Pray give up the ball.|Please, Miss [], | - | |ball. | |deliver the ball. | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|The ball is ours, and |The ball is ours, it | -- | - | |none of yours. |is not yours. | | - |28.| -- | -- | -- | - |29.|And we've the right to|And we've the right to| -- | - | |keep it. |keep it. | | - |30.|The ball is yours, and|The ball is yours, it | -- | - | |not ours. |is not ours. | | - |31.|You, black gipsies, | -- | -- | - | |sit in the sun. | | | - |32.|While we, fair ladies,| -- | -- | - | |go as we come. | | | - |33.| -- | -- | -- | - |34.| -- |And you've the right | -- | - | | |to keep it. | | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+ - |No.| Sussex. | Devon. | - +---+----------------------+----------------------+ - | 1.| -- | -- | - | 2.| -- | -- | - | 3.|Queen Ann. |Queen Ann. | - | 4.| -- | -- | - | 5.| -- | -- | - | 6.| -- | -- | - | 7.|Sits in the sun. |Sat in the sun. | - | 8.| -- |Pair of white gloves | - | | |to cover her hand. | - | 9.| -- |White as lily, red as | - | | |rose. | - |10.|Fair as lily, bright | -- | - | |as one. | | - |11.| -- | -- | - |12.| -- | -- | - |13.| -- | -- | - |14.| -- |To which young lady do| - | | |you propose? | - |15.| -- | -- | - |16.| -- | -- | - |17.| -- | -- | - |18.|King Geo. has sent you| -- | - | |three letters. | | - |19.|Desires you to read | -- | - | |one. | | - |20.| -- | -- | - |21.|Cannot read one | -- | - | |without all. | | - |22.| -- | -- | - |23.|Pray, Miss [], | -- | - | |deliver the ball. | | - |24.| -- | -- | - |25.|So, black gipsies, sit| -- | - | |in the sun. | | - |26.|We fair ladies, go as | -- | - | |we come. | | - |27.|The ball is ours, and | -- | - | |none of yours. | | - |28.| -- | -- | - |29.| -- | -- | - |30.| -- | -- | - |31.| -- | -- | - |32.| -- | -- | - |33.| -- | -- | - |34.| -- | -- | - |35.| -- | -- | - |36.| -- | -- | - |37.| -- | -- | - |38.| -- | -- | - |39.| -- | -- | - +---+----------------------+----------------------+ - -This game appears to be in such a state of decadence that it is -difficult to do more than suggest an origin. It may be that "Queen Anne" -represents an oracle, and the petition is addressed to her to discover -the stolen treasure; but more probably the players represent disguised -damsels, one of whom is a bride whose identity has to be found out by -her showing or possessing some object which belongs to or has been given -previously by her suitor. The "guessing" or "naming" a particular person -runs through all the versions, and is undoubtedly the clue to the game. -If the Belfast version is the nearest to the original of those at -present existing, and there is every probability that this is so, -especially as Chambers' version is so similar, an early form of the game -might be restored, and from this its origin may be ascertained. Using -the first four lines of one of Halliwell's versions, and what appear to -be the common lines of the other versions, the reading is-- - -_Suitor and Friends._ - - Here we come a-piping, - First in Spring and then in May. - The Queen she sits upon the sand, - Fair as a lily, white as a wand [swan]. - Here's a pair of {white} gloves to cover the hands [suitors offer - {green} gloves], - - Of the fairest lady in all the land. - -_Guardian (or Mother) and Maidens._ - - Come {taste} my lily, come {taste} my rose, - {smell} {smell} - For which of my maidens do you propose? - -_Suitors or Queen Anne._ - - I chose but one, I chose from all, - I pray, Miss (), receive the ball [throwing ball to one girl, - who catches it]. - -Or-- - - I pray this hand receive the ball, [putting a ball into the extended - hands of one of three girls.] - -Guardian then disguises three girls (one with the ball) with veils or -other coverings, so that they precisely resemble each other, and returns -with the girls to the suitors, saying to the girls-- - - Turn, ladies, turn; turn, ladies, turn; - -and to the suitors-- - - Come choose your own, come choose from all. - I've brought you three letters, pray can you read one? - -_Suitor_ - -(touching one of the disguised girls). - - I cannot read one without I read all. - I pray, Miss (), yield up the ball. - -_Disguised Maiden_ - -(one who did not receive the ball). - - The ball is mine, and none of thine, - And so, good morning, Valentine. - -_Chorus of Maidens_ (curtseying). - - We will go to the wood and gather flowers, - We will get pins to pin our clothes, - You will get nails to nail your toes. - Cats and kittens bide within, - But we, young maidens, come out and in. - -The inference being that the chosen maiden is still free until the -suitor can try again, and is fortunate enough to indicate the right -maiden. - -If this conjectural restoration of the verses be accepted on the -evidence, it would suggest that this game originated from one of the not -uncommon customs practised at weddings or betrothals--when the suitor -has to discriminate between several girls all dressed precisely alike -and distinguish his bride by some token. (See "King William.") This -incident of actual primitive custom also obtains in folk tales, thus -showing its strong hold upon popular tradition, and hence increasing the -probability that it would reappear in games. It must be remembered that -the giving of gloves was a significant fact in betrothals. - -This game is said by some to have its origin in the use of the sedan -chair. A version taken from a newspaper cutting (unfortunately I had not -recorded the name and date, but think it was probably the _Leeds -Mercury_ some years ago) gives the following rhyme. The writer does not -say whether he knows it as a game-- - - Lady Lucan she sits in a sedan, - As fair as a lily, as white as a swan; - A pair of green gloves to doff and to don. - My mistress desires you will read one, - I can't read one without them all, - So I pray this hand decline the ball. - -In this version there is still the puzzle to solve, or riddle to read. - - -Queen Mary - -[Music: Verses 1, 2.] - -[Music: Verses 3, 4, 5.] - ---Hexham (Miss J. Barker). - - I. Queen Mary, Queen Mary, my age is sixteen, - My father's a farmer on yonder green; - He has plenty of money to dress me in silk-- - Come away, my sweet laddie, and take me a walk. - - One morning I rose and I looked in the glass, - I thought to myself what a handsome young lass; - My hands by my side, and a gentle ha, ha, - Come away, my sweet lassie, and take me a walk. - - Father, mother, may I go, may I go, may I go; - Father, mother, may I go, to buy a bunch of roses? - Oh yes, you may go, you may go, you may go; - Oh yes, you may go, buy a bunch of roses! - - Pick up her tail and away she goes, away she goes, away - she goes; - Pick up her tail and away she goes, to buy a bunch of - roses. - ---Sang by the children of Hexham Workhouse (Miss J. Barker). - - II. Queen Mary, Queen Mary, my age is sixteen, - My father's a farmer on yonder green; - He has plenty of money to keep me sae braw, - Yet nae bonnie laddie will tak' me awa'. - - The morning so early I looked in the glass, - And I said to myself what a handsome young lass; - My hands by my side, and I gave a ha, ha, - Come awa', bonnie laddie, and tak' me awa'. - ---Berwickshire, A. M. Bell, _Antiquary_, xxx. 17. - - III. My name is Queen Mary, - My age is sixteen, - My father's a farmer in Old Aberdeen; - He has plenty of money to dress me in black-- - There's nae [no] bonnie laddie 'ill tack me awa'. - Next mornin' I wakened and looked in the glass, - I said to myself, what a handsome young lass; - Put your hands to your haunches and give a ha, ha, - For there's nae bonnie laddie will tack ye awa'. - ---N. E. Scotland (Rev. W. Gregor). - - IV. My name is Queen Mary, - My age is sixteen, - My father's a farmer in yonder green; - He's plenty of money to dress in silk [fu' braw'], - For there's nae bonnie laddie can tack me awa'. - One morning I rose and I looked in the glass, - Says I to myself, I'm a handsome young lass; - My hands by my edges, and I give a ha, ha, - For there's nae bonnie laddie t' tack me awa'. - ---Cullen (Rev. W. Gregor). - -(_b_) The Scottish game is played by girls. The players join hands, form -a circle with one in the centre, and dance round singing. At the words -"'ill tack me awa'," the centre player chooses another one, and the two -wheel round. Then the singing proceeds. At the exclamation "ha! ha!" the -players suit the action to the words of the line. In the Cullen game the -girls stand in a row with one in front, who sings the verses and chooses -another player from the line. The two then join hands and go round and -round, singing the remaining verses. - - -Queen of Sheba - -Two rows of people sit on chairs face to face on each side of a door, -leaving just sufficient space between the lines for a player to pass. At -the end of the rows furthest from the door sits the "Queen of Sheba," -with a veil or shawl over her head. A player, hitherto unacquainted with -the game, is brought to the door, shown the Queen, and told to go up -between the rows, after being blindfolded, to kiss her, taking care, -meanwhile, to avoid treading on the toes of the people on each side the -alley leading to the lady. While his mind is diverted by these -instructions, and by the process of blindfolding, the Queen gives up her -seat to "the King," who has been lurking in the background. He assumes -the veil and receives the kiss, to the amusement of every one but the -uninitiated player. - ---Anderby, Lincolnshire, and near the Trent, Nottinghamshire (Miss M. -Peacock). - - -Ragman - -An ancient game, at which persons drew by chance poetical descriptions -of their characters, the amusement consisting--as at modern games of a -similar kind--in the peculiar application or misapplication of the -verses so selected at hazard by the drawers.--Halliwell's _Dictionary_. -Halliwell goes on to say that the meaning of this term was first -developed by Mr. Wright in his _Anecdota Literaria_, 1844, where he has -printed two collections of ancient verses used in the game of "Ragman." -Mr. Wright conjectures that the stanzas were written one after another -on a roll of parchment; that to each stanza a string was attached at the -side, with a seal or piece of metal or wood at the end; and that when -used the parchment was rolled up with all the strings and their seals -hanging together, so that the drawer had no reason for choosing one more -than another, but drew one of the strings by mere chance, and which he -opened to see on what stanza he had fallen. If such were the form of the -game, we can very easily imagine why the name was applied to a charter -with an unusual number of seals attached to it, which, when rolled up, -would present exactly the same appearance. Mr. Wright is borne out in -his opinion by an English poem, termed "Ragmane roelle," printed from -MS., Fairfax, 16:-- - - "My ladyes and my maistresses echone, - Lyke hit unto your humbyble wommanhede, - Resave in gr of my sympill persone - This rolle, which, withouten any drede, - Kynge Ragman me bad me sowe in brede, - And cristyned yt the merour of your chaunce; - Drawith a strynge, and that shal streight yow leyde - Unto the verry path of your governaunce." - -That the verses were generally written in a roll may perhaps be gathered -from a passage in Douglas's Virgil:-- - - "With that he raucht me ane roll: to rede I begane, - The royetest ane ragment with mony ratt rime." - -Halliwell also quotes the following:-- - - "Venus, whiche stant withoute lawe, - In non certeyne, but as men drawe - Of Ragemon upon the chaunce, - Sche leyeth no peys in the balaunce." - ---Gower, MS. _Society of Antiquaries_, 134, 244. - -The term rageman is applied to the devil in "Piers Ploughman," 335. - - -Rag-stag - -See "Stag Warning." - - -Rakes and Roans - -A boys' game, in which the younger ones are chased by the larger boys, -and when caught carried home pick-a-back.--Halliwell's _Dictionary_. - -Moor (_Suffolk Words and Phrases_) says this game is often called -"Rakes" only, and is the same, probably, that is thus alluded to: "To -play Reaks, to domineer, to show mad pranks." The jest of it is to be -carried home a pig-back, by the less swift wight who you may catch. - - -Rakkeps - -A game among boys [undescribed].--Dickinson's _Cumberland Glossary_. - - -Range the Bus - -Sides are chosen, and a line made across the playground. One of the -sides goes up and the other goes down, and throws their bonnets on the -ground. Then one side tries to get one of the opposite side across the -line and crown him, and one of the opposite side tries to crown him -back. If another boy can catch this player before he gets near him, he -is crowned also. All the time the one side is trying to take the -bonnets.--Old Aberdeen (Rev. W. Gregor). - -See "French and English," "Scotch and English." - - -Rax, or Raxie-boxie, King of Scotland - -The players, except one, take their stand at one side, and one stands at -the other side in front of them. When all are ready, the one in front -calls out "Cock," or "Caron," when all rush across to the other side, -and he tries to catch one of them in crossing. The one caught helps to -catch the others as they run back. Each time the players run from the -one side to the other the word "Cock," or "Caron," is called out, and -the change is continued till all are caught--each one as caught becoming -a catcher. In Tyrie the game is called "Dyke King" when played by boys, -and "Queen" when played by girls. The word "King," or "Queen," is -called out before each run, according as the game is played by boys or -girls.--Ballindalloch (Rev. W. Gregor). - -This game is called "Red Rover" in Liverpool (Mr. C. C. Bell). "Red -Rover" is shouted out by the catcher when players are ready to rush -across. - -See "King Csar." - - -Relievo - -This game is played by one child trying to catch the rest. The first -prisoner taken joins hands with the captor and helps in the pursuit, and -so on till all the playmates have been taken.--Anderby, Lincs. (Miss M. -Peacock). - -This game is the same as "Chickiddy Hand," "Stag Warning." - - -Religious Church - -The children stand in a line. One child on the opposite side, facing -them, says-- - - Have you been to a religious church? - -Row of children answer-- - - No! - Have I asked you? - No! - Put your fingers on your lips and follow me. - -All the row follow behind her to some other part of the ground, where -she stands with her back to them, and they form a new row. One child out -of the row now steps forward, and standing behind the first girl says-- - - Guess who stands behind you? - -If the first girl guesses right she keeps her old place, and they begin -again. If she is wrong the child who has come from the row takes her -place, and a new game is begun. Of course the child who asks the last -question alters its voice as much as possible, so as not to be -recognised.--Liphook, Hants. (Miss Fowler). - - -Rigs - -A game of children in Aberdeenshire, said to be the same as Scotch and -English, and also called Rockety Row.--Jamieson's _Dictionary_. - - -Ring - -See "Ring-taw." - - -Ring a Ring o' Roses - -[Music] - ---Marlborough (H. S. May). - -[Music] - ---Yorkshire (H. Hardy). - -[Music] - ---Sporle (Miss Matthews). - - I. Ring a ring o' roses, - A pocket-full o' posies; - One for me, and one for you, - And one for little Moses-- - Hasher, Hasher, Hasher, all fall down. - ---Winterton, Lincoln, and Leadenham (Miss M. Peacock). - - II. A ring, a ring o' roses, - A pocket-full o' posies; - One for Jack, and one for Jim, and one for little Moses-- - A-tisha! a-tisha! a-tisha! - ---Shropshire (Burne's _Shropshire Folk-lore_, p. 511). - - III. A ring, a ring o' roses, - A pocket-full o' posies; - A curchey in, and a curchey out, - And a curchey all together. - ---Edgmond (Burne's _Shropshire Folk-lore_, p. 571). - - IV. Ring, a ring o' roses, - A pocket full o' posies; - Up-stairs and down-stairs, - In my lady's chamber-- - Husher! Husher! Cuckoo! - ---Wakefield, Yorks. (Miss Fowler). - - V. Ring, a ring of roses, - Basket full of posies-- - Tisha! Tisha! all fall down. - ---Penzance, Cornwall (Mrs. Mabbott). - - VI. Ring, a ring a roses, - A pocketful of posies; - Hush, oh! hush, oh! - All fall down! - ---Colchester, Essex (Miss G. M. Frances). - - VII. Ring, a ring a rosy, - A pocket full of posies; - One for you, and one for me, - And one for little Moses-- - Atishm! Atishm! - ---Beddgelert (Mrs. Williams). - - VIII. A ring, a ring of roses, - A pocket full of posies-- - Hist! hush! last down dead! - ---Gainford, Durham (Miss A. Eddleston). - - IX. Ring, a ring a row-o, - See the children go-o, - Sit below the goose-berry bush; - Hark! they all cry Hush! hush! hush! - Sitty down, sit down. - - Duzzy, duzzy gander, - Sugar, milk, and candy; - Hatch-u, hatch-u, all fall down together. - ---South Shields (Miss Blair, aged 9). - - X. Ringey, ringey rosies, - A pocketful of posies-- - Hach-ho, hach-ho, all fall down. - -Another version-- - - Hash-ho! Tzhu-ho! all fall down. - ---Sporle, Norfolk (Miss Matthews). - - XI. Windy, windy weather, - Cold and frosty weather, - When the wind blows - We all blow together. - I saw Peter! - When did you meet him? - Merrily, cherrily [so pronounced] - All fall down. - - A ring, a ring of roses, - A pocketful of posies-- - Ashem, ashem, all fall down. - ---Sheffield (S. O. Addy). - -(_b_) A ring is formed by the children joining hands. They all dance -round, singing the lines. At the word "Hasher" or "Atcha" they all raise -their hands [still clasped] up and down, and at "all fall down" they sit -suddenly down on the ground. In Lancashire (Morton) they pause and -curtsey deeply. The imitation of sneezing is common to all. Miss Peacock -says, in Nottinghamshire they say "Hashem! Hashem!" and shake their -heads. In the Sheffield version the children sing the first eight lines -going round, and all fall down when the eighth is sang. They then form a -ring by holding hands, and move round singing the next three lines, and -then they all fall either on their knees or flat on their faces. - -(_c_) Versions of this game, identical with the Winterton one, have been -sent me by Miss Winfield, Nottingham; others, almost identical with the -second Norfolk version, from Monton, Lancashire (Miss Dendy), North -Staffs. Potteries, Norbury, Staffs., (Miss A. Keary), Earls Heaton, -Yorks. (H. Hardy). Addy, _Sheffield Glossary_, gives a version almost -identical with the last Sporle version. - -Addy, _Sheffield Glossary_, compares the old stories about rose-laughing -in Grimm's _Teut. Myth._ iii. 1101. "Gifted children of fortune have the -power to laugh roses, as Treyja wept gold. Probably in the first -instance they were Pagan beings of light, who spread their brightness in -the sky over the earth--'rose children,' 'sun children.'" This seems to -me to be a very apposite explanation of the game, the rhymes of which -are fairly well preserved, though showing in some of the variants that -decay towards a practical interpretation which will soon abolish all -traces of the mythical origin of game-rhyme. It may, however, simply be -the making, or "ringing," a ring or circle of roses or other flowers and -bowing to this. Mr. Addy's suggestion does not account for the imitation -of sneezing, evidently an important incident, which runs through all -versions. Sneezing has always been regarded as an important or -supernatural event in every-day life, and many superstitious beliefs and -practices are connected with it both in savage and civilised life. -Newell (_Games and Songs of American Children_, p. 127) describes "Ring -around the Rosie," apparently this game, but the imitation of sneezing -has been lost. - - -Ring by Ring - - Here we go round by ring, by ring, - As ladies do in Yorkshire; - A curtsey here, a curtsey there, - A curtsey to the ground, sir. - ---Hersham, Surrey (_Folk-lore Record_, v. 86). - -There is no description of the way this game is played, but it is -evidently a similar game to "Ring-a-Ring o' Roses." - - -Ringie, Ringie, Red Belt - -Take a small splint of wood, kindle it, and when it is burning turn it -rapidly round in a circle, repeating the words-- - - Ringie, ringie, Red Belt, rides wi' the king, - Nae a penny in's purse t'buy a gold ring. - Bow--ow--ow, fat dog art thou, - Tam Tinker's dog, bow--ow--ow. - ---Corgarff (Rev. W. Gregor). - -This goes by the name of "Willie Wogie" at Keith, but no words are -repeated as the splint is whirled. - -See "Jack's Alive." - - -Ring-me-rary - - I. Ring me (1), ring me (2), ring me rary (3), - As I go round (4) ring by ring (5), - A virgin (6) goes a-maying (7); - Here's a flower (8), and there's a flower (9), - Growing in my lady's garden (10). - If you set your foot awry (11), - Gentle John will make you cry (12); - If you set your foot amiss (13), - Gentle John (14) will give you a kiss. - - This [lady or gentleman] is none of ours, - Has put [him or her] self in [child's name] power; - So clap all hands and ring all bells, and make the wedding - o'er. - ---Halliwell's _Nursery Rhymes_, p. 67. - - II. As I go round ring by ring, - A maiden goes a-maying; - And here's a flower, and there's a flower, - As red as any daisy. - If you set your foot amiss, - Gentle John will give you a kiss. - ---Halliwell's _Nursery Rhymes_, p. 125. - -(_b_) A number of boys and girls stand round one in the middle, who -repeats the lines, counting the children until one is counted out by the -end of the verse. The child upon whom (14) falls is then taken out and -forced to select one of the other sex. The middle child then proceeds to -say the three last lines. All the children clap hands during the saying -(or singing) of the last line. If the child taken by lot joins in the -clapping, the selected child is rejected, and, I believe, takes the -middle place. Otherwise, I think there is a salute.--Halliwell. - -(_c_) This game is recorded by no authority except Halliwell, and no -version has reached me, so that I suppose it is now obsolete. It is a -very good example of the oldest kind of game, choosing partners or -lovers by the "lot," and may be a relic of the May-day festival, when -the worship of Flora was accompanied by rites of marriage not in accord -with later ideas. - - -Ring-taw - -A rough ring is made on the ground, and the players each place in it an -equal share in "stonies," or alleys. They each bowl to the ring with -another marble from a distance. The boy whose marble is nearest has the -first chance to "taw;" if he misses a shot the second boy, whose marble -was next nearest to the ring, follows, and if he misses, the next, and -so on. If one player knocks out a marble, he is entitled to "taw" at the -rest in the ring until he misses; and if a sure "tawer" not one of the -others may have the chance to taw. Any one's "taw" staying within the -ring after being tawn at the "shots," is said to be "fat," and the owner -of the "taw" must then replace any marbles he has knocked out in the -ring.--Earls Heaton, Yorks. (Herbert Hardy). Halliwell (_Dictionary_) -describes this game very much as above, except that a fine is imposed on -those who leave the taw in the ring. Ross and Stead (_Holderness -Glossary_) give this game as follows:--"Two boys place an equal number -of marbles in the form of a circle, which are then shot at alternately, -each boy pocketing the marbles he hits." Addy (_Sheffield Glossary_) -says, "Ring-taw" is a marble marked with a red ring used in the game -of marbles. This is commonly called "ring" for short. Evans -(_Leicestershire Glossary_) describes the game much the same as above, -but adds some further details of interest. "If the game be knuckle-up -the player stands and shoots in that position. If the game be -knuckle-down he must stoop and shoot with the knuckle of the first -finger touching the ground at taw. In both cases, however, the player's -toe must be on taw. The line was thus called taw as marking the place -for the toe of the player, and the marble a taw as being the one shot -from the taw-line, in contradistinction to those placed passively in the -ring-'line' in the one case, and 'marble' in the other being dropped as -superfluous."--Strutt (_Sports and Pastimes_, p. 384) alludes to the -game. - -In Ireland this game is also called "Ring," and is played with marbles -and buttons. A ring is marked out on a level hard place, and every boy -puts down a button. The buttons are lightly struck in the centre of the -ring, and all play their marbles to the buttons. The nearest to them -play first. The line from which they play is generally about eight feet -away, and everybody does his best to strike the buttons. Any put out are -kept by the boy putting them out, and if a boy strikes a button, or -buttons, out, he can play on until he misses.--Waterville, Cos. Kerry -and Cork, T. J. Dennachy (through Mrs. B. B. Green of Dublin). - - -Rin-im-o'er - -A game among children, in which one stands in the middle of a street, -road, or lane, while others run across it within a certain given -distance from the person so placed, and whose business it is to catch -one in passing, when he is released, and the captive takes his -place.--Teviotdale (Jamieson's _Dictionary_). - -It nearly resembles "Willie Wastle." - - -Robbing the Parson's Hen-Roost - -This game is played by every player, except one (the questioner), -choosing a word, and introducing it into his phrase whenever he gives an -answer. For example, X, Y, and Z have chosen the words elephant, -key-hole, and mouse-trap. - -Questioner. "What did you steal from the parson's hen-roost?" - -X. "An elephant." - -Q. "How did you get into the hen-roost?" - -Y. "Through the key-hole." - -Q. "Where did you put what was stolen?" - -Z. "Into a mouse-trap." - -And so on with the other players.--Lincoln [generally known] (Miss M. -Peacock). - -The players choose a name, and another player asks them questions, -beginning with, "The Parson's hen-roost was robbed last night, were you -there?" To all questions each player must answer by repeating his own -name only: if he forgets and says, "Yes" or "No," he has to take the -questioner's place.--Haxey, Lincolnshire (Mr. C. C. Bell). - - -Rockety Row - -A play in which two persons stand with their backs to each other, one -passing his arms under the shoulders of the other, they alternately lift -each other from the ground.--Jamieson's _Dictionary_. - -See "Bag o' Malt," "Weigh the Butter." - - -Roll up Tobacco - -See "Bulliheisle," "Eller Tree," "Wind up the Bush Faggot." - - -Roly-poly - -[Illustration] - -A game played with a certain number of pins and a ball, resembling half -a cricket ball. One pin is placed in the centre, the rest (with the -exception of one called the Jack) are placed in a circle round it; the -Jack is placed about a foot or so from the circle, in a line with the -one in the circle and the one in the centre. The centre one is called -the King, the one between that and the Jack, the Queen. The King counts -for three, the Queen two, and each of the other pins for one each, -except Jack. The art of the game lies in bowling down all the pins -except Jack, for if Jack is bowled down, the player has just so many -deducted from his former score as would have been added if he had not -struck the Jack (Holloway's _Dict. Provincialisms_). This game was -formerly called "Half-bowl," and was prohibited by a statute of Edward -IV. (Halliwell's _Dictionary_). Brockett (_North Country Words and -Phrases_) says it is a game played at fairs and races. It is, under the -name of "Kayles," well described and illustrated by Strutt (_Sports and -Pastimes_, p. 270, 271), which is reproduced here. It will be seen that -Jamieson describes it as played with a pole or cudgel. He says this game -no doubt gave origin to the modern one of "Nine-pins;" though -primitively the Kayle-pins do not appear to have been confined to any -certain number nor shape.... The Kayle-pins appear to have been -placed in one row only. He also says that "Half-bowl," played in -Hertfordshire, was called "Roly-poly." - -[Illustration] - -Jamieson (_Dictionary_) gives this as "Rollie-poly," a game of -nine-pins, called also _Kayles_. The name "Rollie-poly" was given to it -because it was played with a pole, or cudgel, by which the pins were -knocked over. In the West of Scotland, where this game was in great -repute in olden times, it formed one of the chief sports of -Fastern's-e'en, and was a favourite amusement at fairs and races. The -awards for successful throwing were generally in the form of small cakes -of gingerbread, which were powerful incentives to the game, and never -failed to attract players in response to the cry, "Wha'll try the lucky -Kayles?" - - -Ronin the Bee - -A rude game. A cazzie, or cassie, is unexpectedly thrown over the head -of a person. When thus blindfolded he is pressed down, and buckets of -water are thrown upon the cassie till the victim is thoroughly -saturated.--Jamieson's _Dictionary_. - -See "Carrying the Queen a Letter," "Ezzeka." - - -Rosy Apple, Lemon and Pear - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Rosy apple, lemon, or pear, - Bunch of roses she shall wear; - Gold and silver by her side, - I know who will be the bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her kisses,--one, two, three,-- - Mrs. (child's name) daughter. - ---Hersham, Surrey (_Folk-lore Record_, v. 58). - - II. Rosy apple, lemon, and pear, - A bunch of roses she shall wear; - Gold and silver by her side, - Choose the one shall be her bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her kisses,--one, two, three,-- - To old mother's runaway daughter. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 210). - - III. Rosy apple, lemon, and a pear, - A bunch of ribbons she shall wear; - Gold and silver by her side, - I know who will be her bride. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses,--one, two, three,-- - For Mrs. ---- daughter. - ---Maxey, Northants. (Rev. W. D. Sweeting). - - IV. Rosy apple, lemon, and a pear, - Bunch of roses you shall wear; - Gold and silver by your side, - I know who shall be a bride. - Take her by the lily-white hand, - Lead her 'cross the water; - Give her kisses,--one, two, three,-- - For Mrs. (So-and-so's) daughter. - ---Deptford, Kent (Miss Chase). - - V. Rosie had an apple and a pear, - A bunch of roses she shall wear; - Gold and silver by her side, - I knows who shall be her bride. - Take her by the lily-white hand, - Lead her across the water; - Give her a kiss, and one, two, three, - Old Mother Sack-a-biddy's daughter! - ---Ogbourne, Wilts. (H. S. May). - - VI. Rosy apples, mellow pears, - Bunch of roses she shall wear; - Gold and silver by her side, - Tell me who shall be her bride. - Take her by her lily-white hand, - Lead her across the ocean; - Give her a kiss, and one, two, three, - Mrs. ---- daughter. - ---Sporle, Norfolk (Miss Matthews). - - VII. A rosy apple, lemon, and a pear, - A bunch of roses she shall wear; - Gold and silver by your side, - Choose the one to be your bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her a kiss by one, two, three, - Mrs. ---- daughter. - ---Cowes, I. of Wight (Miss E. Smith). - - VIII. Roses up, and roses down, - Roses in the garden; - I wadna gie ye a bunch o' flowers - For tenpence halfpenny farden. - Take her by the lily-white hand, - Lead her across the water; - Gie her a kiss, and one, two, three, - For she's a lady's daughter. - ---Berwickshire (A. M. Bell) _Antiquary_, xxx. 16. - - IX. Maggie Littlejohn, fresh and fair, - A bunch of roses in her hair; - Gold and silver by her side, - I know who is her bride. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses,--one, two, three,-- - For she's a lady's daughter. - Roses up, and roses down, - And roses in the garden; - I widna give a bunch of roses - For twopence ha'penny farthing. - ---Rev. W. Gregor. - - X. Roses up, and roses down, - And roses in the garden; - I widna gie a bunch o' roses - For tippence ha'penny farden. - So and so, fresh and fair, - A bunch o' roses she shall wear; - Gold and silver by her side, - Crying out, "Cheese and bride" (bread). - Take her by the lily-white hand, - Lead her on the water; - Give her kisses,--one, two, three,-- - For she's her mother's daughter. - ---Fraserburgh (Rev. W. Gregor). - - XI. Roses up, and roses down, - And roses in the garden; - I wadna gie a bunch o' roses - For twopence ha'penny farthin'. - ----, fresh and fair, - A bunch of roses she shall wear; - Gold and silver by her side, - I know who's her bride. - Take her by the lily-white hand, - And lead her o'er the water; - And give her kisses,--one, two, three,-- - For she's the princess' daughter. - ---Cullen (Rev. W. Gregor). - - XII. Maggie Black, fresh and fair, - A bunch of roses she shall wear; - I know who I'll take. - Give her kisses,--one, two, three,-- - For she's a lady's daughter. - Roses in, and roses out, - Roses in a garden; - I would not give a bunch of roses - For twopence halfpenny "farden." - ---Nairn (Rev. W. Gregor). - -(_c_) The players form a ring, one child stands in the centre, who -chooses a sweetheart from the ring when the fifth line is sung; the two -kiss, the first child takes her place in the ring, the second child -remains in the centre, and the game begins again. This is the method -adopted in most of the versions. The Symondsbury game is slightly -different; the first part is the same, but when the last line is sung -the child who was first in the middle must run away and take a place in -the ring as soon as she can. The second one remains in the centre. The -Maxey (Northants.) version is altogether different. All the children but -one stand in a row. The one stands in front of them and sings the lines -by herself; at the last line she selects one from the line by naming -her. These two then sing the lines, "swinging round," so described by -Mr. Sweeting's informant. They then select a third when singing the last -line, and the three then swing round. This is repeated till all the -children from the line come into the ring. - -In the Scotch versions the players all stand in a line, with one in -front, and sing. At the end of the fourth line the one in front chooses -one from the line, and all again sing, mentioning the name of the one -chosen (Fraserburgh). At Cullen, one child stands out of the line and -goes backwards and forwards singing, then chooses her partner, and the -two go round the line singing. - -(_d_) A version which I collected in Barnes is not so perfect as those -given here, only the four first lines being sung. A Kentish version sent -me by Miss Broadwood is almost identical with the Deptford game. Miss -Broadwood's version commences-- - - Rosy apple, miller, miller, pear. - -An Ipswich version is almost identical with that of Hersham, Surrey -(Lady C. Gurdon's _Suffolk County Folk-lore_, p. 64), except that it -begins "Golden apple" and ends with the marriage formula-- - - Now you're married, I wish you joy, - Father and mother you must obey; - Love one another like sister and brother, - And now's the time to kiss away. - -(_e_) This game is probably derived from the mode of dressing the bride -in the marriage ceremony, and is not very ancient. The line "Lead her to -the altar" probably indicates the earliest version, corrupted later into -"Lead her across the water," and this would prove a comparatively modern -origin. If, however, the "altar" version is a corruption of the "water" -version, the game may go back to the pre-Christian marriage ceremony, -but of this there is little evidence. - - -Roundabout, or Cheshire Round - -This is danced by two only, one of each sex; after leading off into the -middle of an imaginary circle, and dancing a short time opposite to each -other, the one strives by celerity of steps in the circumference of the -circle to overtake and chase the other round it; the other in the -meantime endeavouring to maintain an opposite situation by equal -celerity in receding.--Roberts' _Cambrian Popular Antiquities_, p. 46. - -Halliwell gives Round, a kind of dance. "The round dance, or the dancing -of the rounds."--_Nomenclator_, 1585, p. 299. There was a sort of song -or ballad also so called.--_Dict. Provincialisms._ - - -Round and Round the Village - -[Music] - ---Barnes, Surrey (A. B. Gomme). - -[Music] - ---Hanbury, Staff. (Edith Hollis). - - I. Round and round the village, - Round and round the village; - Round and round the village, - As we have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As we have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As we have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - As we have done before. - - Kiss her before you leave her, - Kiss her before you leave her; - Kiss her before you leave her, - As we have done before. - ---Barnes, Surrey (taken down from children of village school--A. B. -Gomme). - - II. Round and round the village, - Round and round the village; - Round and round the village, - As you have done before. - - In and out the window, - In and out the window; - In and out the window, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - ---Deptford, Kent (Miss Chase). - - III. Round and round the village, - In and out of the window; - Stand and face your lover, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Oh, stand and face your lover, - As you have done before. - - Follow me to London, - Follow me to London; - Oh, follow me to London, - As you have done before. - ---Wakefield, Yorks. (Miss Fowler). - - IV. Round and round the village, - In and out of the window; - Stand and face your lover, - As you have done before; - Oh, stand and face your lover, - As you have done before, O. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---Winterton and Bottesford, Lincolnshire (Miss M. Peacock). - - V. Round and round the village, - Round and round the village; - Round and round the village, - As you have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Shake hands with your lover, - Shake hands with your lover; - Shake hands with your lover, - As you have done before. - ---From girls of Clapham High School (Miss F. D. Richardson). - - VI. Out and in the villages, - Out and in the villages; - Out and in the villages, - As you have done before. - Out and in the windows, - Out and in the windows; - Out and in the windows, - As you have done before. - Stand before your lover, - Stand before your lover; - Stand before your lover, - As you have done before. - ---Cullen (Rev. W. Gregor). - - VII. Go round and round the village, - Go round and round the village, - As we have done before. - - Go in and out the window, - Go in and out the window, - As we have done before. - - Come in and face your lover, - Come in and face your lover, - As we have done before. - - I measure my love to show you, - I measure my love to show you, - As we have done before. - - I kneel because I love you, - I kneel because I love you, - As we have done before. - - Follow me to London, - Follow me to London, - As we have done before. - - Back again to Westerham, - Back again to Westerham, - As we have done before. - ---Crockham Hill, Kent (Miss Chase). - - VIII. Walking round the village, - Walking round the village; - Walking round the village, - As we have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Now they go off courting, - Now they go off courting; - Now they go off courting, - As they have done before. - - Chase her back to Scotland, - Chase her back to Scotland; - Chase her back to Scotland, - As you have done before. - ---Penzance, Cornwall (Mrs. Mabbott). - - IX. Round about the village, - Round about the village; - Round about the village, - As you have done before. - - In and out of the windows, - In and out of the windows; - In and out of the windows, - As you have done before. - - I stand before my lover, - I stand before my lover; - I stand before my lover, - As I have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - - Dance away to Fairyland, - Dance away to Fairyland; - Dance away to Fairyland, - As we have done before. - ---Stevenage, Herts. (Mrs. Lloyd, taught to a friend's children by a -nurse from Stevenage). - - X. All round the village, - All round the village; - All round the village, - As we have done before. - - In and out of the window, - In and out of the window; - In and out of the window, - As we have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As we have done before. - - Kiss her if you love her, - Kiss her if you love her; - Kiss her if you love her, - As we have done before. - - Take her off to London, - Take her off to London; - Take her off to London, - As we have done before. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XI. All round the village, - All round the village; - All round the village, - As you have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - As you have done before. - ---Tean, North Staffs, (from a Monitor in the School). - - XII. Round and round the village, &c., - As you have done before. - - In and out the windows, as you have done before. - - Stand and face your lover, &c. - - Follow me to London, &c. - ---Roxton, St. Neots (Miss E. Lumley). - - XIII. Out and in the windows, - Out and in the windows; - Out and in the windows, - As you have done before. - - Stand before your lover, - Stand before your lover; - Stand before your lover, - As you have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - Before the break of day. - ---Fraserburgh (Rev. W. Gregor). - - XIV. In and out of the window, - In and out of the window; - In and out of the window, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Give me a kiss, my darling, - Give me a kiss, my darling; - Give me a kiss, my darling, - As you have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---Hanbury, Staffordshire (Miss E. Hollis). - - XV. Marching round the ladies, - Marching round the ladies, as you have done before. - In and out the windows, - In and out the windows, as you have done before. - Stand and face your lover, - Stand and face your lover, as you have done before. - Follow me to London, - Follow me to London, as you have done before. - Bring me back to Belfast, - Bring me back to Belfast, as you have done before. - ---Belfast, Ireland (W. R. Patterson). - - XVI. Come gather again on the old village green, - Come young and come old, who once children have been. - Such frolics and games as ne'er before were seen, - We join in riots and play [? riotous]. - Take her off to London, - Take her off to London, - Take her off to London. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have gone before. - - Round about the village, - Round about the village; - Round about the village, - As you have gone before. - - Soon we will get married, - Soon we will get married; - Soon we will get married, - And never more depart. - ---Sporle, Norfolk (Miss Matthews). - - XVII. Three jolly sailor boys - Lately come ashore, - Spend their time in drinking lager wine, - As they have done before. - - We go round, and round, and round, - As we have done before; - And this is a girl, and a very pretty girl, - A kiss for kneeling there. - - Go in and out the window, - Go in and out the window; - Go in and out the window, - As we have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As we have done before. - - Go back and face your lover, - Go back and face your lover; - Go back and face your lover, - As we have done before. - ---Brigg (from a Lincolnshire friend of Miss J. Barker). - - XVIII. Up and down the valley, - Up and down the valley; - Up and down the valley, - As I have done before. - - In and out the window, - In and out the window; - In and out the window, - As I have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As I have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As I have done before. - ---Settle, Yorks. (Rev. W. S. Sykes). - - XIX. In and out the willows, - In and out the willows; - In and out the willows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---West Grinstead, Sussex (_Notes and Queries_, 8th Series, i. 249, Miss -Busk). - -[Illustration: Fig. 1 - -Fig. 2 - -Fig. 3 - -Fig. 4 - -Fig. 5] - -(_c_) The children join hands and form a ring with one child standing -outside. The ring stands perfectly still throughout this game and sings -the verses, the action being confined to at first one child, and then to -two together. During the singing of the first verse the outside child -dances round the ring on the outside. When the ring commences to sing -the second verse the children hold up their arms to form arches, and the -child who has been running round outside runs into the ring under one -pair of joined hands, and out again under the next pair of arms, -continuing this "in and out" movement until the third verse is -commenced. The child should try and run in and out under all the joined -hands. At the third verse the child stops in the ring and stands facing -one, whom she chooses for her lover, until the end of the verse; the -chosen child then leaves the ring, followed by the first child, and they -walk round the ring, or they walk away a little distance, returning at -the commencement of next verse. In the first three versions the second -child is chased back and caught by the first child. In the Clapham -version the two shake hands in the last verse. The Barnes version has -kissing for its finale. The Hanbury also has kissing, but it precedes -the following to London. In the Brigg, Lincolnshire (Miss Barker), a -child stands in the middle and points with her finger to each one she -passes; finally selects one, who leaves the ring and kneels in front of -the girl in the middle. At the end of the second verse the kneeling -child gets up and the first child goes in and out under the arms of the -players, followed by the other. At the fourth they reverse and go back -under the arms in the opposite direction, finally stopping in the middle -of the ring, when another child is chosen and the first one in goes out. -In the Winterton and Bottesford versions (Miss Peacock), at the words -"Stand and face your lover," the child who has been going "in and out" -stands before the one she chooses, beckons to her, and sings the next -verse. Then the chosen one chases her until she can catch her. In the -Crockham Hill version (Miss Chase) the love is measured out with a -handkerchief three times, and after kneeling in the road, the chosen -partner follows round the ring and reverses for the return. - -(_d_) The analysis of the game-rhymes is on pp. 134-39. This shows that -we are dealing with a game which represents a village, and also the -houses in it. The village only disappears in six out of the twenty -versions. In three of these (Hanbury, Fraserburgh, and West Grinstead) -the line has gone altogether. In the fourth (Lincolnshire) it becomes -"Round and round and round," no mention being made of the village. In -the fifth (Belfast) the line has become "Marching round the ladies." In -the sixth (Settle) it has become "Up and down the valley," which also -occurs in another imperfect version, of which a note was sent me by Miss -Matthews from the Forest of Dean, where the line has become "Round and -round the valley." The substitution of "ladies" for "village" is very -significant as evidence that the game, like all its compeers, is in a -declining stage, and is, therefore, not the invention of modern times. -The idea of a circle of children representing a village would -necessarily be the first to die out if the game was no longer supported -by the influence of any custom it might represent. The line of decadence -becomes in this way an important argument for the discovery of the -original form. - - +---+----------------------+----------------------+----------------------+ - |No.| Cornwall, Penzance. | Kent, Crockham Hill. | Herts, Stevenage. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Walking round the |Go round and round the|Round about the | - | |village. |village. |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out the |Go in and out the |In and out of the | - | |windows. |windows. |windows. | - |11.| -- | -- | -- | - |12.|As you have done |As we have done |As you have done | - | |before. |before. |before. | - |13.|Stand and face your | -- |Stand before my lover.| - | |lover. | | | - |14.| -- |Come in and face your | -- | - | | |lover. | | - |15.| -- | -- | -- | - |16.|As you have done |As we have done |As I have done before.| - | |before. |before. | | - |17.|Now they go off | -- | -- | - | |courting. | | | - |18.| -- |I measure my love to | -- | - | | |show you. | | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.|As they have done |As we have done | -- | - | |before. |before. | | - |24.| -- |I kneel because I love| -- | - | | |you. | | - |25.| -- |As we have done | -- | - | | |before. | | - |26.|Chase her back to | -- | -- | - | |Scotland. | | | - |27.| -- |Follow me to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.|As you have done |As we have done |As you have done | - | |before. |before. |before. | - |30.| -- | -- | -- | - |31.| -- |Back again to | -- | - | | |Westerham. | | - |32.| -- | -- |Dance away to | - | | | |fairyland. | - |33.| -- | -- | -- | - |34.| -- |As we have done |As we have done | - | | |before. |before. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Yorks, Earls Heaton. | N. Staffordshire, | Surrey, Clapham. | - | | | Tean. | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|All round the village.|All round the village.|Round and round the | - | | | |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the window.|In and out the window.| - | |window. | | | - |11.| -- | -- | -- | - |12.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - |13.|Stand and face your |Stand and face your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.|Kiss her if you love | -- | -- | - | |her. | | | - |20.| -- | -- |Shake hands with your | - | | | |lover. | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.|As we have done | -- |As you have done | - | |before. | |before. | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- |Follow her to London. | -- | - |28.|Take her off to | -- | -- | - | |London. | | | - |29.|As we have done |As you have done | -- | - | |before. |before. | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lincolnshire. | Surrey, Barnes. | Norfolk, Sporle. | - +---+----------------------+----------------------+----------------------+ - | 1.|Three jolly sailor | -- |Come gather again on | - | |boys. | |the old village green.| - | 2.| -- |Round and round the |Round about the | - | | |village. |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.|We go round and round | -- | -- | - | |and round. | | | - | 6.| -- | -- | -- | - | 7.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - | 8.|And this a girl and a | -- | -- | - | |very pretty girl. | | | - | 9.|A kiss for kneeling | -- | -- | - | |here. | | | - |10.|Go in and out the |In and out the |In and out the | - | |window. |windows. |windows. | - |11.| -- | -- | -- | - |12.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - |13.| -- |Stand and face your | -- | - | | |lover. | | - |14.| -- | -- | -- | - |15.|Go back and face your | -- | -- | - | |lover. | | | - |16.|As we have done |As we have done | -- | - | |before. |before. | | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- |Kiss her before you | -- | - | | |leave her. | | - |20.| -- | -- | -- | - |21.| -- | -- |Soon we will get | - | | | |married. | - |22.| -- | -- | -- | - |23.| -- |As we have done | -- | - | | |before. | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow her to London. | -- | - |28.| -- | -- |Take her off to | - | | | |London. | - |29.|As we have done |As we have done | -- | - | |before. |before. | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Staffordshire, | Belfast. | Wakefield. | - | | Hanbury. | | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- |Round and round the | - | | | |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- |Marching round the | -- | - | | |ladies. | | - | 7.| -- |As you have done | -- | - | | |before. | | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the |In and out of the | - | |windows. |windows. |window. | - |11.| -- | -- | -- | - |12.|As you have done |As you have done | -- | - | |before. |before. | | - |13.|Stand and face your |Stand and face your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As you have done |As you have done |As you have done | - | |before. |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.|Give me a kiss, my | -- | -- | - | |darling. | | | - |23.|As you have done | -- | -- | - | |before. | | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow me to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.|As you have done |As you have done |As you have done | - | |before. |before. |before. | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- |Bring me back to | -- | - | | |Belfast. | | - |34.| -- |As you have done | -- | - | | |before. | | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lincolnshire, | Deptford. | Cullen. | - | | Winterton. | | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Round and round the |Round and round the | -- | - | |village. |village. | | - | 3.| -- | -- | -- | - | 4.| -- | -- |Out and in the | - | | | |villages. | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |As you have done |As you have done | - | | |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the |Out and in the | - | |window. |windows. |windows. | - |11.| -- | -- | -- | - |12.| -- |As you have done |As you have done | - | | |before. |before. | - |13.|Stand and face your |Stand and face your |Stand before your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As you have done |As you have done | -- | - | |before. |before. | | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. | -- | -- | - |28.| -- | -- | -- | - |29.|As you have done | -- | -- | - | |before. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Roxton. | Fraserburgh. | Settle. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Round and round the | -- | -- | - | |village. | | | - | 3.| -- | -- |Up and down the | - | | | |valley. | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As you have done | -- |As I have done before.| - | |before. | | | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out the |Out and in the |In and out the window.| - | |windows. |windows. | | - |11.| -- | -- | -- | - |12.|As you have done |As you have done |As I have done before.| - | |before. |before. | | - |13.|Stand and face your |Stand before your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- |As you have done |As I have done | - | | |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow her to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.| -- | -- |As I have done before.| - |30.| -- |Before the break of | -- | - | | |day. | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+ - |No.| West Grinstead. | - +---+----------------------+ - | 1.| -- | - | 2.| -- | - | 3.| -- | - | 4.| -- | - | 5.| -- | - | 6.| -- | - | 7.| -- | - | 8.| -- | - | 9.| -- | - |10.|In and out the | - | |windows. | - |11.| -- | - |12.|As you have done | - | |before. | - |13.|Stand and face your | - | |lover. | - |14.| -- | - |15.| -- | - |16.|As you have done | - | |before. | - |17.| -- | - |18.| -- | - |19.| -- | - |20.| -- | - |21.| -- | - |22.| -- | - |23.| -- | - |24.| -- | - |25.| -- | - |26.| -- | - |27.|Follow me to London. | - |28.| -- | - |29.|As you have done | - | |before. | - |30.| -- | - |31.| -- | - |32.| -- | - |33.| -- | - |34.| -- | - +---+----------------------+ - -The next incident, No. 10 of the analysis, goes through all the games -except one (West Grinstead), where the very obvious corruption of -"willows" for "windows" occurs. This incident takes us to the houses of -the village; and thus the two lines show us a procession, first, going -round outside the boundary of the village, and, secondly, proceeding in -serpentine fashion through the houses. Incident 13 has a few variations -which do not point to anything more than verbal alteration, due to the -changes which have occurred in the conception of the game. Incidents 17 -to 22 are not constant to all the versions, and their variations are of -an unimportant character. Incident 27 is an important element in the -game. The prevalence of London as the place of assignation is probably -due to the influence of that city in the popular mind; but the real -significance seems to be that the lover-husband follows his bride to her -own village. In only two versions is this incident varied (No. 28) to -indicate that the husband took his wife with him, and only three -versions have dropped out the incident altogether. - -Abnormal incidents occur in only seven versions, and they are not of -great significance. The Lincolnshire and Sporle versions have a line of -general introduction (No. 1) before the game proper begins. Incidents 8 -and 9 occur only in the Lincolnshire version, and do not disturb the -general movement beyond indicating that the game has become, or is -becoming, an indoor game. Incident 21 is obviously a modern line. Nos. -26 and 31 suggest a chase after a fugitive pair which, as they do not -occur in other versions, must be considered as later introductions, -belonging, however, to the period when runaway marriages were more -frequent than they are now, and thus taking us back to, at least, the -beginning of this century; while the significant and pretty variant No. -32 shows that the game has lost touch with the actual life of the -people. No. 30 in the Fraserburgh version has a suspicious likeness to a -line in the American song "I'm off to Charlestown," but as it occurs -only in this one version it cannot count as an important element in the -history of the game. - -(_e_) Miss Matthews notes a Forest of Dean version. The children form a -ring, singing, "Round and round the valley, where we have been before," -while one child walks round the outside. Then they stand with uplifted -hands, joined together, and sing, "In and out of the windows, as we have -done before," while the child threads her way in and out of the ring. -Then they sing, "Stand and face your lover, as we have done before;" the -child then stands in the centre of the ring and faces some one, whom she -afterwards touches, and who succeeds her. A version from North -Derbyshire (Mr. S. O. Addy) is practically the same as the Tean, North -Staffs. version, except that the third verse is "Run to meet your -lover," instead of "Stand and face your lover." The first child, during -the singing of the third verse, walks round outside the ring, and -touches one she chooses, who then runs away. While the fourth verse is -being sung she is chased and caught, and the game begins again with the -second child walking round the village. So far as Lancashire is -concerned, Miss Dendy says, "I have no good evidence as yet that it is a -Lancashire play. I think it has been imported here by board-school -mistresses from other counties." - -(_f_) The burden of this game-rhyme is undoubtedly the oldest part that -has been preserved to modern times. It runs through all the versions -without exception, though variations in the other lines is shown by the -analysis to occur. The words of the line, "As we have done before," -convey the idea of a recurring event, and inasmuch as that event is -undoubtedly marriage, it seems possible to suggest that we have here a -survival of the periodical village festival at which marriages took -place. If the incidents in the game compare closely with incidents in -village custom, the necessary proof will be supplied, and we will first -examine how far the words of the rhyme and the action of the game supply -us with incidents; and, secondly, how far these incidents have been kept -up in the village custom. - -There is nothing in the words to suggest that the incidents which the -game depicts belong to a fixed time, but it is an important fact that -they are alluded to as having previously taken place. If, then, we have -eventually to compare the game with a fixed periodical custom, we can -at least say that the rhymes, though not suggesting this, do not oppose -it. - -This game belongs to the group of "custom games." The first -characteristic which suggests this is that the children, who join hands -and form a circle, are always stationary, and do not move about as in -dance games. To the minds of the children who play the game, each child -in the circle represents something other than human beings, and this -"something" is indicated in the first and second verses, which speak of -the "windows," of houses, and a journey round "a village." In this game, -too, the children, who thus represent a village, also act as "chorus," -for they describe in the words they sing the various actions of those -who are performing their parts, as in the game of "Old Roger." - -With this evidence from the game itself, without reference to anything -outside, it is possible to turn to custom to ascertain if there is -anything still extant which might explain the origin of the game. -Children copy the manners and customs of their elders. If they saw a -custom periodically and often practised with some degree of ceremonial -and importance, they would in their own way act in play what their -elders do seriously. - -Such a custom is the perambulation of boundaries, often associated with -festive dances, courtship, and marriage. More particularly indicative of -the origin of the game is the Helston Furry Dance--"About the middle of -the day the people collect together to dance hand-in-hand round the -streets, to the sound of the fiddler playing a particular tune, which -they continue to do till it is dark. This is called a 'Faddy.' In the -afternoon the gentility go to some farmhouse in the neighbourhood to -drink tea, syllabab, &c, and return in a morrice-dance to the town, -where they form a Faddy and dance through the streets till it is dark, -claiming a right of going through any person's house, in at one door and -out at the other."--_Gent. Mag. Lib. Manners and Customs_, p. 217. "In -one, if not more, of the villages," says Mr. Gregor (_Folk-lore N.E. -Scotland_, p. 98), "when the marriage takes place in the home of the -bride the whole of the marriage party makes the circuit of the -village." In South-Eastern Russia, on the eve of marriage the bride -goes the round of the village, throwing herself on her knees before the -head of each house. In an Indian custom the bride and bridegroom are -conveyed in a particular "car" around the village.--Gomme, _Folk-lore -Relics_, pp. 214, 215. According to Valle, a sixteenth century -traveller, "At night the married couples passed by, and, according to -their mode, went round about the city with a numerous company."--Valle's -_Travels in India_ (Hakluyt Soc.), p. 31.[6] - -In these marriage customs there is ample evidence to suggest that the -Indo-European marriage-rite contained just such features as are -represented in this game, and the changes from rite to popular custom, -from popular custom to children's game, do much to suggest consideration -of the evidence that folk-lore supplies. - -This game is not mentioned by Halliwell or Chambers, nor, so far as I am -aware, has it been previously printed or recorded in collections of -English games. It appears in America as "Go round and round the Valley" -(Newell, _Games_, p. 128). - -See "Thread the Needle." - - [6] Among the Ovaherer tribe, at the end of the festive time, the - newly-married pair take a walk to visit all the houses of the - "Werst." The husband goes first and the wife closely follows - him.--_South African Folk-lore Journal_, i. 50. - - -Round and Round went the Gallant Ship - - I. Round and round went the gallant, gallant ship, - And round and round went she; - Round and round went the gallant, gallant ship, - Till she sank to the bottom of the sea, the sea, the sea, - Till she sank to the bottom of the sea. - -All go down as the ship sinks. - ---Cullen (Rev. W. Gregor). - - II. Three times round goes our gallant ship, - And three times round went she; - Three times round went our gallant ship, - Then she sank to the bottom of the sea. - -As the players all "bob" down they cry out "the sea, the sea, the sea." - ---Aberdeen Training College (Rev. W. Gregor). - - -Round Tag - -A large ring is formed, two deep, with wide right and left hand -intervals between each couple, and one child stands in the ring and -another outside. When the play begins the child in the middle runs and -places herself in front of one of the groups of two, thus forming a -group of three. Thereupon the third child, that is, the one standing on -the outer ring, has to run and try to get a place in front of another -two before the one outside the ring can catch her. Then she who is at -the back of this newly-formed three must be on the alert not to be -caught, and must try in her turn to gain a front place. The one catching -has all along to keep outside the ring, but those trying to escape her -may run in and out and anywhere; whoever is caught has to take the -catcher's place.--Sporle, Norfolk (Miss Matthews). - -[Illustration] - -This game, called "Short Terrace" at East Kirkby, is played in the same -way as that described from Sporle, with the exception that three players -stand together instead of one in the centre to start the game. The -player who stands immediately outside the circle is called the -"clapper;" it is his object to _hit_ the player who stands behind two -others.--East Kirkby, Lincolnshire (Miss K. Maughan). - -"Twos and Threes" is the name by which this game is known in Hampshire, -Monton in Lancashire (Miss Dendy), and other places. It is played in -precisely the same manner as at Sporle. - -Halliwell's _Dictionary_ says of this game as played in Devon, "A round -game, in which they all stand in a ring." - -See "Tag." - - -Rounders - -This is a boys' game. A round area is marked out by boundary sticks, and -at a chosen point of the boundary the base is fixed. This is marked out -independently of the boundary, but inside it. Sides are then chosen. One -side are the "ins," and strike the ball; the other side are the "outs," -and deliver the ball, scout, and endeavour to get their opponents, the -"ins," out as soon as possible. The ball (an indiarubber one) is -delivered by the "feeder," by pitching it to a player, who stands inside -the base armed with a short stick. The player endeavours to strike the -ball as far away as possible from the fielders or scouts. As soon as the -ball is struck away he runs from the base to the first boundary stick, -then to the second, and so on. His opponents in the meantime secure the -ball and endeavour to hit him with it as he is running from stage to -stage. If he succeeds in running completely round the boundary before -the ball is returned it counts as one rounder. If he is hit he is out of -the game. He can stay at any stage in the boundary as soon as the ball -is in hand, getting home again when the next player of his own side has -in turn hit the ball away. When a ball is returned the feeder can bounce -it within the base, and the player cannot then run to any new stage of -the boundary until after the ball has again been hit away by another -player. If a player misses a ball when endeavouring to strike at it he -has two more chances, but at the third failure he is bound to run to the -first boundary stick and take his chance of being hit with the ball. If -a ball is caught the whole side is out at once; otherwise, the side -keeps in until either all the players have been hit out with the ball or -until the base is crowned. This can be done by bouncing the ball in the -base whenever there is no player there to receive the delivery from the -feeder. When a complete rounder is obtained, the player has the -privilege either of counting the rounder to the credit of his side, or -of ransoming one of the players who have been hit out, who then takes -his part in the game as before. When all but one of the players are -"out," this last player in hitting the ball must hit it away so as to be -able to make a rounder, and return to the base before his opponents get -back the ball to crown the base. - -An elaborate form of this game has become the national game of the -United States. - - -Rounds - -See "Roundabout." - - -Row-chow-Tobacco - -See "Bulliheisle," "Eller Tree," "Snail Creep," "Wind up the Bush -Faggot." - - -Rowland-Ho - -A Christmas game.--Halliwell's _Dictionary_. - - -Rumps - -A game with marbles [undescribed].--Dickinson's _Cumberland Glossary_. - - -Rusty - -A boys' game, exactly the same as "Ships."--Addy's _Sheffield Glossary_. - - -Sacks - -A number of children place their closed fists on top of one another in a -pile. The leader asks, pointing to the topmost fist, "What's in that -sack?" Answer, Potatoes, or anything the child chooses. The leader tips -it off with her finger, saying, "Knock it away," and so to the very -undermost fist, when she asks, "What's in this sack?" The answer must -be, "Bread and cheese;" and then the following dialogue takes place:-- - - Where's my share? - The mouse eat it. - Where's the mouse? - The cat killed it. - Where's the cat? - The dog worried it. - Where's the dog? - The cow tossed it. - Where's the cow? - The butcher killed it. - Where's the butcher? - Behind the door. - -And who ever speaks the first word shall get a sound round box on the -ear.--Co. Cork (Mrs. B. B. Green). - - -Saddle the Nag - -An equal number of players is chosen on each side. Two chiefs are chosen -by lot. One of the chiefs takes his stand by a wall, and all his party -bend their backs, joined in a line. One of the opposite side leaps on -the back of the one farthest from the one standing at the wall, and -tries to make his way over the backs of all the stooping boys, up to the -one standing. Those stooping move and wriggle to cast him off, and if -they succeed in doing so, he stands aside till all his side have tried. -When all have tried and none succeed in crowning the one standing, the -sides change. If one or more succeed, then each such has a second chance -before the sides change. Each side commonly has six chances. The side -that succeeds in oftenest touching the chief's head wins the game.--Dyke -(Rev. W. Gregor). - -See "Skin the Goatie." - - -Saggy - -A game with marbles [undescribed].--Dickinson's _Cumberland Glossary_. - - -Sailor Lad - - A sailor lad and a tailor lad, - And they were baith for me; - I wid raither tack the sailor lad, - And lat the tailor be. - - What can a tailor laddie dee - Bit sit and sew a cloot, - When the bonnie sailor laddie - Can turn the ship aboot. - - He can turn her east, and he can turn her west, - He can turn her far awa'; - He aye tells me t' keep up my hairt - For the time that he's awa'. - - I saw 'im lower his anchor, - I saw 'im as he sailed; - I saw 'im cast his jacket - To try and catch a whale. - - He skips upon the planestanes, - He sails upon the sea; - A fancy man wi' a curly pow - Is aye the boy for me, - Is aye the boy for me; - A fancy man wi' a curly pow - Is aye the boy for me. - - He daurna brack a biscuit, - He daurna smoke a pipe; - He daurna kiss a bonnie lass - At ten o'clock at night. - - I can wash a sailor's shirt, - And I can wash it clean; - I can wash a sailor's shirt, - And bleach it on the green. - Come a-rinkle-tinkle, fal-a-la, fal-a-la, - Aboun a man-o'-war. - ---Rosehearty (Rev. W. Gregor). - -A circle is formed by joining hands. They dance round and sing. -Sometimes at Rosehearty two play the game by the one taking hold of the -other's left hand with her right. - - -Sally go Round the Moon - - Sally go round the moon, - Sally go round the stars; - Sally go round the moon - On a Sunday afternoon. - ---Deptford, Kent (Miss E. Chase). - -Three or more girls take hold of hands, forming a ring; as they spin -round they sing the lines. They then reverse and run round in the other -direction with an _O!_ or repeat over again. - -This game is mentioned in the _Church Reformer_, by the Rev. S. D. -Headlam, as one being played at Hoxton, but no account of how the game -is played is given. - - -Sally Water - -[Music] - ---Yorkshire (Mr. H. Hardy). - -[Music] - ---Lancashire (Miss Dendy). - -[Music] - ---Enborne (Miss Kimber). - -[Music] - ---Welford (Mrs. Stephen Batson). - -[Music] - ---Liverpool (Mr. C. C. Bell). - -[Music] - ---Beddgelert, Wales (Mrs. Williams). - -[Music] - ---Nottingham (Miss Youngman). - - I. Sally, Sally Water, - Sprinkle in the pan; - Rise, Sally, rise, Sally, - And choose a young man. - Choose [or bow] to the east, - Choose [or bow] to the west, - And choose [or bow to] the pretty girl [or young man] - That you love best. - -[Another version has: - - Choose for the best one, - Choose for the worst one, - Choose for the pretty girl - That you love best.] - - And now you're married I wish you joy; - First a girl and then a boy; - Seven years after son and daughter; - And now, young people, jump over the water. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 207). - - II. Sally, Sally Walker, sprinkle water in the pan; - Rise, Sally, rise, Sally, and seek your young man; - Turn to the east and turn to the west, - And choose the one that you love best. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after a son and a daughter, - So young lovers kiss together. - ---Chudleigh Knighton, Devon (Henderson's _Folk-lore of the Northern -Counties_, p. 27). - - III. Sally, Sally Water, - Sprinkle in the pan; - Hi! Sally; Ho! Sally, - Choose a young man; - Choose for the best, - Choose for the worst, - Choose for the very one you love best. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after sister and brother; - Kiss each other and come out of the water. - ---Somersetshire, _Notes and Queries_, 8th series, i. 249 (Miss R. H. -Busk). - - IV. Sally Waters, Sally Waters, come sprinkle in the pan; - Rise, Sally; rise, Sally, for a young man! - Choose for the best, choose for the worst, - Choose for the very one you love the best. - - Now you are married, we wish you joy; - First a girl and then a boy, - Seven years afterwards son and daughter; - Pray, young couple, kiss together. - ---London version (Miss Dendy). - - V. Sally, Sally Walker, - Sprinkling in a pan; - Rise, Sally; rise, Sally, - For a young man. - - Come, choose from the east, - Come, choose from the west, - Come, choose out the very one - That you love best. - - Now there's a couple - Married in joy; - First a girl, - And then a boy. - - Now you're married; - You must obey - Every word - Your husband says. - - Take a kiss - And walk away, - And remember the promise - You've made to-day. - ---Fochabers (Rev. W. M'Gregor). - - VI. Sally, Sally Waters, - Sprinkled in the pan; - Rise, Sally, rise, Sally, - For a young man, - Choose the best and choose the worst, - And choose the prettiest you love best. - ---Welford, Berks (Mrs. Stephen Batson). - - VII. Sally, Sally Wallflower, - Sprinkled in the pan, &c., - Now you're married, &c., - On the carpet you shall kneel, &c. - ---_Notes and Queries_, 5th series, iii. - - VIII. Sallie, Sallie Waters, - Sprinkled in a pan; - Rise, Sallie, rise, Sallie, - Choose a young man. - Choose the best, and - Choose the worst, and - Choose the one that you love best. - - Now that you are married, - I'm sure we wish you joy, - First a girl, then a boy; - Seven years after, - Son and daughter, - Pray, young couple, come kiss together. - ---Enborne, Berks; Marlborough, Wilts; Lewes, Sussex (Miss Kimber). - - IX. Sally, Sally Waters, - Sprinkle in a pan; - Cry, Sally, cry, Sally, - For a young man. - Come choose the worst, - Come choose the best, - Come choose the young man - That you like the best. - - And now you're married - I wish yer good joy, - Every year a girl and a boy. - Come love one another - Like sister and brother, - And kiss together for joy. - - Clash the bells, - Clash the bells. - ---Maxey, Northants; and Suffolk (Rev. W. D. Sweeting). - - X. Sally, Sally Water, sprinkle in the pan; - Rise, Sally, rise, Sally, for a young man. - Pick and choose, but choose not me, - Choose the fairest you can see. - - Now Sally is married, we wish her much joy, - First a girl and then a boy; - Seven years after a son and a daughter, - Please to come and kiss together. - ---Summertown, Oxford (A. H. Franklin in _Midland Garner_, N. S. ii. 32). - - XI. Sally, Sally Waters, sprinkle in the pan; - Rise, Sally, rise, Sally, for a young man. - Choose for the worst, choose for the best,[7] - Choose for the prettiest that you loves best. - Now you are married, &c. - ---Longcot, Berkshire, (Miss J. Barclay). - - XII. Sally, Sally Waters, - Sprinkle in a pan; - Cry, Sally, cry, Sally, - For a young man. - - Rise up, Sally, - Dry your tears; - Choose the one you love the best, - Sally, my dear. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XIII. Sally, Sally Water, sprinkle in the pan, - Is not ---- a nice young man? and - Is not (girl's name) as good as he? - They shall be married if they can agree. - I went to her house and I dropped a pin, - I asked if Mrs. ---- was in. - She is not within, she is not without, - She is up in the garret walking about. - Down she comes as white as milk, - With a rose in her bosom as soft as silk. - She off with her glove and showed me her ring, - To-morrow, to-morrow the wedding begins. - ---Surrey (_Folk-lore Record_, v. 88). - - XIV. Sally, Sally Walker, come sprinkle your pan, - For down in the meadows there's a nice young man; - Rise up, Sally, don't look sad, - For you shall have a husband, good or bad. - - On the carpet you shall kneel - Till the grass grows round your feet; - Stand up straightly on your feet, - And choose the one you love so sweet. - - Now Sally's married, we wish her joy, - First a girl, then a boy; - If it's a boy, we'll buy him a cap, - If it's a girl, we will buy her a hat. - If one won't do, will buy you two, - If two won't do, will buy you three, - If three won't do, will get you four, - If four won't do, will get no more, - So kiss and shake hands, and come out. - ---Tong, Shropshire (Miss C. F. Keary). - - XV. Sally, Sally Water, come sprinkle your pan (_or_ plants), - For down in the meadows there lies a young man. - Rise, Sally, rise, and don't you look sad, - For you shall have a husband, good or bad. - Choose you one, choose you two, - Choose the fairest you can see! - - The fairest one as I can see, - Is _Jenny Wood_, pray come to me! - - Now you are married, I wish you good joy, - First a girl and then a boy; - Seven years now, and seven to come, - Take her and kiss her, and send her off home. - ---_Shropshire Folk-lore_, p. 509. - - XVI. Sally, Sally Water (or Slauter), - Come sprinkle in your can, - Why do you get married - To a foolish young man? - Pick the worst, and pick the best, - And pick the one that you love best. - - . . . . . - - To a nice young man - - . . . . . - - So kiss and say good-bye. - - [My informant forgets the rest.] - - --Nottinghamshire (Miss M. Peacock). - - XVII. Sally Water, Sally Water, - Come sprinkle your can, - Why don't you rise, Sally, - And choose a young man? - Come choose of the wisest, - Come choose of the best, - Come choose of the young man - That lies in your breast. - ---Gloucestershire and Warwickshire (Northall, 378). - - XVIII. Sally Water, Sally Water, - Come, sprinkle your can; - Who do you lie mourning, - All for a young man? - Come, choose of the wisest, - Come, choose of the best, - Come, choose of the young men - The one you love best. - ---Addy's _Sheffield Glossary_. - - XIX. Sally, Sally Salter, - Sprinkle in some water; - Knock it in a mortar, - And send it in a silver saucer - To ---- ---- door. - ---Stixwould, Lincolnshire, seventy years ago (Miss M. Peacock). - - XX. Sally Water, Sally Water, - Springin' in a pan; - Cry, Sally, cry, Sally, - For a young man; - Choose for the worst 'un, - Choose for the best 'un, - Choose the little gell 'at you love the best. - - Now you're married - I wish you joy; - First a girl, and then a boy; - Seven years after - Son and daughter. - Pray, young couple, come kiss together. - ---Wakefield, Yorkshire (Miss Fowler). - - XXI. Sally, Sally Water, - Come, water your can, - Such a young lady before a young man; - Rise, Sally Water, - Don't look so sad, - For you shall have a husband, good or bad. - - Now you're married we wish you joy; - Father and mother, you need not cry; - Kiss and kiss each other again; - Now we're happy, let's part again. - ---Long Itchington, Warwickshire (_Northamptonshire Notes and Queries_, -ii. 105). - - XXII. Sally, Sally Slarter, - Sitting by the water, - Crying out and weeping - For a young man. - Rise, Sally, rise, - Dry up your eyes; - Turn to the east, - Turn to the west, - Turn to the young man - That you love the best. - So now you've got married - I hope you'll enjoy - Your sons and your daughters, - So kiss and good-bye. - ---Addy's _Sheffield Glossary_. - - XXIII. Sally, Sally Walker, sprinkled in a pan; - What did she sprinkle for? for a young man; - Sprinkle, sprinkle, daughter, and you shall have a cow; - I cannot sprinkle, mother, because I don't know how. - Sprinkle, sprinkle, daughter, and you shall have a man; - I cannot sprinkle, mother, but I'll do the best I can. - Pick and choose, but don't you pick me; - Pick the fairest you can see. - The fairest one that I can see is ----. Come to me. - Now you're married I wish you much joy; - Your father and mother you must obey; - Seven long years a girl and a boy; - So hush, a bush, bush, get out of the way. - ---Buckingham (Thos. Baker in _Midland Garner_, New Series, ii. 31). - - XXIV. Little Sally Walker sitting in a sigh, - Weeping and waiting for a young man. - Come choose you east, come choose you west, - The very one that you love best. - ---Nairn (Rev. W. Gregor). - - XXV. Little Sally Walker sitting on the sand, - Crying and weeping for a young man. - Rise, Sally, rise, Sally, wipe away your tears, - Try for the east, and try for the west, - Try for the (little) very one you love best. - - Now they're married I wish them joy, - Every year a girl and boy, - Loving each other like sister and brother, - I hope to see them meet again. - ---Fraserburgh (Rev. W. Gregor). - - XXVI. Little Sally Sander - Sitting in the sander, - Weeping and crying for her young man. - Rise, Sally, rise - And wipe away your tears; - Choose to the east, - Choose to the west, - And choose to the very one that you love best. - Now you're married we wish you joy, - First a girl and then a boy; - Twelve months after son and daughter, - All join hands and kiss together. - ---Penzance, Cornwall (Mrs. Mabbott). - - XXVII. Sally, Sally Walker, tinkle in a can; - Rise up, Sally, and choose a young man. - Look to the east, and look to the west, - Choose the one that you love the best. - ---Settle, Yorkshire (Rev. W. S. Sykes). - - XXVIII. Sally Water, Sally Water, - Come sprinkle your fan; - Sally, Sally Waters, sprinkle in a pan; - Rise, Sally, rise, Sally, for a young man. - Choose to the east, and choose to the west, - And choose the dearest one that you love best. - - Now you're married, we wish you joy, - First a girl and then a boy; - Love one another like sister and brother, - And never lose time by kissing one another. - ---West Haddon (_Northamptonshire Notes and Queries_, ii. 104). - - XXIX. Little Sally Waters, sitting in the sun, - Crying and weeping for her young man. - Rise, Sally, rise, wipe up your tears, - Fly to the east, fly to the west, - Fly to the one that you love the best. - ---Brigg, Lincolnshire (Miss Barker). - - XXX. Hie Sally Walker, hie Sally Ken, - Hie Sally Walker, follow young men. - Choose to the east, and choose to the west, - Choose to the very one you love best. - - Marriage comfort and marriage joy, - First a girl and then a boy. - Seven years after, seven years to come, - Fire on the mountain, kiss and run. - ---Belfast, Ireland (W. H. Patterson). - - XXXI. Little Alice Sander - Sat upon a cinder, - Weeping and crying for her young man. - Rise up, Alice, dry your tears, - Choose the one that you love best, - Alice my dear. - - Now they have got married - I hope they will joy, - Seven years afterwards, seven years ago, - Now is the time to kiss and go. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XXXII. Rise, Sally Walker, - Rise if you can, - Rise, Sally Walker, and follow your good man; - Choose to the east, and choose to the west, - Choose to the one you love best. - There is a couple married in joy, - Past a girl and then a boy, - Seven years after, seven years to come, - Kiss you couple, kiss and be done. - A' the many hours to us a happy life, - Except ---- and he wants a wife. - A wife shall he have, - And a widower shall he be, - Except ---- that sits on his knee, - A guid fauld hoose and a blacket fireside, - Draw up your gartens and show all your bride. - ---(Rev. W. Gregor). - - XXXIII. Arise, Sally Walker, arise, if you can, - Arise, Sally Walker, and follow your good man; - Come choose to the east, come choose to the west, - Come choose to the very one you love best. - - This is a couple married with joy; - First a girl and then a boy, - Seven years after and seven years to come, - This young couple married and begun. - [The Christian name of a girl] made a pudding so nice and - sweet, - [Boy's Christian name] took a knife and tasted it. - Taste love, taste love, don't say No, - The next Sunday morning - To church we shall go. - Clean the brazen candlesticks, - And clean the fireside, - Draw back the curtains. - And lat's see the bride. - A' the men in oor toon leads a happy life, - Except [a boy's full name], and he wants a wife. - A wife shall he hae, and a widow she shall be; - For look at [a girl's full name] diddling on's knee. - He paints her cheeks and he curls her hair, - And he kisses the lass at the foot o' the stair. - ---Tyrie (Rev. W. Gregor). - -[The form of words at Cullen is the same for the first seven lines, and -then the words are:--] - - XXXIV. This young couple be married and be done, - A' the men in oor toon leads a happy life, - Except ---- and he wants a wife. - A wife he shall have, and a widow she shall be, - Except [a girl's name] that sits on his knee, - Painting her face and curling her hair, - Kissing [a girl's name] at the foot o' the stair. - ---Cullen (Rev. W. Gregor). - - XXXV. Rise, Sally Walker, rise if you can, - Rise, Sally Walker, follow your gudeman. - Come choose to the east, come choose to the west, - Come choose to the very one that you love best. - - Now they're married I wish them joy, - Every year a girl or boy, - Loving each other like sister and brother, - And so they may be kissed together. - - Cheese and bread for gentlemen, - And corn and hay for horses, - A cup of tea for a' good wives, - And bonnie lads and lassies. - When are we to meet again? - And when are we to marry? - Raffles up, and raffles down, and raffles a' a dancin', - The bonniest lassie that ever I saw, - Was [child in the centre] dancin'. - ---Aberdeen Training College (Rev. W. Gregor.) - - XXXVI. Sally, Sally Walker, sitting in the sun, - Weeping and wailing for a young man, - Rise, Sally, rise, and wipe away your tears, - Fly to the east, fly to the west, - And fly to the very one that you love best. - - Uncle John is very sick, - He goes a courting night and day; - Sword and pistol by his side, - Little Sally is his bride. - He takes her by the lily white hand, - He leads her over the water; - Now they kiss and now they clap, - Mrs. Molly's daughter. - ---Nairn, Perth, Forfar (Rev. W. Gregor). - - XXXVII. Sally, Sally Waters, why are you so sad? - You shall have a husband, either good or bad; - Then rise, Sally Waters, and sprinkle your pan, - For you're just the young woman to get a nice man. - - Now you're married, we wish you joy, - Father and mother and little boy, - Love one another like sister and brother, - And now, good people, kiss each other. - ---Halliwell, _Popular Rhymer_, p. 229. - - XXXVIII.Rise, Sally Walker, - Rise if you can (Northumberland), - Sprinkle in the pan (Yorks. and Midlands), - Rise, Sally Walker, - For a young man. - Choose to the east, - Choose to the west, - Choose to the { very one (Northumberland), - { pretty girl (Yorks., &c.) - You love best. - - Now you're married, - I wish you joy, - First a girl, - And then a boy. - - Seven years after, } - Seven years over, }(Northumberland). - Now's the time to } - Kiss and give over. } - - Five years after } - A son and daughter, } (Yorks., &c.) - Pray, young couple, } - Kiss away. } - ---Hexham (Miss J. Barker). - - XXXIX. Sally Waters, Sally Waters, come rise if you can, - Come rise in the morning, all for a young man; - Come choose, come choose, come choose if you can, - Come choose a good one or let it alone. - ---Monton, Lancashire (Miss Dendy). - - XL. Sally Waters, Sally Waters, - Come rise if you can, - Come rise in the morning, - All for a young man. - First to the east, then to the west, - Then to the bonny lass that you love best. - - Now, Sally, you are married, - I hope you'll agree, - Seven years at afterwards, seven years ago, - And now they are parted with a kiss and a blow. - ---Monton, Lancashire (Miss Dendy). - -The last two lines were supplied by a girl in a very poor district of -Manchester (note by Miss Dendy). - - XLI. Rise, Sally Walker, rise, if you can, - Rise, Sally Walker, and follow your gueedman, - Choose to the east, and choose to the west, - Choose to the one that you love best. - There is a couple married in joy, - First a girl and then a boy, - Seven years after, seven years to come. - ---Rosehearty (Rev. W. Gregor). - - XLII. Little Polly Sanders sits on the sand, - Weeping and crying for her young man; - Rise up, Polly, wipe your tears, - Pick the one you love so sweet. - Now Polly's got married, we hope she'll have joy, - For ever and ever a girl or a boy. - If one won't do, she must have two, - So I pray you, young damsels, to kiss two and two. - ---Liverpool (C. C. Bell). - - XLIII. Here sits poor Sally on the ground, - Sighing and sobbing for her young man. - Arise, Sally, rise, and wipe your weeping eyes, - And turn to the east, and turn to the west, - And show the little boys that you love best. - - A bogie in, a bogie out, - A bogie in the garden, - I wouldn't part with my young man - For fourpence ha'penny farthing. - ---Long Eaton, Nottingham (Miss Youngman). - -[In London the above is:]-- - - XLIV. A beau in front and a beau behind, - And a bogie in the garden oh! - I wouldn't part with my sweetheart - For tuppence (two) ha'penny farthing. - ---London (Mrs. Merck). - - XLV. Sally Walker, Sally Walker, - Come spring time and love, - She's lamenting, she's lamenting, - All for her young man. - Come choose to the east, come choose to the west, - Come choose the one that you love best. - - Here's a couple got married together, - Father and mother they must agree, - Love each other like sister and brother, - I pray this couple to kiss together. - ---Morpeth (Henderson's _Folk-lore of Northern Counties_, p. 26). - - XLVI. Rise, Sally Walker, rise if you can, - Rise, Sally Walker, and choose your good man, - Choose to the east, and choose to the west, - And choose the very one you love best. - Now they're married, wish them joy, - First a girl, and then a boy, - Seven years after, seven years to come, - Now's the time to kiss and be done. - ---Gainford, Durham (Miss A. Edleston). - - XLVII. Little Alexander sitting on the sand, - Weeping and crying for a young man; - Rise up, Sally, and wipe your tears, - Pick the very one that you like best. - Now, Sally, now married, I hope she'll (or you'll) enjoy, - For ever and ever with that little boy - (or with her or your young boy). - ---Beddgelert, Wales (Mrs. Williams). - - XLVIII. Rice, Sally Water, rice if you can, - Rice, Sally Water, and choose your young man; - Choose to the east, choose to the west, - Choose to the prettiest that you love. - - Now you're married, we wish you good joy, - First a little girl, and then a little boy; - Seven years after, seven years to come, - Seven years of plenty, and kiss when you done. - ---Norfolk (Mrs. Haddon). - -(_c_) A ring is formed by the children joining hands. One girl kneels or -sits down in the centre, and covers her face with her hands as if -weeping. The ring dances round and sings the words. The child in the -centre rises when the command is given, and chooses a boy or girl from -the ring, who goes into the centre with her. These two kiss together -when the words are said. The child who was first in the centre then -joins the ring, the second remaining in the centre, and the game -continues. - -All versions of this game are played in the same way, except slight -variations in a few instances. Kissing does not prevail in all the -versions. In the Earls Heaton game, the child who kneels in the centre -also pretends to weep and dries her tears before choosing a partner. -Miss Burne, in _Shropshire Folklore_, says the girl kneels -disconsolately in the middle of the ring. In the Stixwould version, the -child stands in the centre holding in her hands something resembling a -saucer; she then pretends to "knock it in a mortar," and gives the -saucer to the one whom she chooses. This one exchanges places with her. -In the Northants version, at the words "clash the bells," the children -dash down their joined hands to imitate ringing bells. Addy, _Sheffield -Glossary_, says one girl sits in the middle weeping. When the girl has -chosen, the young man remains in the centre, and the word "Sally" is -changed to "Billy," or some other name, and "man" to "girl." In the -Beddgelert version, the centre child wipes her eyes with a handkerchief -in the beginning of the game. Several other versions have been sent me, -all being the same as those printed here, or varying so slightly, it is -unnecessary to repeat them. - -(_d_) The analysis of the game-rhymes is as follows:-- - - +---+----------------------+----------------------+----------------------+ - |No.| Dorsetshire. | Devonshire. | Somersetshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. | -- |Sally Water. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in pan. |Sprinkle water in the |Sprinkle in the pan. | - | | |pan. | | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise and choose a |Rise and seek a young |Hi, choose a young | - | |young man. |man. |man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Turn east, west. | -- | - |19.| -- | -- |Choose best, worst. | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, |Now you're married, |Now you're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| London. | Fochabers. | Berkshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- |Sally Waters. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in the pan. |Sprinkling in a pan. |Sprinkled in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a young man. |Rise for a young man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |Choose east, west. | -- | - |19.|Choose best, worst. | -- |Choose best, worst. | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, | -- | -- | - | |&c. | | | - |23.| -- |You must obey, &c. | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Crockham Hill, Kent. | Wiltshire. | Northants. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Waters. |Sally Waters. | - | 2.| -- | -- | -- | - | 3.|Sally Wallflowers. | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkled in the pan. |Sprinkled in a pan. |Sprinkle in a pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose a | -- | - | | |young man. | | - |14.| -- | -- |Cry for a young man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- |Choose best, worst. |Choose best, worst. | - |20.| -- | -- | -- | - |21.| -- |Choose the best loved.|Choose the best loved.| - |22.| -- |Now you're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Oxford. | Yorkshire. | Surrey. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Waters. |Sally Water. | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in the pan. |Sprinkle in a pan. |Sprinkle in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. | -- | -- | - |14.| -- |Cry for a young man. | -- | - |15.| -- | -- |Is not -- a nice young| - | | | |man. | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.|Choose fairest. | -- | -- | - |21.| -- |Choose the best loved.| -- | - |22.|Now she's married, &c.| -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- |They shall be married | - | | | |if they agree, &c. | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Shropshire (1). | Shropshire (2). | Notts. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Water. |Sally Water. | - | 2.|Sally Walker. | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in your pan. |Sprinkle in your pan. |Sprinkle in your can. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise,for you shall | -- | - | | |have a husband. | | - |14.| -- | -- | -- | - |15.|Down in the meadow | -- |Why do you marry a | - | |there's a nice young | |foolish young man. | - | |man. | | | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- |Pick worst, best. | - |20.| -- |Choose fairest. | -- | - |21.| -- | -- |Choose the best loved.| - |22.| -- |Now you're married, | -- | - | | |&c. | | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.|On the carpet she | -- | -- | - | |shall kneel, &c. | | | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Gloucestershire. | Sheffield. | Lincolnshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Water. | -- | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- |Sally Salter. | - | 5.| -- | -- | -- | - | 6.|Sprinkle your can. |Sprinkle your can. | -- | - | 7.| -- | -- |Sprinkle in some | - | | | |water. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Why don't you rise for| -- | -- | - | |a young man. | | | - |14.| -- |Who do you lie | -- | - | | |mourning for a young | | - | | |man. | | - |15.| -- | -- | -- | - |16.| -- | -- |Send it in a silver | - | | | |saucer to []. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.|Choose wisest, best. |Choose wisest, best. | -- | - |20.| -- | -- | -- | - |21.|Choose the one that |Choose the best loved.| -- | - | |lies in your breast. | | | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Wakefield. | Warwickshire. | Sheffield. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Water. | -- | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- |Sally Slarter. | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |Water your can. |Sitting by the water. | - | 8.|Springin' in a pan. | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise for a husband. | -- | - |14.|Cry for a young man. | -- |Crying for a young | - | | | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- |Turn east, west. | - |19.|Choose worst, best. | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.| -- |Choose the best loved.| - |22.|Now you're married, |Now you're married, |Now you're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Bucks. | Nairn. | Fraserburgh. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Sally Walker. |Sally Walker. |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkled in a pan. | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- |Sitting in a sigh. | -- | - |10.| -- | -- |Sitting on the sand. | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Weeping for a young |Weeping for a young | - | | |man. |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.|Sprinkle for a young | -- | -- | - | |man. | | | - |18.| -- |Choose east, west. |Try east, west. | - |19.| -- | -- | -- | - |20.|Choose fairest. | -- | -- | - |21.| -- |Choose the best |Choose the best loved.| - | | |loved. | | - |22.|Now you're married, | -- |Now they're married, | - | |&c. | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Cornwall. | Settle. | Northants. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- |Sally Water. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.|Sally Sander. | -- | -- | - | 6.| -- | -- |Sprinkle in a pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Sitting in the sander.| -- | -- | - |11.| -- |Tinkle in a can. | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose a |Rise for a young man. | - | | |young man. | | - |14.|Weeping for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Look east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, | -- |Now you're married, | - | |&c. | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Brigg. | Belfast. | Earls Heaton. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- | -- | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- |Alice Sander. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- |Sat upon a cinder. | - |11.| -- | -- | -- | - |12.|Sitting in the sun. | -- | -- | - |13.| -- |Hi for a young man. | -- | - |14.|Crying for a young | -- |Weeping for a young | - | |man. | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Fly east, west. |Choose east, west. | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.| -- |Married, &c. |Now they're married, | - | | | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Scotland. | Tyrie. | Aberdeen. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Sally Walker. |Sally Walker. |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a young man. |Rise for a young man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Choose east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now they are married, |Now they're married, |Now they're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Nairn. | Halliwell. | Hexham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Water. | -- | - | 2.|Sally Walker. | -- |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- |Sprinkle in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.|Sitting in the sun. | -- | -- | - |13.| -- | -- |Rise for a young man. | - |14.|Weeping for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- |Sprinkle for a young | -- | - | | |man. | | - |18.|Fly east, west. | -- |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Fly to the best loved.| -- |Choose the best loved.| - |22.| -- |Now you're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.|Goes courting, &c. | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lancashire. | Rosehearty. | Notts. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- |Sallie []. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- |Sitting on the ground.| - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a good man. | -- | - |14.| -- | -- |Sobbing for a young | - | | | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|First east, west. |Choose east, west. |Turn east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Then to the bestloved.| -- |Turn to the best | - | | | |loved. | - |22.|Now you're married, |There's a couple, &c. | -- | - | |&c. | | | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- |A bogie in, &c. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Morpeth. | Gainford. | Norfolk. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- |Sallie []. | - | 2.|Sally Walker. |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose your |Rise and choose. | - | | |good man. | | - |14.|Lamenting for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Choose east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the prettiest. | - |22.|Here's a couple, &c. |Now they're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+ - |No.| Beddgelert. | - +---+----------------------+ - | 1.|Sallie []. | - | 2.| -- | - | 3.| -- | - | 4.| -- | - | 5.| -- | - | 6.| -- | - | 7.| -- | - | 8.| -- | - | 9.| -- | - |10.|Sitting in sand. | - |11.| -- | - |12.| -- | - |13.| -- | - |14.|Crying for a young | - | |man. | - |15.| -- | - |16.| -- | - |17.| -- | - |18.| -- | - |19.| -- | - |20.| -- | - |21.|Pick the one you like | - | |best. | - |22.|Now you're married, | - | |&c. | - |23.| -- | - |24.| -- | - |25.| -- | - |26.| -- | - |27.| -- | - +---+----------------------+ - -The first thing to note from this analysis are the words Sally and -Water. In twenty-three versions they are Sally Water or Waters, in -seventeen versions it is Sally Walker, in six versions it is another -name altogether, while in two versions it is Sallie only. The most -constant name, therefore, points to Sally Water as the oldest version; -and it is noticeable that in the Lincolnshire and Sheffield versions, -where the name is not Sally Water, the word water is introduced later on -in the line which directs the action of sprinkling water. Is it -possible, then, that Sally Water may be a corruption from an earlier -form where Sally is some other word, not the name of a girl, as it is -usually supposed to be, and the word water is connected, not with the -name of the maiden, but with the action of sprinkling which she is -called upon to perform? If we could surmise that the early form was -"Sallie, Sallie, water sprinkle in the pan," the accusative being placed -before the verb, the problem would be solved in this manner; but there -is no warrant for this poetical licence in popular verses, and I prefer -to suggest that "water" got attached as a surname by simple -transposition, such as the Norfolk and Beddgelert versions allow as -evidence. It follows from this that Walker and other names appear as -degraded forms of the original, and do not enter into the question of -origins, a point which may readily be conceded, considering that the -general evidence of all these singing games is, that no special names -are ever used, but that names change to suit the players. The next -incident in the analysis is the ceremony of "sprinkling the water," -which is constant in twenty-one versions, while the Wakefield "Springin' -in the pan," the Settle "Tinkle in a can," Halliwell's "Sprinkle for a -young man," and the eight versions in which this incident is wholly -absent in any form, are evident corruptions. The tendency of the -corruption is shown by this to be that the "sprinkling of water" came to -be omitted from the verse, and therefore the other variants-- - - Sitting by the water (Sheffield), - Water your can (Warwickshire), - Sitting in a sigh (Nairn), - Sitting on the sand (Fraserburgh and Beddgelert). - Sitting in the sander (Cornwall), - Sitting in the sun (Brigg and Nairn), - Sat upon a cinder (Earls Heaton), - Sitting on the ground (Notts.), - -are but the steps through which the entire omission of the water -incident was finally attained. The third incident is "Rise and choose" a -young man, the alternative being "Crying for a young man." The first -indicates a kneeling and reverential attitude before the water, and -occurs in twenty-one versions, while the second only occurs in fourteen -versions. - -The expression "crying" is really to "announce a want," as "wants" were -formerly cried by the official "crier" of every township, and indeed as -children still in games "cry" the forfeits; but losing this meaning, the -expression came to mean crying in the sense of "weeping," and appearing -to the minds of children as a natural way of expressing a want, would -therefore succeed in ousting any more archaic notion. The incident of -crying for a lover appears in other singing games, as, for instance, in -"Poor Mary." Especially may this be considered the process which has -been going on when it is seen that "choosing" is an actual incident of -the game, even in those cases where "crying" has replaced the kneeling. -The choosing incident also assumes two forms, namely, with respect to -"east and west" in twenty-two versions, and "best and worst" in nine -versions. Now, the expression, "for better for worse," is an old -marriage formula preserved in the vernacular portion of the ancient -English marriage service (see Palgrave, _English Commonwealth_, ii., p. -cxxxvi.); and I cannot but think that we have the same formula in this -game, especially as the final admonition in nearly all the versions is -to choose "the one loved best." Following upon this comes the very -general marriage formula noted so frequently in these games. It is -slightly varied in some versions, and is replaced by a different -formula, but one that also appears in other games, in two or three -versions. One feature is very noticeable in the less common versions of -this game, viz., the assumption of the marriage being connected with the -birth of children, and the indulgences of the lovers, as in the Tong -and Scottish versions xxxii., xxxiii., and xxxiv. - -(_e_) In considering the probable origin of the game, the first thing -will be to ascertain as far as possible what ideas the words are -intended to convey. Taking note of the results of the analysis, so far -as they show the corruptions which have taken place in the words, it -seems clear that though it is not possible to restore the original -words, their original meaning is still preserved. This is, that they -accompanied the performance of a marriage ceremony, and that a chief -feature of this ceremony was connected with some form of water-worship, -or some rite in which water played a chief part. Now it has been noted -before that the games of children have preserved, by adaptation, the -marriage ceremony of ancient times (_e.g._, "Merry ma Tansa," "Nuts in -May," "Poor Mary," "Round and Round the Village"); but this is the first -instance where such an important particularisation as that implied by -water-worship qualifies the marriage ceremony. It is therefore necessary -to see what this exactly means. Mr. Hartland, in his _Perseus_ (i. -167-9), draws attention to the general significance of the water -ceremonial in marriage customs, and Mr. F. B. Jevons, in his -introduction to Plutarch's _Romane Questions_, and in the _Transactions -of the Folk-lore Congress_, 1891, deals with the subject in reference to -the origin of custom obtaining among both Aryan and non-Aryan speaking -people. In this connection an important consideration arises. The -Esthonian brides, on the morning after the wedding, are taken to make -offerings to the water spirit, and they throw offerings into the spring -(or a vessel of water), overturn a vessel of water in the house, and -sprinkle their bridegrooms with water. The Hindoo offerings of the bride -were cast into a water vessel, and the bride sprinkles the court of the -new house with water by way of exorcism, and also sprinkles the -bridegroom (Jevons, _loc. cit._, p. 345). Here the parallel between the -non-Aryan Esthonian custom and the Aryan Hindoo custom is very close, -and it is a part of Mr. Jevons' argument that, among the Teutons, with -whom alone of Aryan speaking peoples the Esthonians came into contact, -the custom was limited to the bride simply stepping over a vessel of -water. There is certainly something a great deal more than the parallel -to the Teutonic custom in the game of "Sally, Sally Water," and as it -equates more nearly to Hindoo and Esthonian custom, the question is, -Does it help Mr. Jevons in the important point he raises? I think it -does. A custom is very low down among the strata of survivals when it is -only to be recognised as part of a children's singing game, and the -proposition it suggests is that children have preserved more of the old -custom than was preserved by the people who adopted a portion of it into -their marriage ceremony. A custom so treated must be older than the -marriage ceremony with which it thus came into contact, and if this is a -true conclusion, we have in this children's game a relic of the -pre-Celtic peoples of these islands--a relic therefore going back many -centuries for its origin, and which is of inestimable service in -discussing some important problems of the ethnic significance of -folk-lore. These conclusions are entirely derived from the significant -position which this game occupies in relation to Esthonian (non-Aryan) -and to Teutonic (Aryan) marriage customs respectively, and therefore it -is of considerable importance to note that it entirely fits in with the -conclusion which my husband has drawn as to the non-Aryan origin of -water-worship (see Gomme's _Ethnology of Folk-lore_, pp. 79-105). - -There is, however, something further which seems to bring this game into -line with non-Aryan marriage customs. The marriage signified by the game -is acknowledged and sanctioned by the presence of witnesses; is made -between two people who choose each other without any form of compulsion; -is accompanied by blessings upon the young couple and prognostications -of the birth of children. These points show that the marriage ceremony -belongs to a time when the object of the union was to have children, and -when its duration was not necessarily for life. It is curious to note -that water worship is distinctly connected with the desire to have -children (_Proc. Roy. Irish Acad._, 3rd ser., ii. 9); and that the idea -of the temporary character of the marriage status of the lower classes -of the people is still extant I have certain evidence of. Early in -November of 1895, a man tried for bigamy gave as his defence that he -thought his marriage was ended with his first wife, as he had been away -seven years. It is a frequently told story. A year and a day and seven -years are the two periods for which the popular mind regards marriage -binding. "I was faithful to him for seven years, and had more than my -two children," a woman said to me once, as if two children were the -required or expected number to be born in that period. If there is a -popular belief of this kind, it is strangely borne out by this -game-rhyme. "First a girl, and then a boy," may also be shown to be a -result to be desired and prayed for, in the popular belief that a man's -cycle of life is not complete until he is the father of a daughter, who, -in her turn, shall have a son. Miss Hawkins Dempster obtained evidence -of such a belief from the lips of a man who considered he was entitled -to marry another woman, as his wife had only borne him sons, and -therefore his life was not (like hers) complete. - -The free choice of both woman and man is opposed to the theory of our -present marriage ceremony, where permission or authority to marry is -only necessary for the woman, the man being able to do as he pleases. -This is now regarded as a sign of women's early subjection to the -authority of men and their subordinate place in the household. But it -does not follow that this was the relative position of men and women -when a ceremony was first found needful and instituted. I am inclined to -think it must have been, rather, the importance attached to the woman's -act of ratification, in the presence of witnesses, of her formal promise -to bear children to a particular man. Marriage would then consist of -contracts between two parties for the purpose of, and which actually -resulted in, the birth of children; of concubinage, or the wife -consenting to children being born to her husband by another woman in her -stead, if she herself failed in this respect (such children being hers -and her husband's jointly); of marriage without ceremony or set purpose, -resulting from young people being thrown together at feast times, -gathering in of harvests, &c., which might or might not result in the -birth of children. These conditions of the marriage rite are at variance -with what we know of the Aryan marriage generally and its results; and -that they flow from the customs preserved in the game under -consideration is further proof of the origin of the game from a marriage -rite of the pre-Celtic people of these islands. The "kissing together" -of the married couple is the token to the witnesses of their mutual -consent to the contract. - -Attention has already been directed to the fact that parts of the -formula preserved in this game are also found in other games, and it may -possibly be assumed therefrom that the same origin must be given to -these games as to "Sally Water." The objection to such a conclusion is -mainly that it is impossible to decide to which game the popular -marriage formula originally belonged, and from which it has been -borrowed by the other games. Seeing how exactly it fits the -circumstances of "Sally Water," it might not be too much to suggest that -it rightly belongs to this game. Another point to be noted is that the -tune to which the words of the marriage formula are sung is always the -same, irrespective of that to which the previous verses are sung, and -this rule obtains in all those games in which this formula appears--a -further proof of the antiquity of the formula as an outcome of the early -marriage ceremony. - - [7] Redruth version-- - - Fly for the east, fly for the west, - Fly for the very one you love best. - - -Sally Sober - -A game among girls [undescribed].--Dickinson's _Cumberland Glossary_ -(_Supplement_). - - -Salmon Fishers - - I. Cam' ye by the salmon fishers, - Cam' ye by the roperee? - Saw ye a sailor laddie - Sailing on the raging sea? - Oh, dear ----, are ye going to marry? - Yes, indeed, and that I am. - Tell to me your own true lover, - Tell to me your lover's name? - _He's_ a bonnie lad, _he's_ a bonnie fellow, - Oh, he's a bonnie lad, - Wi' ribbons blue and yellow, - Stockings of blue silk; - Shoes of patent leather, - Points to tie them up. - A gold ring on his finger. - Did you see the ship he came in? - Did you see it comin' in? - Every lassie wi' her laddie, - Every widow wi' her son. - Mother, struck eight o'clock, - Mother, may I get out? - For my love is waiting - For to get me out. - First he gave me apples, - Then he gave me pears, - Then he gave me a sixpence - To kiss him on the stairs. - Oh, dear me, I wish I had my tea, - To write a letter to my love - To come back and marry me. - ---Rosehearty (Rev. W. Gregor). - - II. Cam' ye by the salmon fishers? - Cam' ye by the roperee? - Saw ye a sailor laddie - Waiting on the coast for me? - I ken fahr I'm gyain, - I ken fahs gyain wi' me; - I ha'e a lad o' my ain, - Ye daurna tack 'im fae me. - Stockings of blue silk, - Shoes of patent leather, - Kid to tie them up, - And gold rings on his finger. - Oh for six o'clock! - Oh for seven I weary! - Oh for eight o'clock! - And then I'll see my dearie. - ---Fochabers (Rev. W. Gregor). - - III. Come ye by the salmon fishers? - Come ye by the roperee? - Saw ye my dear sailor laddie - Sailing on the raging sea? - Tip for gold and tip for silver, - Tip for the bonnie laddie I do adore; - My delight's for a sailor laddie, - And shall be for evermore. - Sit you down, my lovely Elsie, - Take your baby on your knee; - Drink your health for a jolly sailor, - He will come back and marry you. - He will give you beads and ear-rings, - He will give you diamonds free; - Sailors they are bonnie laddies, - Oh, but they are neat and clean! - They can kiss a bonnie lassie - In the dark, and A, B, C; - When the sailors come home at evening - They take off their tarry clothes, - They put on their light blue jackets, - That is the way the sailors go. - ---Rev. W. Gregor. - -A circle is formed, and the children dance round singing. Before -beginning they agree which of the players is to be named in the fifth -line of the Rosehearty version. - -Jamieson's _Dictionary_ (_sub voce_), "Schamon's Dance," says, "Some -particular kind of dance anciently used in Scotland." - - Blaw up the bagpyp than, - The schamon's dance I mon begin, - I trow it sall not pane. - ---"Peblis to the Play," _Chronicles of Scottish Poetry_, i. 135. - -Pinkerton defines salmon as "probably _show-man_, _shaw-man_." - -See "Shame Reel, or Shamit Dance." - - -Salt Eel - -This is something like "Hide and Find." The name of Salt Eel may have -been given it from one of the points of the game, which is to baste the -runaway individual, whom you may overtake, all the way home with your -handkerchief, twisted hard for that purpose. Salt Eel implies on board -ship a rope's ending, and on shore an equivalent process.--Moor's -_Suffolk Words and Phrases_. - - -Save All - -Two sides are chosen in this game. An even number of boys, say eight on -each side. Half of these run out of the line, and are chased by half of -the boys from the other side. If two out of four get "home" to door or -lamp-post, they _save all_ the prisoners which have been made; if two -out of four are caught before the others get "home," the side catching -them beats.--Deptford (Miss Chase). - - -Say Girl - -A game undescribed, recorded by the Rev. S. D. Headlam as played by some -Hoxton school children.--_Church Reformer_, 1894. - - -Scat - -A paper-knife, or thin slip of wood, is placed by one player on his open -palm. Another takes it up quickly, and tries to "scat" his opponent's -hand before he can draw it away. Sometimes a feint of taking the -paper-knife is made three or four times before it is really done. When -the "scat" is given, the "scatter" in his turn rests the knife on his -palm. Scat is the Cornish for "slap."--_Folk-lore Journal_, v. 50. - - -Scop-peril, or Scoperel - -Name for teetotum ordinarily manufactured by sticking a pointed peg -through a bone button.--Easther's _Almondbury Glossary_; also in SW. -Lincolnshire, Cole's _Glossary_. - -See "Totum." - - -Scotch-hoppers - -In _Poor Robin's Almanack_ for 1677, in the verses to the reader, on the -back of the title-page, concerning the chief matters in the volume, -among many other articles of intelligence, the author professes to -show-- - -"The time when school boys should play at _Scotch-hoppers_." - -Another allusion occurs in the same periodical for 1707--"Lawyers and -Physitians have little to do this month, and therefore they may (if they -will) play at _Scotch-hoppers_. Some men put their hands into peoples' -pockets open, and extract it clutch'd, of that beware. But counsel -without a cure, is a body without a soul." And again, in 1740--"The -fifth house tells ye whether whores be sound or not; when it is good to -eat tripes, bloat herrings, fry'd frogs, rotten eggs, and monkey's tails -butter'd, or an ox liver well stuck with fish hooks; when it is the most -convenient time for an old man to play at _Scotch-hoppers_ amongst the -boys. In it also is found plainly, that the best armour of proof against -the fleas, is to go drunk to bed." - -See "Hopscotch," "Tray-Trip." - - -Scots and English - -Boys first choose sides. The two chosen leaders join both hands, and -raising them high enough to let the others pass through below, cry-- - - Brother Jack, if ye'll be mine, - I'll gie ye claret wine; - Claret wine is good and fine, - Through the needle ee, boys. - -Letting their arms fall they enclose a boy and ask him to which side he -will belong, and he is disposed of according to his own decision. The -parties being at length formed, are separated by a real or imaginary -line, and place at some distance behind them, in a heap, their hats, -coats, &c. They stand opposite to each other, the object being to make a -successful incursion over the line into the enemy's country, and bring -off part of the heap of clothes. It requires both address and swiftness -of foot to do so without being taken by the foe. The winning of the game -is decided by which party first loses all its men or its property. At -Hawick, where the legendary mimicry of old Border warfare peculiarly -flourishes, the boys are accustomed to use the following rhymes of -defiance:-- - - King Covenanter, come out if ye daur venture! - Set your foot on Scots' ground, English, if ye daur! - ---Chambers' _Popular Rhymes_, p. 127. - -The following version was written down in 1821 under the name of Scotch -and English:--Two parties of boys, divided by a fixed line, endeavoured -to pull one another across this line, or to seize by bodily strength or -nimbleness a "wad" (the coats or hats of the players) from the little -heap deposited in the different territories at a convenient distance. -The person pulled across or seized in his attempt to rob the camp was -made a prisoner and conducted to the enemy's station, where he remained -under the denomination of "stinkard" till relieved by one of the same -side, or by a general exchange of prisoners.--_Blackwood's Magazine_, -August 1821, p. 25. The _Denham Tracts_, i. 150, gives a version of the -game much the same as these, except that the words used by the English -are, "Here's a leap into thy kingdom, dry-bellied Scot." See also -Hutton's _History of Roman Wall_ (1804), p. 104. Brockett's account, -under the title of "Stealy Clothes, or Watch Webs," is as follows:--The -players divide into two parties and draw a line as the boundary of their -respective territories. At an equal distance from this line each player -deposits his hat or some other article of his dress. The object of the -game is to seize and convey these singly to your own store from that of -the enemy, but if you are unfortunately caught in the attempt, you not -only restore the plunder but become a prisoner yourself. This evidently -takes its origin from the inroads of the English and Scotch; indeed, it -is plainly proved from the language used on the occasion, which consists -in a great measure of the terms of reproach still common among the -Borderers.--Brockett's _North Country Words_. - -Jamieson, also, describes the game under the title of "English and -Scotch," and says the game has originated from the mutual incursions of -the two nations. - -See "French and English," "Prisoner's Base," "Rigs." - - -Scratch Cradle - -The game of "Cat's Cradle." - - -Scrush - -A game much like Shinty between two sides of boys, each with bandies -(scrushes) trying to knock a roundish stone over the other's -line.--Barnes' _Dorset Glossary_. See "Shinney." - - -Scurran-Meggy - -A game much in vogue in Cumberland during the last century, and in which -a peculiar form of top called a "scurran top" was used.--Halliwell's -_Dictionary_. - - -See-Saw - -[Music] - ---London (A. B. Gomme). - - I. Titty cum tawtay, - The ducks in the water; - Titty cum tawtay, - The geese follow after. - ---Halliwell's _Nursery Rhymes_, p. 213. - - II. See-saw, Margery Daw, - Sold her bed to lie upon straw; - Wasn't she a dirty slut - To sell her bed to lie upon dirt? - ---London (A. B. Gomme). - - III. See-saw, Margery Daw, - Johnny shall have a new master; - He shan't have but a farthing a day, - Because he can't work any faster. - ---London (G. L. Gomme). - - IV. See-saw, sacradown, - Which is the way to London town? - One boot up, and the other down, - And that is the way to London town. - ---Halliwell's _Nursery Rhymes_, No. cccxxx. - - V. The poor man was digging, - To and fro, to and fro; - And his spade on his shoulder, - To and fro, to and fro. - - The poor man was digging, - To and fro, to and fro; - And he caught the black cross, - To and fro, to and fro. - ---Isle of Man (A. W. Moore). - -A common game, children sitting on either end of a plank supported on -its centre, and made to rock up and down. While enjoying this -recreation, they sing the verse. Addy, _Sheffield Glossary_, gives Ranty -or Rantypole, a plank or pole balanced evenly, upon which children rock -up and down in see-saw fashion. Jamieson, _Etymological Dictionary_, -gives Coup-the-Ladle as the name for See-saw in Aberdeen. Moor, _Suffolk -Words and Phrases_, describes this game, and gives the same words to be -sung while playing as Halliwell's above. Grose gives "Weigh," to play at -See-saw. Holloway, _Dictionary of Provincialisms_, says, in Norfolk -See-saw is called Titti cum Totter; and in Gainford, Durham, Ewiggy -Shog. Halliwell gives versions of Nos. II. and III. in his _Nursery -Rhymes_, and also other verses with the opening words "See-saw," namely, -"See-saw, Jack-a-Daw," "See-saw, Sack-a-day;" but these are not -connected with the game by Halliwell, and there is nothing in the words -to indicate such a connection. Mactaggart, _Gallovidian Encyclopdia_, -calls the game "Coggle-te-Carry," but gives no verses, and Strutt calls -it "Titter Totter."--_Sports_, p. 303. He does not give any rhymes, -except to quote Gay's poem, but it is possible that the rhyme to his -game may be No. I. Brogden gives "Hightte" as the game of See-saw. The -Manx version has not before been published, and Mr. Moore says is now -quite forgotten in the Isle. The game is called "Shuggy-shoo" in Irish, -and also "Copple-thurrish," evidently "Horse and Pig," as if the two -animals were balancing against each other, and alternately becoming -elevated and depressed.--_Ulster Journ. Arch._, vi. 102. The child who -stands on the plank in the centre and balances it, is frequently called -the "canstick" or "candlestick." - - -See-Sim - -A children's game. If one of the party is blindfolded, it is -"Blind-Sim."--Spurden's _East Anglian Glossary_. - - -Shame Reel, or Shamit Dance - -In several counties of Scotland this was the name of the first dance -after the celebration of marriages. It was performed by the bride and -best man and the bridegroom and best maid. The bride's partner asked -what was to be the "sham spring," and she commonly answered, "Through -the world will I gang wi' the lad that lo'es me," which, on being -communicated to the fiddlers, was struck up, and the dance went on -somewhat punctiliously, while the guests looked on in silence, and -greeted the close with applause. This dance was common in Forfarshire -twenty years ago.--Jamieson's _Dictionary_. - -See "Cushion Dance," "Salmon Fishers." - - -She Said, and She Said - -This game requires two confederates; one leaves the room, and the other -in the secret asks a player in the room to whisper to him whom she (or -he) loved; he then calls in his companion, and the following dialogue is -carried on:-- - - "She said, and she said! - And what did she say?" - "She said that she loved." - "And whom did she love? - Suppose she said she loved ----?" - "No! she never said that, whatever she said." - -An indefinite number of names are mentioned before the right one. When -that came, to the surprise of the whisperer, the answer is-- - - "Yes! she said that." - -The secret was very simple; the name of a widow or widower known to both -players was always given before that whispered.--Cornwall (_Folk-lore -Journal_, v. 50). - - -Shepherd and Sheep - -Children choose, by "counting out," or otherwise, a Shepherd and a Wolf -(or Mother Sheep, and Wolf). The Wolf goes away, and the rest of the -players are the Sheep (or Lambs) and stand in a row. The Shepherd counts -them--Sunday, Monday, Tuesday, &c. Then-- - -_Shepherd_--"What shall I bring home for you for dinner, Sunday, I'm -going to market?" - -Sunday chooses something--roast veal, apple tart, or anything else that -she likes. Then Monday, Tuesday, and the rest choose also. Shepherd goes -away, saying-- - - "Mind you are all good children." - -The Wolf comes directly the Shepherd goes out of sight, and takes away -one of the Sheep. Shepherd comes back and begins to distribute the -different things-- - - "Sunday, Monday,----why, where's Tuesday?" (or Wednesday, as the - case may be.) - -The Children cry in chorus-- - - "Old Wolf came down the chimney and took him (or her) away." - -This formula is repeated till all the children (sheep) are stolen. - -The Shepherd now goes to the Wolf's house to look for his sheep-- - - _Shepherd_--"Good morning, have you seen my sheep?" - - _Wolf_--"Yes, they went down Red Lane." - - [Shepherd looks down Red Lane.] - - _Shepherd_--"I've been down Red Lane, and they're not there." - - _Wolf_--"I've just seen them pass, they're gone down Green Lane," - &c. These questions and answers continue as long as the children's - fancy holds out; then the Shepherd comes back. - - _Shepherd_--"I've looked everywhere, and can't find them. I b'lieve - you've got them? I smell meat; may I go up and taste your soup?" - - _Wolf_--"You can't go upstairs, your shoes are too dirty." - - _Shepherd_--"I'll take off my shoes" (pretends to take them off). - - _Wolf_--"Your stockings are too dirty." - - _Shepherd_--"I'll take off my stockings" (suits the action). - - _Wolf_--"Your feet are too dirty." - - _Shepherd_--"I'll cut my feet off" (pretends to cut them off). - - (Milder version, "I'll wash my feet.") - - _Wolf_--"Then the blood'll run about." - - (Milder version, "Then they'll wet my carpet.") - - _Shepherd_--"I'll tie up my feet." - - (Or, "I'll wipe my feet") - - _Wolf_---"Well, now you may go up." - - _Shepherd_--"I smell my sheep." - -The Shepherd then goes to one child, pretends to taste--using fingers of -both hands as though holding a spoon and fork--on the top of the child's -head, saying, "That's my sheep," "That's Tuesday," &c., till he comes to -the end of the row, then they all shout out and rush home to the fold, -the Wolf with them. A fresh Shepherd and Wolf are chosen, and the game -starts once more.--Cornwall (Miss I. Barclay). - -One player is chosen to be the Shepherd, another the Thief, and the rest -the sheep, who are arranged in a long row. The Shepherd pretends to be -asleep; the Thief takes away one of the sheep and hides it; he then -says-- - - _Thief_--"Shepherdy, shepherdy, count your sheep!" - - _Shepherd_--"I can't come now, I'm fast asleep." - - _Thief_--"If you don't come now, they'll all be gone, - So shepherdy, shepherdy, come along!" - -The Shepherd counts the sheep, and missing one, asks where it is gone. -The Thief says, "It is gone to get fat!" The Shepherd goes to sleep -again, and the same performance is repeated till all the sheep are -hidden; the Shepherd goes in search of them, and when found they join -him in the pursuit of the Thief.--Oswestry (Burne's _Shropshire -Folk-lore_, p. 520). - -Mr. Northall (_Folk Rhymes_, p. 391) gives a version from Warwickshire, -and says he believes the Shepherd's dog to be the true thief who hides -his propensity in the dialogue-- - - Bow, wow, wow, What's the matter now? - A leg of a louse came over my house, - And stole one of my fat sheep away. - -The game is played as in Shropshire. The dialogue in the Cornish game is -similar to that of "Witch." See "Wolf." - - -Shepherds - -One child stands alone, facing the others in a line opposite. The single -child shouts, "Shepherds, shepherds, give warning." The others reply, -"Warn away! warn away!" Then she asks, "How many sheep have you got?" -They answer, "More than you can carry away." She runs and catches -one--they two join hands and chase the rest; each one, as caught, -joining hands with the chasers until all are caught.--Liverpool (Mr. C. -C. Bell.) See "Stag," "Warney." - - -Shinney, or Shinty, or Shinnops - -A writer in _Blackwood's Magazine_, August 1821, p. 36, says: The boys -attempt to drive with curved sticks a ball, or what is more common, part -of the vertebral bone of a sheep, in opposite directions. When the -object driven along reaches the appointed place in either termination, -the cry of hail! stops the play till it is knocked off anew by the boy -who was so fortunate as to drive it past the gog. In the Sheffield -district it is played as described by Halliwell. During the game the -boys call out, "Hun you, shin you." It is called Shinny in -Derbyshire.--Addy's _Sheffield Glossary_. Halliwell's description does -not materially differ from the account given above except that when the -knur is down over the line it is called a "bye."--(_Dictionary_). In -_Notes and Queries_, 8th series, viii. 446; ix. 115 _et seq._, the game -is described as played in Lincolnshire under the name of "Cabsow," which -perhaps accounts for the Barnes game of Crab-sowl. - -In Perthshire it is described as a game in which bats somewhat -resembling a golf club are used. At every fair or meeting of the country -people there were contests at racing, wrestling, putting the stone, &c., -and on holidays all the males of a district, young and old, met to play -at football, but oftener at shinty.--_Perthshire Statistical Account_, -v. 72; Jamieson's description is the same. - -Mactaggart's _Gallovidian Encyclopdia_ says: A game described by Scotch -writers by the name of Shintie; the shins, or under parts of the legs, -are in danger during the game of being struck, hence the name from -shin.--Dickinson, _Cumberland Glossary_, mentions Shinny as a boyish -game, also called Scabskew, catty; it is also the name of the -crook-ended stick used in the game. Patterson, _Antrim and Down -Glossary_, under name Shinney, says, This game is played with shinneys, -_i.e._, hooked sticks, and a ball or small block of wood called the -"Golley," or "Nag." - -In London this game is called Hockey. It seems to be the same which is -designed _Not_ in Gloucestershire; the name being borrowed from the -ball, which is made of a knotty piece of wood.--Grose's _Glossary_. - -It has been said that Shinty and Hockey differ in this respect, that in -the latter two goals are erected, each being formed by a piece of stick -with both ends stuck in the ground. The players divide into two parties; -to each of these the care of one of the goals belongs. The game consists -in endeavouring to drive the ball through the goal of the opposite -party.--_Book of Sports_ (1810), pp. 11-13. But in Shinty there are also -two goals, called hails; the object of each party being to drive the -ball beyond their own hail, but there is no hole through which it must -be driven. The ball, or knot of wood, is called Shintie. - -See "Bandy," "Camp," "Chinnup," "Crab-sowl," "Doddart," "Hockey," -"Scrush." - - -Ship - -A boy's game. It is played in two ways--(1) Of a single character. One -boy bends down against a wall (sometimes another stands pillow for his -head), then an opponent jumps on his back, crying "Ships" simply, or -"Ships a-sailing, coming on." If he slips off, he has to bend as the -other; but if not, he can remain as long as he pleases, provided he does -not laugh or speak. If he forgets to cry "Ships," he has to bend down. -(2) Sometimes sides are chosen; then the whole side go down heads and -tails, and all the boys on the other side have to jump on their backs. -The game in each case is much the same. The "naming" was formerly "Ships -and sailors coming on."--Easther's _Almondbury Glossary_. Mr. H. Hardy -sends an account from Earls Heaton, which is practically the same as -these. - - -Ship Sail - -A game usually played with marbles. One boy puts his hand into his -trousers pocket and takes out as many marbles as he feels inclined; he -closes his fingers over them, and holds out his hand with the palm down -to the opposite player, saying, "Ship sail, sail fast. How many men on -board?" A guess is made by his opponent; if less he has to give as many -marbles as will make up the true number; if more, as many as he said -over. But should the guess be correct he takes them, and then in his -turn says, "Ship sail," &c.--Cornwall (_Folk-lore Journal_, v. 59). - -See "Handy Dandy," "Neivvie-nick-nack." - - -Shiver the Goose - -A boys' game. Two persons are trussed somewhat like fowls; they then hop -about on their "hunkers," each trying to upset the other.--Patterson's -_Antrim and Down Glossary_. - -See "Curcuddie." - - -Shoeing the Auld Mare - -A dangerous kind of sport. A beam of wood is slung between two ropes, a -person gets on to this and contrives to steady himself until he goes -through a number of antics; if he can do this he shoes the auld mare, if -he cannot do it he generally tumbles to the ground and gets hurt with -the fall.--Mactaggart's _Gallovidian Encyclopdia_. - - -Shue-Gled-Wylie - -A game in which the strongest acts as the Gled or Kite, and the next in -strength as the mother of a brood of birds; for those under her -protection, perhaps to the number of a dozen, keep all in a string -behind her, each holding by the tail of one another. The Gled still -tries to catch the last of them, while the mother cries "Shue! Shue!" -spreading out her arms to keep him off. If he catch all the birds he -wins the game.--Fife, Teviotdale (Jamieson). - -See "Fox and Geese," "Gled-Wylie," "Hen and Chickens." - - -Shuttlefeather - -This game is generally known as "Battledore and Shuttlecock." The -battledore is a small hand bat, formerly made of wood, then of a skin -stretched over a frame, and since of catgut strings stretched over a -frame. The shuttlecock consists of a small cork into which feathers of -equal size are fixed at even distances. The game may be played by one, -two, or more persons. If by one person, it merely consists of batting up -the shuttlecock into the air for as long a time as possible; if by two -persons, it consists of batting the shuttlecock from one to the other; -if by more than two, sides are chosen, and a game has been invented, and -known as "Badminton." This latter game is not a traditional game, and -does not therefore concern us now. - -Strutt (_Sports and Pastimes_, p. 303) says this is a sport of long -standing, and he gives an illustration, said to be of the fourteenth -century, from a MS. in the possession of Mr. F. Douce. This would -probably be the earliest mention of the game. It appears to have been a -fashionable pastime among grown persons in the reign of James I. In the -_Two Maids of Moreclacke_, 1609, it is said, "To play at Shuttlecock -methinkes is the game now," and among the anecdotes related of Prince -Henry, son to James I., is the following: "His Highness playing at -shittle-cocke with one farr taller than himself, and hittyng him by -chance with the shittle-cock upon the forehead" (_Harl. MS._, 6391). -Among the accounts of money paid for the Earl of Northumberland while he -was prisoner in the Tower for supposed complicity in the Gunpowder Plot, -is an item for the purchase of shuttlecocks (_Hist. MSS. Com._, v. p. -354). - -But the popular nature of the game is not indicated by these facts. For -this we have to turn to the doings of the people. In the villages of the -West Riding the streets may be seen on the second Sunday in May full of -grown-up men and women playing "Battledore and Shuttlefeathers" -(Henderson's _Folk-lore of the Northern Counties_, p. 80). In Leicester -the approach of Shrove Tuesday (known amongst the youngsters as -"Shuttlecock Day") is signalised by the appearance in the streets of a -number of children playing at the game of "Battledore and Shuttlecock." -On the day itself the streets literally swarm with juveniles, and even -grown men and women engage in the pastime. Passing through a by-street -the other day I heard a little girl singing-- - - Shuttlecock, shuttlecock, tell me true - How many years have I to go through? - One, two, three, four, &c. - ---_Notes and Queries_, 3rd series, iii. 87. - -The occurrence of this rhyme suggests that there is some sort of -divination in the oldest form of the game, and it appears to me that the -origin of the game must be sought for among the ancient practices of -divination. An example is found among the customs of the children of -Glamorganshire during the cowslip season. The cowslip heads are strung -on a piece of thread and tied into a "posty," and the play is to throw -it up a tolerable height, catching it on the distended palm with a blow -that sends it up again, while the player sings:-- - - Pisty, posty, four and forty, - How many years shall I live? - One, two, three, four, &c. - -Of course, if it falls to the ground uncaught, or even if caught in the -clenched hand, there is an end of the player's "life." There is a good -deal of emulation amongst the children as to who shall live the longest -(_Notes and Queries_, 3rd ser., iii. 172). Miss Burne (_Shropshire -Folk-lore_, p. 530) mentions the same custom, giving the rhyme as-- - - Toss-a-ball, toss-a-ball, tell me true - How many years I've got to go through, - -and she says the cowslip is thence called a "tissy-ball." In this custom -we have no artificial aids to form a game, but we have a significant -form of divination from natural flowers, accompanied by a rhyming -formula exactly parallel to the rhymes used in the Leicestershire game -of "Shuttlecock," and I conclude therefore that we have here the true -origin of the game. This conclusion is confirmed when it is found that -divinatory verses generally accompany the popular form of the game. - -At Wakefield the children playing "Battledore and Shuttlecock" take it -in turn, and say the following sentences, one clause to each bat, and -repeated until the shuttlecock falls:-- - -1st. This year, next year, long time, never. - -2nd. Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday. - -3rd. Tinker, tailor, soldier, sailor, rich man, poor man, beggar-man, -thief. - -4th. Silk, satin, cotton, rags. - -5th. Coach, carriage, wheelbarrow, donkey-cart.--Miss Fowler - -At Deptford the rhymes were-- - - Grandmother, grandmother, - Tell me the truth, - How many years have I been to school? - One, two, three, &c. - - Grandmother, grandmother, - Tell me no lie, - How many children - Before I die? - One, two, three, &c. - -In the same way the following questions are put and answered:-- - - How old am I? - How long am I going to live? - How many children shall I have? - - Black currant, - Red currant, - Raspberry tart, - Tell me the name - Of my sweetheart. - A, B, C, D, &c. - -Tinker, tailor, soldier, sailor, potter's boy, flour boy, thief. - -Silk, satin, cotton, muslin, rags. - -Coach, carriage, wheelbarrow, dungcart. - -On their buttons they say: "Bought, given, stolen," to show how -acquired.--Miss Chase. - -In London the rhymes were-- - - One, two, buckle my shoe, - Three, four, knock at the door, - Five, six, pick up sticks, - Seven, eight, lay them straight, - Nine, ten, a good fat hen, - Eleven, twelve, ring the bell, - Thirteen, fourteen, maids a courting, - Fifteen, sixteen, maids in the kitchen, - Seventeen, eighteen, mistress waiting, - Nineteen, twenty, my plate's empty. - - One, two, three, four, - Mary at the cottage door, - Eating cherries off a plate, - Five, six, seven, eight. - - Up the ladder, down the wall, - A twopenny loaf to serve us all; - You buy milk and I'll buy flour, - And we'll have pudding in half an hour. - One, two, three, four, five, six, &c. - -This year, next year, some time, never, repeated. - -A, B, C, D, E, &c., repeated for the initial letter of the future -husband's name. - -Tinker, tailor, soldier, sailor, apothecary, ploughboy, thief, for -future husband's vocation. - -Monday, Tuesday, &c., for the wedding day. - -Silk, satin, cotton, rags, for the material of the wedding gown. - -Coach, carriage, wheelbarrow, dungcart, for conveyance on wedding day. - -Big house, little house, pigsty, barn, for future home.--(A. B. Gomme.) - -It will be seen that many of these divination formul are used in other -connections than that of "Shuttlecock," but this rather emphasises the -divinatory character of the game in its original form.--See "Ball," -"Teesty-tosty." - - -Shuvvy-Hawle - -A boys' game at marbles. A small hole is made in the ground, and marbles -are pushed in turn with the side of the first finger; these are won by -the player pushing them into the shuvvy-hawle.--Lowsley's _Berkshire -Glossary_. - - -Silly Old Man - -[Music] - ---Leicester (Miss Ellis). - -[Music] - ---Monton, Lancashire (Miss Dendy). - - I. Silly old man, he's all alone, - He wants a wife and can't get one; - Round and round and choose a good one, - Or else choose none. - - This young couple are married together, - Their fathers and mothers they must obey; - Love one another like sister and brother, - And down on their knees and kiss one another. - ---Leicester (Miss Ellis). - - II. Silly old man, he walks alone, - He walks alone, he walks alone; - Silly old man, he walks alone, - He wants a wife and can't get one. - - All go round and choose your own, - Choose your own, choose your own; - All go round and choose your own, - And choose a good one or else choose none. - - Now young couple you're married together, - Married together, married together; - Now young couple you're married together, - Your father and mother you must obey. - So love one another like sister and brother, - And now young couple pray kiss together. - ---Lancashire (_Notes and Queries_, 5th series, iv. 157). - - III. Silly old maid (_or_ man), she walks alone, - She walks alone, she walks alone; - Silly old maid, she walks alone, - She wants a man (_or_ wife) and she can't get one. - - Go around and choose your own, - Choose your own, choose your own; - Go around and choose your own, - And take whoever you like in. - - Now these two are married together, - Married together, married together; - Now these two are married together, - I pray love, kiss again. - ---Isle of Man (A. W. Moore). - - IV. Here's a silly ould man that lies all alone, - That lies all alone, that lies all alone; - Here's a silly ould man that lies all alone, - He wants a wife and he can get none. - - Now young couple you're married together, - You're married together, you're married together; - You must obey your father and mother, - And love one another like sister and brother. - I pray, young couple, you'll kiss together. - ---Carleton's _Traits and Stories of the Irish Peasantry_, p. 107. - - V. Silly old man, he walks alone, - Walks alone, walks alone; - Silly old man, he walks alone, - Wants a wife and he canna get one. - - All go round and choose your own, - Choose your own, choose your own; - All go round and choose your own, - Choose a good one or let it alone. - - Now he's got married and tied to a peg, - Tied to a peg, tied to a peg; - Now he's got married and tied to a peg, - Married a wife with a wooden leg. - ---Monton, Lancashire (Miss Dendy). - - VI. Silly old maid, she lives alone, - She lives alone, she lives alone; - [Silly old maid, she lives alone,] - Wants a husband but can't get one. - - So now go round and choose your own, - Choose your own, choose your own; - Now go round and choose your own, - Choose the very one you love best. - - Now young couple, you're married for ever, - Your father and mother you must obey; - Love another like sister and brother, - And now young couple, pray kiss together. - ---Dublin (Mrs. Lincoln). - -(_c_) The children form a ring, joining hands. A child, usually a boy, -stands in the middle. The ring dances round and sings the verses. The -boy in the centre chooses a girl when bidden by the ring. These two then -stand in the centre and kiss each other at the command. The boy then -takes a place in the ring, and the girl remains in the centre and -chooses a boy in her turn. In the Dublin and Isle of Man versions a girl -is first in the centre; in the Manx version (A. W. Moore) the two -children hold hands when in the centre. - -(_d_) In the _Traits and Stories of the Irish Peasantry_, Mr. Carleton -gives this game as one of those played by young people of both sexes at -funeral wakes. It is played in the same way as the game now is; boys and -girls stand alternately in a ring holding hands, choosing each other in -turn, and kissing. The other versions do not differ materially from each -other, except that the Lancashire version described by Miss Dendy has -evidently been corrupted quite lately, because a purer form is quoted -from the same county in _Notes and Queries_. The game seems to be one of -the group of marriage games arising from the fact that at any gathering -of people for the purpose of a ceremonial, whether a funeral or a -festival, it was the custom to form matrimonial alliances. The words are -used for kiss-in-the-ring games, and also in some marriage games when -the last player is left without a partner. - - -Skin the Goatie - -One boy takes his stand in an upright position at a wall. Another boy -stoops with his head in the breast of the one standing upright. A third -boy jumps stride-leg on his back, and tries to "crown," _i.e._, put his -hand on the head of the boy at the wall. The boy on whose back he is -tries every means by shifting from side to side, and by throwing up his -back, to prevent him from doing so, and to cast him off. If he succeeds -in doing so, he takes his stand behind the stooping boy in the same -position. Another boy then tries to do the same thing over the two -stooping boys. If he succeeds in crowning the standing boy, he takes his -station at the wall. If not, he takes his stand behind the two stooping -boys. The game goes on till a boy "crowns" the one standing at the -wall.--Banchory (Rev. W. Gregor). - -See "Saddle the Nag." - - -Skipping - -Strutt says (_Sports_, p. 383), "This amusement is probably very -ancient. Boys often contend for superiority of skill in this game, and -he who passes the rope about most times without interruption is the -conqueror. In the hop season a hop-stem, stripped of its leaves, is used -instead of a rope, and, in my opinion, it is preferable." On Good Friday -on Brighton beach the fisher folk used to play at skipping, six to ten -grown-up people skipping at one rope. - -Apart from the ordinary, and probably later way of playing, by one child -holding a rope in both hands, turning it over the head, and either -stepping over it while running, or standing still and jumping until the -feet catch the rope and a trip is made, skipping appears to be performed -in two ways, jumping or stepping across with (1) more or less -complicated movements of the rope and feet, and (2) the ordinary jumping -over a turned rope while chanting rhymes, for the purpose of deciding -whether the players are to be married or single, occupation of future -husband, &c. - -Of the first class of game there are the following variants:-- - -"Pepper, salt, mustard, cider, vinegar."--Two girls turn the rope slowly -at first, repeating the above words, then they turn it as quickly as -possible until the skipper is tired out, or trips. - -"Rock the Cradle."--In this the holders of the rope do not throw it -completely over, but swing it from side to side with an even motion like -the swinging of the pendulum of a clock. - -"Chase the Fox."--One girl is chosen as a leader, or fox. The first runs -through the rope, as it is turned towards her, without skipping; the -others all follow her; then she runs through from the other side as the -rope is turned from her, and the others follow. Then she runs in and -jumps or skips once, and the others follow suit; then she skips twice -and runs out, then three times, the others all following in turn until -one trips or fails. The first one to do this takes the place of one of -the turners, the turner taking her place as one of the skippers. - -"Visiting."--One girl turns the rope over herself, and another jumps in -and faces her, while skipping in time with the girl she visits. She then -runs out again without stopping the rope, and another girl runs in. - -"Begging."--Two girls turn, and two others run and skip together side by -side. While still skipping they change places; one says, as she passes, -"Give me some bread and butter;" the other answering, "Try my next door -neighbour." This is continued until one trips. - -"Winding the Clock."--Two turn the rope, and the skipper counts one, -two, three, up to twelve, turning round each time she jumps or skips. - -"Baking Bread."--Two girls turn, and another runs in with a stone in her -hand, which she puts down on the ground, and picks up again while -skipping. - -"The Ladder."--The girls run in to skip, first on one foot and then the -other, with a stepping motion. - -Two other games are as follows:--(1.) Two ropes are used, and a girl -holds either end in each hand, turning them alternately; the skipper has -to jump or skip over each in turn. When the rope is turned inwards, it -is called "double dutch," when turned outwards, "French dutch." (2.) The -skipper has a short rope which she turns over herself, while two other -girls turn a longer rope over her head. - -The second class of games consists of those cases where the skipping is -accompanied by rhymes, and is used for the purpose of foretelling the -future destiny of the skipper. These rhymes are as follows (all -collected by Miss Chase):-- - - Ipsey, Pipsey, tell me true - Who shall I be married to? - A, B, C, &c. - -Letters--initial of one to whom you'll be married.--Hurstmonceux, -Sussex. - - Half pound tuppeny rice, - Half a pound of treacle, - Penny 'orth of spice - To make it nice, - Pop goes the weazle. - ---Crockham Hill, Kent. - - When I was young and able, - I sat upon the table; - The table broke, - And gave me a poke, - When I was young and able. - -[The children now add that when singing - - Pass the baker,[8] - Cook the tater, - -is the full couplet.]--Deptford. - - Every morning at eight o'clock, - You all may hear the postman's knock. - 1, 2, 3, 4. There goes "Polly." - -Girl named running out, and another girl running in -directly.--Marylebone. - - Up and down the ladder wall, - Ha'penny loaf to feed us all; - A bit for you, and a bit for me, - And a bit for Punch and Judy. - ---Paddington Green. - -As they run thus, each calls in turn, "Red, yellow, blue, white." Where -you are tripped, the colour stopped on marks that of your wedding -gown.--Deptford. - -Each of the two girls turning the rope takes a colour, and as the line -of children run through, they guess by shouting, "Red?" "Green?" When -wrong nothing happens; they take the place of turner, however, if they -hit upon her colour. Another way is to call it "Sweet stuff shop," or -"green grocers," and guess various candies and fruits until they choose -right.--Deptford. - -When several girls start running in to skip, they say, - - "All in, a bottle of gin," - -and as they leave at a dash, they cry-- - - "All out, a bottle of stout." - -While "in" jumping, the turners time the skippers' movements by a sing -song. - - Up and down the city wall, - Ha'penny loaf to feed us all; - I buy milk, you buy flour, - You shall have _pepper_ in half an hour. - ---Deptford. - -At pepper turn swiftly. - - Up and down the ladder wall, - Penny loaf to feed us all; - A bit for you, and a bit for me, - And a bit for all the familee. - ---Marylebone. - - Up and down the city wall, - In and out "The Eagle," - That's the way the money goes, - Pop goes the weazel. - ---From "A London Maid." - - Dancing Dolly had no sense, - For to fiddle for eighteenpence; - All the tunes that she could play, - Were "Sally get out of the donkey's way." - ---Deptford. - - My mother said - That the rope must go - Over my head. - ---Deptford. - - Andy Pandy, - Sugardy candy, - French almond - Rock. - ---Deptford. - - B-L-E-S-S-I-N-G. - Roses red, roses white, - Roses in my garden; - I would not part - With my sweetheart - For tuppence hapenny farthing. - -A, B, C, &c., to X, Y, Z.--Deptford. - - Knife and fork, - Lay the cloth,[9] - Don't forget the salt, - Mustard, vinegar, - Pepper! - ---Deptford. - -They sometimes make a girl skip back and forth the long way of the rope, -using this dialogue-- - -Girl skipping.--"Father, give me the key." - -Father.--"Go to your mother." - -Girl jumping in opposite direction.--"Mother, give me the key." - -Mother.--"Go to your father." - - Lady, lady, drop your handkerchief, - Lady, lady, pick it up. - -Suiting action to the words, still skipping. - -Rhyme to time the jumps-- - - Cups and saucers, - Plates and dishes, - My old man wears - Calico breeches. - - [8] To change from left to right side, crossing a second skipper, is - called "Pass the Baker." - - [9] In Marylebone add here, "Bring me up a leg of pork." - - -Skyte the Bob - -This game might be played by two, three, or more. A small stone of a -squarish form, called the "bob," was placed on a level piece of ground. -On this stone each player placed an old button, for buttons were the -stakes. A point was fixed several yards from the stone, and a line was -drawn. Along this line, "the stance," the players took their stand, each -holding in his hand a small flat stone named "the pitcher." This stone -was thrown so as to strike "the bob" and make the buttons fall on "the -pitcher," or nearer it than "the bob." The button or buttons that lay -nearer "the pitcher" than "the bob" fell to the lot of the player. The -second player did the same, but he had to guard against driving any of -the buttons nearer the first player's stone. If a button was nearer his -stone than "the bob," or the first player's stone, he claimed it. The -third player followed the same course if all the buttons had not been -won by the two players. If the buttons were not all won at the first -throw, the first player had a second chance, and so on till all the -buttons were won. If two played, if each won a button, they alternately -began, but if one gained the two buttons, the other began. When three -played, if one had two for his share he played last in the following -game, and the one that had nothing played first. If the players, when -three played, were experts, the one whose lot it was to play second, who -was called the "poust," lost heavily, and to be "pousted" was always -looked upon as a misfortune, for the reason that the first player often -by the first throw gained the whole stake, and then in the following -game the last player became the first, and the gainer in the foregoing -game became the last. If this player carried off the whole stake, he in -the next game took the last place, and the last took the first, and so -between the two good players the "poust" had no chance.--Aberdeenshire -(Rev. W. Gregor).--See "Buttons." - - -Smuggle the Gig - -Mr. Ballantyne describes the game as played in his young days at Biggar -as follows:--Two boys would each select his own side. "First pick" was -decided by lot. A third boy took two straws, one shorter than the other, -and held them between his finger and thumb in such a way that only -equal lengths were visible. Each leader drew a straw. The one who drew -the longest had "first pick" of all the intended players, the other -leader had the next; alternate choice was then made by them until both -sides were complete, and were ranged by their leaders. Then lots were -again drawn as to which side should go out first. The side going out had -to show the Gig; anything easily carried in the hand sufficed. The -"outs" went out from the den twenty or thirty yards, sometimes round the -end of a house, to "smuggle the Gig"--that is, to give one of their -number the Gig to carry, care being taken that the "ins" did not know -who had it. During this time the leader of the ins called "out" in a -loud voice-- - - Zimerie, twaerie, hickeri seeven, - Aucherie, daucherie, ten and eleven; - Twall ran musha dan - Tweedledum, twadledum, twenty-one. Time's up! - -Outs had all to appear by "Ready" when the chase began. Boundary limits -were fixed, beyond which outs could not run and ins could not stand, -within a fixed distance of the den. This den was a place marked by a -mark or rut in the ground, about four feet by six feet. The outs -endeavoured (particularly the one carrying the Gig) to get into the den -before any one could catch and "crown" him. The pursued, when caught, -was held by the pursuer, his cap taken off, and the palm of the hand was -placed on the crown of his head. As he did so the pursuer would say, -"Deliver up the Gig." If he had it not, the pursuer went off after -another player. If he had the Gig, and succeeded in getting into the den -without being "crowned," outs won the game; but if the Gig was caught -and "crowned," ins won. - -At Fraserburgh the players are divided equally. A spot is marked off, -called the Nestie. Any small object known to all is chosen as the Gig. -One half of the players receive the Gig and retire, so as not to be seen -distinctly by the other half that remains in and near the Nestie. The -Gig is concealed on the person of one of the players that retire. When -everything is ready those having the Gig move towards the Nestie, and -those in the Nestie come to meet them. The aim is to catch the player -who has the Gig before reaching the Nestie. If this is done the same -players again hide the Gig, but if the Gig is discovered, the players -discovering it now hide it. - -At Old Aberdeen sides are chosen, then a small article (such as a knife) -is made the _gig_. Then one side, determined by a toss, goes out and -smuggles the gig and cries out, "Smuggle the gig." Then the other side -rushes in and tries to catch the one that has the "gig." If the one that -has the gig is free, the same side goes out again.--Rev. W. Gregor. - -See "Gegg." - - -Snail Creep - -In Mid-Cornwall, in the second week of June, at St. Roche, and in one or -two adjacent parishes, a curious dance is performed at their annual -"feasts." It enjoys the rather undignified name of "Snail Creep," but -would be more properly called the "Serpent's Coil." The following is -scarcely a perfect description of it:--"The young people being all -assembled in a large meadow, the village band strikes up a simple but -lively air and marches forward, followed by the whole assemblage, -leading hand-in-hand (or more closely linked in case of engaged -couples), the whole keeping time to the tune with a lively step. The -band, or head of the serpent, keeps marching in an ever-narrowing -circle, whilst its train of dancing followers becomes coiled around it -in circle after circle. It is now that the most interesting part of the -dance commences, for the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter movement with almost military precision."--W. C. Wade (_Western -Antiquary_, April 1881). - -A game similar to the above dance is often played by Sunday school -children in West Cornwall, at their out-of-door summer treats, called by -them "Roll tobacco." They join hands in one long line, the taller -children at their head. The first child stands still, whilst the others -in ever-narrowing circles dance around singing until they are coiled -into a tight mass. The outer coil then wheels sharply in a contrary -direction, followed by the remainder, retracing their steps.--Courtney's -_Cornish Feasts and Folk-lore_, p. 39. A Scottish game, "Row Chow -Tobacco," described by Jamieson, is played in the same way, the boy at -the extremity being called the "Pin." A clamorous noise succeeds -the "winding up," the players crying out "Row Chow Tobacco" while -giving and receiving the fraternal hug. The words are pronounced -Rowity-chowity-bacco. The naming of this game in connection with tobacco -is curious. It is undoubtedly the same as "Snail Creep." I am inclined -to think that all these games are connected with an ancient form of -Tree-worship, and that the analogy of tobacco-rolling is quite modern. - -See "Bulliheisle," "Eller Tree," "Tuilyie-waps," "Wind up the Bush -Faggot." - - -Snapping Tongs - -See "Musical Chairs." - - -Snatch Apple - -A game similar to "Bob Cherry," but played with an apple.--Halliwell's -_Dictionary_. - - -Snatch Hood - -An undescribed boy's game mentioned in a statute of Edward III.'s -time.--Halliwell's _Dictionary_. - - -Soldier - - I am an old soldier, I come from the war, - Come from the war; - I am an old soldier, I come from the war, - And my age it is sixty-and-three. - - I have but one son and he lies alone, lies alone, - I have but one son and he lies alone; - And he's still making moan for lying alone. - - Son, go choose a wife of your own, - Choose a good one or else choose none, - Or bring none home to me. - - Now they're got married, they're bound to obey, - Bound to obey in every degree; - And as you go round kiss all but me. - ---Belfast, Ireland (W. H. Patterson). - -The players form a ring and sing the first three verses. Then one of the -players chooses a girl from the ring. The first three verses are again -sung until the whole ring is arranged in couples; then the first couple -kneels in the middle, and the rest dance round them singing the marriage -formula; then the second couple, and so on, each couple kissing. - - -Solomon - -The players knelt in a line; the one at the head, in a very solemn tone, -chaunted, "Solomon had a great dog;" the others answered in the same -way, "Just so" (this was always the refrain). Then the first speaker -made two or three more ridiculous speeches, ending with, "And at last -this great dog died, and fell down," giving at the same time a violent -lurch against his next neighbour, who, not expecting it, fell against -his, and so on, to the end of the line.--Cornwall (_Folk-lore Journal_, -v. 50). - -See "Obadiah," "Quaker's Wedding." - - -Sort'em-billyort'em - -A Lancashire game, very similar to "Hot Peas and Bacon."--Halliwell's -_Dictionary_. - - -Sow-in-the-Kirk - -A large hole is made in the ground, surrounded by smaller ones, -according to the number of the players, every one of whom has a shintie, -or hooked stick. The middle hole is called the kirk. He who takes the -lead in the game is called the sow-driver. His object is to drive a -small piece of wood or bone, called the sow, into the large hole or -kirk; while that of his opponents, every one of whom keeps his shintie -in one of the smaller holes, is to frustrate his exertions by driving -back the sow. If he succeeds, either in knocking it into one of the -small holes, while one of his antagonists is in the act of striking it -back, he is released from the drudgery of being driver. In the latter -case, the person whose vacancy he has occupied takes the servile station -which he formerly held.--Lothian (Jamieson). This is said to be the same -game with "Church and Mice" in Fife. Jamieson's description is not very -lucid. It appears that each player must hold his shintie with its end in -his hole, and it is only when he takes it out to prevent the sow-driver -getting his sow into or towards the kirk, that the sow-driver has the -chance of putting the sow into the player's hole, and so causing that -player to take the place of sow-driver. - -See "Kirk the Gussie." - - -Span Counter - -A common game among boys. "You shall finde me playing at Span -Counter."--Dekker's _Northward Hoe_. Toone, _Etymological Dictionary_, -mentions this as a juvenile game played with counters. - - Boys shall not play - At span counter or blow pipe. - ---Donne (_Satire_ iv.). - -Dr. Grosart, in noting this passage, says, "I rather think the game is -still played by boys when they directly, or by rebound, endeavour to -play their button or marble into a hole." Strutt briefly notes the game -as being similar to "Boss Out."--_Sports_, p. 384. Halliwell -(_Dictionary_) simply gives the quotation from Donne's Poems, p. 131, -mentioning the game. - -See "Boss Out." - - -Spang and Purley - -A mode resorted to by boys of measuring distances, particularly at the -game of marbles. It means a space and something more.--Brockett's _North -Country Words_. - - -Spangie - -A game played by boys with marbles or halfpence. A marble or halfpenny -is struck against the wall. If the second player can bring his so near -that of his antagonist as to include both within a _span_, he claims -both as his.--Jamieson. - -This is the same game as "Banger," "Boss Out." Probably the Old English -game of "Span Counter," or "Span Farthing," was originally the -same.--See Johnson's _Dictionary_. - - -Spannims - -A game at marbles played in the eastern parts of England.--Halliwell's -_Dictionary_. - - -Spawnie - -The same game as "Spangie."--Keith (Rev. W. Gregor). - - -Spinny-Wye - -The name of a game among children at Newcastle-upon-Tyne. I suspect this -is nearly the same with "Hide and Seek." "I spye" is the usual -exclamation at a childish game called "Hie, spy, hie."--Brand, ii. 442. - - -Splints - -A game at marbles, in which they are dropped from the hand in -heaps.--Easther's _Almondbury Glossary_. - - -Spurn point - -An old game (undescribed) mentioned in the play _Apollo Shroving_, -London, 1627, p. 49. - - -Spy-arm - -A game of Hide-and-Seek, with this difference, that when those are found -who are hid the finder cries Spy-arm; and if the one discovered can -catch the discoverer, he has a ride upon his back to the -dools.--Mactaggart's _Gallovidian Encyclopdia_. - -See "Hide and Seek" (1). - - -Stacks - -A stack in the centre of the stackyard was selected, and round a part of -one side a rut was marked in the earth usually by the toe-bit of the -ploughman's boot. This enclosure, not over four feet wide at the -broadest part, was called the den. One of the players, selected to be -the catcher, stood within this den, and when all the players were ready -turned his face to the stack, and counted out loud the numerals from one -to twenty, the last with a great shout. During the count the players ran -round the stacks out of sight, but no hiding nor leaving the stackyard, -this was "not fair." When twenty was heard one would shout back "Ready!" -Then out came the catcher. He was not permitted to stand in or near the -den, but went out among the stacks and caught as many players as he -could before they reached the den. The great aim of those "out" was to -get into the den unseen and untouched. If all the players got in, then -the catcher had to try again; but when all were caught (which was seldom -or never), the last one caught was catcher for the next game. When one -player was touched by the catcher he or she had to remain in the den -till the rest were all in.--Biggar (Wm. Ballantyne). - -Mr. Ballantyne says, "This game usually ended in a promiscuous -'catching' and 'touching' game, each lad trying to catch the lass he -liked best, and some lads, for the fun of the thing, would try and get a -particular girl first, her wishes and will not being considered in the -matter; and it seemed to be an unwritten law among them for the lass to -'gang wi' the lad that catched her first,' yet I have known lassies take -this opportunity to favour the lad they preferred. It was the correct -thing for the people to visit each other's farms in rotation to play -'the stacks.'" This game was played when all the crops of grain were in -the stackyard under thack and rape (?nape). Then it was customary for -the servant lads and lasses of neighbours' "ferm toons" to gather -together and play at this game. Mr. Ballantyne considers it was the -third of three festivals formerly held at the ingathering of the crops. - -See "Barley Break." - - -Stag - -A boys' game. One boy issues forth and tries to "tig" another, -previously saying this nominy, or the first two lines-- - - Stag, stag arony, - Ma' dog's bony, - Them 'at Aw catch - 'Ill ha' to go wi' me. - -When one boy is tigged (or "tug") the two issue forth hand in hand, and -when more, all hand in hand. The other players have the privilege of -breaking the chain, and if they succeed the parties forming it are -liable to be ridden back to the den. At Lepton, where the game was -publicly played, the boundaries were "Billy tour end, Penny Haas end, -and I' Horsin step." So played in 1810, and is still.--Easther's -_Almondbury Glossary_. - -In the Sheffield district it is called "Rag Stag," and is usually -played in the playground, or yard, attached to a school. Any number can -play. A place is chalked out in a corner or angle formed by the walls or -hedges surrounding the playground. This is called the den, and a boy -stands within the den. Sometimes the den is formed by chalking an area -out upon a footpath, as in the game of "Bedlams." The boy in the den -walks or runs out, crying, "Rag-stag, jinny I over, catching," and -having said this he attempts to catch one of the boys in the playground -who have agreed to play the game. Having caught him he takes him back -into the den. When they have got into the den they run out hand-in-hand, -one of them crying, "Rag-stag, jinny I over, touching," whilst the other -immediately afterwards calls out, "Rag-stag, jinny I over, catching." -They must keep hold of each other's hands, and whilst doing so the one -who cried out "Touching" attempts to touch one of the boys in the -playground, whilst the one who cried "Catching" attempts to catch one of -such boys. If a boy is caught or touched, the two boys who came out of -the den, together with their prisoner, run back as quickly as possible -into the den, with their hands separated. If whilst they are running -back into the den any boy in the playground can catch any one of the -three who are running back, he jumps on his back and rides as far as the -den, but he must take care not to ride too far, for when the boys who -are already caught enter the den they can seize their riders, and pull -them into the den. In this case the riders too are caught. The process -is repeated until all are caught.--Addy's _Sheffield Glossary_. - -Another name for the game is "Stag-out." One player is Stag, and has a -place marked out for his bounds. He stands inside, and then rushes out -with his hands clasped together, and endeavours to touch one of the -other players, which being accomplished, he has the privilege of riding -on the boy's back to his bounds again.--_Book of Sports._ In a London -version the hands were held above the head, and joined by interlacing -the thumbs, the fingers being outspread, the boy had to touch another -while in this position. - -In Shropshire it is called "Stag-warning." One boy is chosen Stag; he -runs about the playground with his clasped hands held palms together in -front of him, trying to tick (= touch) others. Each whom he touches -joins hands with him, and they run together in an ever-lengthening -chain, sweeping the playground from end to end, the boys at each end of -the chain "ticking" others with their disengaged hands, till all are -caught but one, who becomes the next "Stag." The Stag gives notice of -his start by exclaiming-- - - Stag-warning, stag-warning, - Come out to-morrow morning! - ---Shrewsbury. - - Stag a-rag a-rorning - Very frosty morning! - What I cannot catch to-night I'll catch to-morrow morning! - ---Chirbury (Burne's _Shropshire Folk-lore_, p. 523). - -The game is mentioned by Mr. Patterson in his _Antrim and Down -Glossary_. Northall's _English Folk Rhymes_, p. 392, gives a -Warwickshire and Staffordshire version, in which the first player -"ticked" or "tagged" becomes Stag when the first game is concluded, all -having been caught. The words used are-- - - Stag aloney, - My long poney, - Kick the bucket over. - -Halliwell (_Dictionary_) also describes the game, and indicates its -origin. The boy chosen for the game clasps his hands together, and, -holding them out, threatens his companions as though pursuing them with -horns, and a chase ensues in which the Stag endeavours to strike one of -them, who then becomes Stag in his turn. Unfortunately, Halliwell does -not, in this instance, give his authority, but if it is taken from the -players themselves, it is a sufficient account of the origin of the -game, apart from the evidence of the name. All this group of games is -evidently to be traced to one original, though in different places the -detail of the game has developed somewhat differently. It evidently -comes down from the time when stags were hunted not so much for sport as -for food. - -See "Chickidy Hand," "Hornie," "Hunt the Stagie," "Shepherds," -"Warney." - - -Stagging - -A man's game. Two men have their ankles tied together and their wrists -tied behind their backs. They then try to knock each other -down.--Patterson's _Antrim Glossary_. - -See "Hirtschin Hairy." - - -Steal the Pigs - -The game represents the stealing of a woman's children and the recovery -of them. The mother, before beginning to wash, disposes of her children -in a safe place. She proceeds to do her washing. While she is busy a -child-snatcher comes and takes away one. The others begin to cry. The -mother hears them crying. She goes and asks the reason of their crying, -and is told that a woman came and took away one of them. She scolds and -beats them all; tells them to be more careful for the time to come, and -returns to her washing. Again the children cry, and the mother goes to -see what is the matter with them, and is told the same thing. She -repeats her admonition and bodily correction, and returns to her work. -This process is repeated till all the children are stolen. After -finishing her washing, she goes to her children and finds the last one -gone. She sets out in search of them, and meets a woman whom she -questions if she had seen her children. She denies all knowledge of -them. The mother persists, and at last discovers all her stolen -children. She demands them back. The stealer refuses, and puts them -behind her and stands on her defence. A tussel takes place. The mother -in the long run rescues her children.--Fraserburgh (Rev. W. Gregor). - -See "Mother, Mother, Pot boils over," "Witch." - - -Stealy Clothes - -See "Scots and English." - - -Steik and Hide - -The game of Hide and Seek.--Aberdeen (Jamieson). - - -Sticky-stack - -A game among young people in running up the face or cut part of a -hay-stack to try who can put in a stick the highest.--Brockett's _North -Country Words_. - - -Sticky Toffey - -Name of a game (undescribed) recorded by the Rev. S. D. Headlam, as -played by Hoxton School children at Hoxton.--_Church Reformer_, 1894. - - -Stiff Police - -A game (undescribed) recorded by the Rev. S. D. Headlam, as played by -Hoxton School children.--_Church Reformer_, 1894. - - -Stik-n Snael (Stick and Snell) - -Game of cat.--Elworthy, _West Somerset Words_. The short stick, pointed -at both ends, is called a snell. - - -Stocks - -A schoolboys' game. Two boys pick a side, and there is one den only, and -they toss to see which side shall keep it. The side which wins the toss -then goes out, and when two boys have got a good distance off they cry -"Stocks." The boys who keep the den run after them to catch them. When -one is caught his capturer counts ten while he holds him (in a more -primitive but less refined state, spat over his head) and cries -_Stocks_. This prisoner is taken into the den. If they are all caught -the other side turns out. But if one of the outer side can manage to run -through the den and cry "Stocks," all the prisoners are relieved, and -can go out again.--Easther's _Almondbury Glossary_. See "Stacks." - - -Stones - -A circle of stones is formed according to the number of players, -generally five or seven each side. One of the out party stands in the -centre of the circle, and lobs at the different stones in rotation; each -hit a player gives all his side must change stations, in some places -going round to the left and in others to the right. The stones are -defended by the hand or a stick, according as a ball or stick is lobbed. -All the players are out if the stone is hit, or the ball or stick -caught, or one of the players is hit while running. In different -counties or places these games are more or less modified.--Dublin, -_Folk-lore Journal_, ii. 264-265. - -Mr. Kinahan, who describes this game, adds a very instructive note, -which is worth quoting:-- - -"These games I have seen played over half a century ago, with a -lob-stick, but of later years with a ball, long before a cricket club -existed, in Trinity College, Dublin, and when the game was quite unknown -in a great part of Ireland. At the same time, they may have been -introduced by some of the earlier settlers, and afterwards degenerated -into the games mentioned above; but I would be inclined to suspect that -the Irish are the primitive games, they having since been improved into -cricket. At the present day these games nearly everywhere are succeeded -by cricket, but often of a very primitive form, the wickets being stones -set on end, or a pillar of stones; while the ball is often wooden, and -very rudely formed." - - -Stool-ball - -The first mention of this game is by Smyth in his _Berkeley -Manuscripts_. In the reign of Elizabeth, the Earl of Leicester, with an -extraordinary number of attendants and multitudes of country people, and -"whom my neighbours parallel to Bartholomew faire in London, came to -Wotton, and thence to Michaelwood Lodge, castinge down part of the -pales, which like a little park then enclosed the Lodge (for the gates -were too narrow to let in his Trayne), and thence went to Wotton Hill, -where hee plaid a match at stoball."--_Gloucestershire County -Folk-lore_, p. 26. - -The earliest description of the game, however, is by Aubrey. He says "it -is peculiar to North Wilts, North Gloucestershire, and a little part of -Somerset near Bath. They smite a ball, stuffed very hard with quills and -covered with soale leather, with a staffe, commonly made of withy, about -three feet and a half long. Colerne down is the place so famous and so -frequented for stobball playing. The turfe is very fine and the rock -(freestone) is within an inch and a halfe of the surface which gives the -ball so quick a rebound. A stobball ball is of about four inches -diameter and as hard as a stone. I do not heare that this game is used -anywhere in England but in this part of Wiltshire and Gloucestershire -adjoining." (Aubrey's _Natural History of Wiltshire_, p. 117; -_Collections for North Wilts_, p. 77). It is no doubt the same game as -Stool-ball, which is alluded to by Herrick in 1648 (_Hesperides_), and -in Poor Robin's Almanack for 1677 (see Halliwell's _Dictionary_). -D'Urfey's _Don Quixote_, written in 1694, alludes to it as follows:-- - - "Down in a vale, on a summer's day, - All the lads and lasses met to be merry; - A match for kisses at stool-ball to play, - And for cakes and ale, and cider and perry." - -_Chorus;_ - - "Come all, great, small, short, tall-- - Away to stool-ball." - -It is also alluded to in Poor Robin's Almanack for 1740: - - "Now milkmaids pails are deckt with flowers, - And men begin to drink in bowers, - The mackarels come up in shoals, - To fill the mouths of hungry souls; - Sweet sillabubs, and lip-lov'd tansey, - For William is prepared by Nancy. - Much time is wasted now away, - At pigeon-holes, and nine-pin play, - Whilst hob-nail Dick, and simpring Frances, - Trip it away in country dances; - At _stool-ball_ and at barley-break, - Wherewith they harmless pastime make." - -It is described by Strutt in _Sports and Pastimes_, p. 103, as a variety -of game more commonly known as "goff" or "bandy ball," the paganica of -the Romans, who also stuffed their balls with feathers. According to Dr. -Johnson, the balls are driven from stool to stool, hence the name. - -In spite of Aubrey's opinion as to the limited range of this game, it -appears to have been pretty generally played. Thus, Roberts' _Cambrian -Antiquities_ says, "Stool-ball, resembling cricket, except that no bats -are used and that a stool was substituted for the wicket, was in my -memory also a favourite game on holydays, but it is now seldom or ever -played. It generally began on Easter Eve" (p. 123). It was also an old -Sussex game. Mr. Parish's account is that it was "similar in many -respects to cricket, played by females. It has lately been revived in -East Sussex by the establishment of stool-ball clubs in many villages. -The elevens go long distances to play their matches; they practise -regularly and frequently, display such perfection of fielding and -wicket-keeping as would put most amateur cricketers to shame. The rules -are printed and implicitly obeyed."--Parish's _Dictionary of Sussex -Dialect_. - -Miss Edith Mendham says of the Sussex game, it is supposed to derive its -name from being played by milkmaids when they returned from milking. -Their stools were (I think) used as wickets, and the rules were as -follows:-- - -1. The wickets to be boards one foot square, mounted on a stake, which, -when fixed in the ground, must be four feet nine inches from the ground. - -2. The wickets to be sixteen yards apart, the bowling crease to be eight -yards from the wicket. - -3. The bowler to stand with one foot behind the crease, and in bowling -must neither jerk nor throw the ball. - -4. The ball to be of that kind known as "Best Tennis," No. 3. - -5. The bats to be of wood, and made the same size and shape as -battledores. - -6. The striker to be out if the ball when bowled hits the wicket, or if -the ball be caught in the _hands_ of any of the opposing side, or if in -running, preparing to run, or pretending to run, the ball be thrown or -touch the wicket before the striker reaches it, and the ball in all -cases must strike the face of the wicket, and in running the striker -must at each run strike the wicket with her bat. - -7. There should be eleven players on each side. - -8. Overs to consist of eight balls. - -Miss F. Hagden, in her short History of Alfriston, Sussex, says, "In the -Jubilee year the game of stool-ball was revived and played in the Tye -field. The rules resemble those of cricket, but the wickets are square -boards on posts; the bowler stands in the centre of the pitch, the bats -used are round boards with a handle. The game in Alfriston seems now to -have died out again, but in many villages there are regular clubs for -the girls," p. 43. It also appears to be a game among Lancashire -children to this day. A stool is used as a wicket, at which it is -attempted to throw the ball; a player stands near the stool, and using -his or her hand as a bat, wards off the blow. If the ball hits the stool -the thrower takes the place at wicket; or if the ball is caught the -catcher becomes the guardian of the stool. Stool-ball, like all ball -games, was usually played at Easter for tansy cakes. Mr. Newell (_Games -and Songs_) says this game is recorded by the second governor of -Massachusetts as being played under date of the second Christmas of the -colony. - -See "Bittle-battle," "Cricket," "Stool-ball." - - -Strik a Licht - -A version of hide and seek. One player is chosen to be "it." The other -players go away to a distance and "show a light," to let "it" understand -they are ready. They then hide, and the first one found has to be "it" -in place of the previous seeker.--Aberdeen (Rev. W. Gregor). - -See "Hide and Seek." - - -Stroke - -A game at marbles, where each player places a certain number on a line -and plays in turns from a distance mark called "scratch," keeping such -as he may knock off.--Lowsley's _Berkshire Glossary_. - - -Stroke Bias - -Brome, in his _Travels over England_, 1700, p. 264, says: "The Kentish -men have a peculiar exercise, especially in the eastern parts, which is -nowhere else used in any other country, I believe, but their own; it is -called 'Stroke Bias,' and the manner of it is thus. In the summer time -one or two parishes convening make choice of twenty, and sometimes more, -of the best runners which they can cull out in their precincts, who send -a challenge to an equal number of racers within the liberties of two -other parishes, to meet them at a set day upon some neighbouring plain; -which challenge, if accepted, they repair to the place appointed, -whither also the county resort in great numbers to behold the match, -when having stripped themselves at the goal to their shirts and drawers, -they begin the course, every one bearing in his eye a particular man at -which he aims; but after several traverses and courses on both sides, -that side, whose legs are the nimblest to gain the first seven strokes -from their antagonists, carry the day and win the prize. Nor is this -game only appropriated to the men, but in some places the maids have -their set matches too, and are as vigorous and active to obtain a -victory." - - -Sun and Moon - -"A kinde of play wherein two companies of boyes holding hands all -on a rowe, doe pull with hard hold one another, till one be -overcome."--Quoted by Halliwell (_Dictionary_), from _Thomasii -Dictionarium_, London, 1644. - - -Sunday Night - - I. Sunday night an' Nancy, oh! - My delight and fancy, oh! - All the world that I should know - If I had a Katey, oh! - - "He! ho! my Katey, oh! - My bonny, bonny Katey, oh! - All the world that I should keep - If I had a Katey, oh!" - ---Liphook, Hants (Miss Fowler). - - II. Sunday night and brandy, O! - My life and saying so, - My life and saying so, - Call upon me Annie, O! - I Annie, O! - Bonnie, bonnie Annie, O! - She's the girl that I should like - If I had an Annie, O! - ---Earls Heaton, Yorks. (H. Hardy). - -(_b_) The children stand in a row with backs against a wall or fence, -whilst one stands out and stepping backwards and forwards to the tune -sings the first verse. Then she rushes to pick out one, taking her by -the hands and standing face to face with her, sings the other verse. -Then the two separate their hands, and standing side by side sing the -first verse over again, taking another girl from the row, and so on -again. - -"Monday night," or "Pimlico," is the name of a singing game mentioned by -the Rev. S. D. Headlam, in _The Church Reformer_, as played by children -in the schools at Hoxton, which he says was accompanied by a kind of -chaunt of a very fascinating kind. - - -Sun Shines - - The sun shines above and the sun shines below, - And a' the lasses in this school is dying in love I know, - Especially (girl's name) she's beautiful and fair; - She's awa wi' (a boy's name) for the curl o's hair. - In comes (girl's name) mother with the glass in her han', - Says--My dearest daughter, I'm glad you're gettin a man, - I'm glad you're gettin a man and a cooper to trade, - And let a' the world say he is a rovin' blade. - ---Fraserburgh (Rev. W. Gregor). - -All sing to "especially," boy chooses girl, and then the two whirl -round, and all sing to the end. - - -Sweer Tree - -Two persons sit down feet to feet and catch a stick with their hands; -then whoever lifteth the other is the strongest.--Mactaggart's -_Gallovidian Encyclopdia_. - -Compare "Honey pots." - - -Swinging - -Rhymes were said or sung by children and young people when swinging. -They were of the same character, and in many instances the same as those -given in "See-saw" and "Shuttlefeather," and were used formerly for -purposes of divination. The following extract, from the _Pall Mall -Gazette_ of Sept. 19th, 1895, seems to indicate an early notion -connected with swinging. It is taken from one of the articles in that -paper upon Jabez Balfour's diary during his residence in the Argentine -Republic:--"On the 2nd November he (Balfour) mentions a curious Bolivian -custom on All Souls' Day, when 'they erect high swings, and old and -young swing all day long, in the hope that while they swing they may -approach the spirits of their departed friends as they fly from -Purgatory to Paradise.' Two days later he adds: 'I have to-day heard -another explanation of the Bolivian practice of swinging on All Souls' -Day. They swing as high as they can so as to reach the topmost branches -of the trees, and whenever they are thereby able to pull off a branch -they release a soul from Purgatory.'"--_Notes and Queries_, 8th series, -vi. 345. With this may be compared one of the methods and words used -while swinging which I remember playing, namely, that while swinging, -either in a room or garden, the object was to endeavour to touch either -a beam in the ceiling or the top branches of a tree, singing at the same -time a rhyme of which I only recollect this fragment: - - One to earth and one to heaven, - And _this_ to carry my soul to heaven. - -The last was said when the effort was made to touch the ceiling or tree -with the feet.--(A. B. Gomme.) - -Miss Chase has sent me the following rhymes: - - I went down the garden - And there I found a farth'ng; - I gave it to my mother - To buy a little brother; - The brother was so cross - I sat him on the horse; - The horse was so bandy - I gave him a drop (_or_ glass) of brandy; - The brandy was so strong - I set him on the pond; - The pond was so deep - I sent him off to sleep; - The sleep was so sound - I set him on the ground; - The ground was so flat - I set him on the cat; - The cat ran away - With the boy on his back; - And a good bounce [A great push here] - Over the high gate wall. - -Said while swing stops itself:-- - - Die, pussy, die, - Shut your little eye, - When you wake, - Find a cake; - Die, pussy, die. - ---Deptford. - - Wingy, wongy, - Days are longy, - Cuckoo and the sparrow; - Little dog has lost his tail, - And he shall be hung to-morrow. - ---Marylebone. - -The Deptford version is practically the same as known in several parts -of the country, and Mr. Gerish has printed a Norfolk version in -_Folk-lore_ (vi. 202), which agrees down to the line "sent him off to -sleep," and then finishes with-- - - With a heigh-ho! - Over the bowling green. - -When they came to the "heigh-ho" a more energetic push than usual was -given to the occupant of the swing, who was then expected to vacate the -swing and allow another child a turn. Thus the rhyme served as an -allowance of time to each child. - -An amusement of boys in Galloway is described as on the slack rope, -riding and shoving one another on the curve of the rope: they recite -this to the swings-- - - Shuggie show, druggie draw, - Haud the grip, ye canna fa'; - Haud the grup or down ye come, - And danceth on your braid bum. - ---Mactaggart's _Gallovidian Encyclopdia_. - -Brockett (_North Country Words_) describes as a swing: a long rope -fastened at each end, and thrown over a beam, on which young persons -seat themselves and are swung backwards and forwards in the manner of a -pendulum. - -See "Merritot." - - -Tait - -The Dorset game of "See-saw."--Halliwell's _Dictionary_. - - -Teesty-Tosty - -The blossoms of cowslips collected together tied in a globular form, and -used to toss to and fro for an amusement called "Teesty-Tosty," or -simply sometimes "Tosty."--Somerset (Holloway's _Dict. of -Provincialisms_). - -A writer in _Byegones_ for July 1890, p. 142, says, "Tuswball" means a -bunch. He gives the following rhyme, used when tossing the ball:-- - - Tuswball, tuswball, tell unto me - What my sweetheart's name shall be. - -Then repeating letters of the alphabet until the ball falls, and the -letter last called will indicate the sweetheart's name. - -See "Ball," "Shuttlefeather," "Trip Trout." - - -Teter-cum-Tawter - -The East Anglian game of "See-saw."--Halliwell's _Dictionary_. - - -Tee-to-tum. - -See "Totum." - - -Thimble Ring - - I come with my ringle jingles - Under my lady's apron strings. - First comes summer, and then comes May, - The queen's to be married on midsummer day. - Here she sits and here she stands, - As fair as a lily, as white as a swan; - A pair of green gloves to draw on her hands, - As ladies wear in Cumberland. - I've brought you three letters, so pray you read one, - I can't read one unless I read all, - So pray, Miss Nancy, deliver them all. - ---Sheffield (S. O. Addy). - -A number of young men and women form themselves into an oval ring, and -one stands in the centre. A thimble is given to one of those who form -the ring, and it is passed round from one to another, so that nobody -knows who has it. Then the one who stands in the centre goes to the man -at the top of the oval ring and says, "My lady's lost her gold ring. -Have you got it?" He answers "Me, sir? no, sir." The one in the middle -says, "I think you lie, sir, but tell me who has got it." Then he points -out the one who has the thimble, of which he takes possession, and then -says the above lines. Then the one who was found to have had the thimble -takes the place of the one inside the ring, and the game is repeated. - -Halliwell gives a version of this game under the name of Diamond Ring -(_Nursery Rhymes_, p. 223), but the words used consist only of the -following lines:-- - - My lady's lost her diamond ring, - I pitch upon you to find it. - -In the two following games from Yorkshire and Lincolnshire there are no -words used in rhymes or couplets. - -One child stands in the centre of a ring, which is formed by each member -clasping the wrist of his or her left hand neighbour with the left hand, -thus leaving the right hand free. A thimble is provided, and is held by -one of the players in the right hand. No circular movement is necessary, -but as the tune is sung, the right hand of each member is placed -alternately in that of their right and left hand neighbour, each -performing the action in a swinging style, as if they had to pass the -ring on, and in such a manner, that the one standing in the centre -cannot detect it. The thimble may be detained or passed on just as the -players think fit. The words are the following:-- - - The thimble is going, - I don't know where. - -Varied with - - It's first over here, - -Or - - It's over there, - -as the case may be, or rather may not be, in order to throw the victim -in the centre off the scent.--West Riding of Yorkshire (Miss Bush). - -The players sit in a row or circle, with their hands held palm to palm -in their laps. The leader of the game takes a thimble, and going to -every member of the company in turn, pretends to slip it between their -fingers, or to hide it in their pinafores, saying as she does so--"I -bring you my lady's thimble, you must hold it fast, and very fast -indeed." Whereon each child thus addressed should assume an air of -triumph suitable to the possession of such a treasure. After the whole -party have gone through the farce of receiving the thimble, the girl who -carried it round calls a player from the circle to discover who holds -it. For every wrong guess a fine must be paid. When the searcher -discovers the thimble she begins a new round of the game by taking the -place of leader; and so on, till the accumulation of forfeits is -sufficient to afford amusement in "loosing the tines." The game is -called "Lady's Thimble."--Lincoln, Scawby and Stixwould 76 years ago -(Miss M. Peacock). - -The rhyme used in the Sheffield game is that used in "Queen Anne," but -it appears to have no relevance to this game. - - -Thing done - -A game described by Ben Jonson in his play of _Cynthia's Revels_ (act -iv. scene 1). The passage is as follows:-- - - "PHANTASTE. Nay, we have another sport afore this, of 'A thing done, - and who did it,' &c. - - "PHILANTIA. Ay, good Phantaste, let's have that: distribute the - places. - - "PHANTASTE. Why, I imagine A thing done; Hedon thinks who did it; - Maria, with what it was done; Anaides, where it was done; Argurion, - when it was done; Amorphus, for what cause was it done; you, - Philantia, what followed upon the doing of it; and this gentleman, - who would have done it better...." - -Gifford thinks that this sport was probably the diversion of the age, -and of the same stamp with our modern "Cross Purposes," "Questions," and -"Commands," &c. - - -Thread the Needle - -[Music] - ---Miss Dendy. - -[Music] - ---Harpenden (Miss Lloyd). - - I. Thread my grandmother's needle! - Thread my grandmother's needle! - Thread my grandmother's needle! - Open your gates as wide as high, - And let King George and me go by. - It is so dark I cannot see - To thread my grandmother's needle! - _Who stole the money-box?_ - ---London (Miss Dendy). - - II. Open your gates as wide as I, [high?] - And let King George's horses by; - For the night is dark and we cannot see, - But thread your long needle and sew. - ---Belfast (W. H. Patterson). - - III. Thread the tailor's needle, - The tailor's blind, so he can't see; - So open the gates as wide as wide, - And let King George and his lady pass by. - ---Bocking, Essex (_Folk-lore Record_, iii. 170). - - IV. Thread my grandmother's needle, - Thread my grandmother's needle; - It is too dark we cannot see - To thread my grandmother's needle. - ---Harpenden (Mrs. Lloyd). - - V. Thread the needle, - Thread the needle, - Nine, nine, nine, - Let King George and I pass by. - ---Liphook, Hants (Miss Fowler). - - VI. Open the gates as wide as wide, - And let King George go through with his bride; - It is so dark, we cannot see - To threaddle the tailor's needle. - ---Parish _Dictionary of the Sussex Dialect_. - - VII. Brother Jack, if ye were mine, - I would give you claret wine; - Claret wine's gude and fine-- - Through the needle-e'e, boys! - ---_Blackwood's Magazine_, August 1821. - - VIII. Through the needle-e'e, boys, - One, two, three, boys. - ---Ross-shire (Rev. W. Gregor). - - IX. Hop my needle, burn my thread, - Come thread my needle, Jo-hey. - ---Lincoln (C. C. Bell). - - X. Come thread a long needle, come thread, - The eye is too little, the needle's too big. - ---Hanbury, Staffs. (Miss Edith Hollis). - - XI. Thread the needle thro' the skin, - Sometimes out and sometimes in. - ---Warwickshire, Northall's _Folk Rhymes_, 397. - - XII. Open the gates as wide as the sky, - And let King George and his lady go by. - ---Ellesmere, Burne's _Shropshire Folk-lore_, p. 321. - -(_b._) The children stand in two long rows, each holding the hands of -the opposite child, the two last forming an arch. They sing the lines, -and while doing so the other children run under the raised arms. When -all have passed under, the first two hold up their hands, and so on -again and again, each pair in turn becoming the arch. Mrs. Lloyd -(Harpenden version) says the two first hold up a handkerchief, and the -children all run under, beginning with the last couple. In the London -version (Miss Dendy) the "last line is called out in quite different -tones from the rest of the rhyme. It is reported to have a most -startling effect." The Warwickshire version is played differently. The -players, after passing under the clasped hands, all circle or wind round -one of their number, who stands still. - -(_c._) In some cases the verse, "How many miles to Babylon?" is sung -before the verses for "Thread the needle," and the reference made -(_ante_, vol. i., p. 238) to an old version seems to suggest the origin -of the game. This, at all events, goes far to prove that the central -idea of the game is not connected with the sewing needle, but with an -interesting dance movement, which is called by analogy, Thread the -needle. It is, however, impossible to say whether the verses of this -game are the fragments of an older and more lengthy original, which -included both the words of "How many miles to Babylon" and "Thread the -needle," or whether these two were independent games, which have become -joined; but, on the whole, I am inclined to think that "Thread the -needle," at all events, is an independent game, or the central idea of -an independent game, and one of some antiquity. - -This game is well illustrated by custom. At Trowbridge, in Wilts, a -game, known as "Thread the needle," used to be the favourite sport with -the lads and lasses on the evening of Shrove Tuesday festival. The vocal -accompaniment was always the following:-- - - Shrove Tuesday, Shrove Tuesday, when Jack went to plough, - His mother made pancakes, she didn't know how; - She tipped them, she tossed them, she made them so black, - She put so much pepper she poisoned poor Jack. - ---_Notes and Queries_, 5th series, xi. p. 227. - -At Bradford-on-Avon, as soon as the "pancake bell" rang at eleven A.M., -the school children had holiday for the remainder of the day, and when -the factories closed for the night, at dusk the boys and girls of the -town would run through the streets in long strings playing "Thread the -needle," and whooping and hallooing their best as they ran, and so -collecting all they could together by seven or eight o'clock, when they -would adjourn to the churchyard, where the old sexton had opened the -churchyard gates for them; the children would then join hands in a long -line until they encompassed the church; they then, with hands still -joined, would walk round the church three times; and when dismissed by -the old sexton, would return to their homes much pleased that they -"Clipped the Church," and shouting similar lines to those said at -Trowbridge. - -At South Petherton, in South Somerset, sixty or seventy years ago, it -was the practice of the young folk of both sexes to meet in or near the -market-place, and there commence "Threading the needle" through the -streets, collecting numbers as they went. When this method of recruiting -ceased to add to their ranks, they proceeded, still threading the -needle, to the church, which they tried to encircle with joined hands; -and then, whether successful or not, they returned to their respective -homes. Old people, who remember having taken part in the game, say that -it always commenced in the afternoon or evening of Shrove Tuesday, -"after having eaten of their pancakes." In _Leicestershire County -Folk-lore_, p. 114, Mr. Billson records that it was formerly the custom -on Shrove Tuesday for the lads and lasses to meet in the gallery of the -Women's Ward in Trinity Hospital to play at "Thread the Needle" and -similar games. - -At Evesham the custom is still more distinctly connected with the game, -as the following quotation shows:--"One custom of the town is connected -with a sport called 'Thread my needle,' a game played here by the -children of the town throughout the various streets at sunset upon -Easter Monday, and at no other period throughout the year. The players -cry while elevating their arms arch-wise-- - - Open the gates as high as the sky, - And let Victoria's troops pass by." - ---May's _History of Evesham_, p. 319. - -As all these customs occur in the early spring of the year, there is -reason to think that in this game we have a relic of the oldest sacred -dances, and it is at least a curious point that in two versions -(Bocking and Ellesmere) the Anglo-Saxon title of "Lady" is applied to -the Queen. - -The writer in _Blackwood's Magazine_, who quotes the rhymes as -"immemorial," says: "Another game played by a number of children, with a -hold of one another, or 'tickle tails,' as it is technically called in -Scotland, is 'Through the needle-e'e.'" Moor (_Suffolk Words and -Phrases_) mentions the game. Patterson (_Antrim and Down Glossary_) -gives it as "Thread the needle and sew." Barnes (_Dorset Glossary_) -calls it "Dred the wold woman's needle," in which two children join -hands, and the last leads the train under the lifted arms of the first -two. Holloway (_Dictionary of Provincialisms_) says the children form a -ring, holding each other's hands; then one lets go and passes under the -arms of two who still join hands, and the others all follow, holding -either by each other's hands or by a part of their dress. "At -Ellesmere," Miss Burne says, "this game was formerly called 'Crew Duck.' -It now only survives among little girls, and is only played on a special -day." It is alluded to in _Poor Robin's Almanack_ for 1738: "The summer -quarter follows spring as close as girls do one another when playing at -Thread my needle; they tread upon each other's heels." Strutt calls this -"Threading the Taylor's needle." Newell (_Games of American Children_) -gives some verses, and describes it as played in America. - -See "How many miles to Babylon," "Through the Needle 'ee." - - -Three Days' Holidays - -Two players hold up their joined hands, the rest pass under one by one, -repeating, "Three days' holidays, three days' holidays!" They pass under -a second time, all repeating, "Bumping day, bumping day!" when the two -leaders strike each player on the back in passing. The third time they -say, "Catch, catch, catch!" and the leaders catch the last in the train -between their arms. He has the choice of "strawberries or grapes," and -is placed behind one of the leaders, according to his answer. When all -have been "caught," the two parties pull against each other.--Berrington -(Burne's _Shropshire Folk-lore_, p. 522). - -"Holidays," says Miss Burne, "anciently consisted of three days, as at -Easter and Whitsuntide, which explains the words of this game;" and the -manorial work days were formerly three a week. See "Currants and -Raisins." - - -Three Dukes - -[Music] - ---Madeley, Shropshire (Miss Burne). - -[Music] - ---Biggar, Lanarkshire (W. Ballantyne). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - -[Music] - ---Isle of Man (A. W. Moore). - - I. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a rancy, tancy, tay! - - What is your good will, sirs? - Will, sirs? will, sirs? - What is your good will, sirs? - With a rancy, tancy, tay! - - Our good will is to marry, - To marry, to marry; - Our good will is to marry, - With a rancy, tancy, tay! - - Marry one of us, sirs, - Us, sirs, us, sirs; - Marry one of us, sirs, - With a rancy, tancy, tay! - - You're all too black and greasy [or dirty], - Greasy, greasy; - You're all too black and greasy, - With a rancy, tancy, tay! - - We're good enough for you, sirs, - You, sirs, you, sirs; - We're good enough for you, sirs, - With a rancy, tancy, tay! - - You're all as stiff as pokers, - Pokers, pokers; - You're all as stiff as pokers, - With a rancy, tancy, tay! - - We can bend as much as you, sirs, - You, sirs, you, sirs; - We can bend as much as you, sirs, - With a rancy, tancy, tay! - - Through the kitchen and down the hall, - I choose the fairest of you all; - The fairest one that I can see - Is pretty Miss ----, walk with me. - ---Madeley, Salop (Miss Burne), 1891. - -[Another Shropshire version has for the fourth verse-- - - Which of us will you choose, sirs? - -Or, - - Will you marry one of my daughters?] - - II. Here comes three dukes a-riding, a-riding, - With a ransome dansome day! - - Pray what is your intent, sirs, intent, sirs? - With a ransome dansome day! - - My intent is to marry, to marry! - - Will you marry one of my daughters, my daughters? - - You are as stiff as pokers, as pokers! - - We can bend like you, sir, like you, sir! - - You're all too black and too blowsy, too blowsy, - For a dilly-dally officer! - - Good enough for _you_, sir! for _you_, sir! - - If I must have any, I will have this, - So come along, my pretty miss! - ---Chirbury (_Shropshire Folk-lore_, p. 517). - - III. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a rancy, tancy, tee! - - Pray what is your good will, sirs? - Will, sirs, will, sirs? - Pray what is your good will, sirs? - With a rancy, tancy, tee! - - My will is for to marry you, - To marry you, to marry you; - My will is for to marry you, - With a rancy, tancy, tee! - - You're all so black and blousey (blowsy?), - Sitting in the sun so drowsy; - With silver chains about ye, - With a rancy, tancy, tee! - -Or, - - [With golden chains about your necks, - Which makes you look so frowsy.] - - Walk through the kitchen, and through the hall, - And pick the fairest of them all. - - This is the fairest I can see, - So pray, Miss ----, walk with me. - ---Leicester (Miss Ellis). - - IV. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes riding, riding, riding; - Ransam, tansam, tisum ma tea (_sic_). - - Pray what is your good will, sir, will, sir, will, sir? - Pray what is your good will, sir? - Ransam, tansam, tisum ma tea! - - My will is for to marry, to marry, to marry, - My will is for to marry; - Ransam, tansam, tisum ma tea! - - Pray who will you marry, you marry, you marry? - Pray who will you marry? - Ransam, tansam, tisum ma tea! - - You're all too black and too brown for me, - You're all too black and too brown for me, - Ransam, tansam, tisum ma tea! - - We're quite as white as you, sir; as you, sir; as you, sir; - We're quite as white as you, sir; - Ransam, tansam, tisum ma tea! - - You are all as stiff as pokers, as pokers, as pokers, - You are all, &c., - Ransam, tansam, tisum ma tea! - - We can bend as well as you, sir; as you, sir; as you, sir; - We can bend as well as you, sir; - Ransam, tansam, tisum ma tea! - - Go through the kitchen, and through the hall, - And take the fairest of them all; - - The fairest one that I can see is "----," - So come to me. - ---Oxfordshire version, brought into Worcestershire (Miss Broadwood). - - V. Here come three dukes a-riding, a-riding, a-riding; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - And pray what do you want, sirs? want, sirs? want, sirs? - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - I want a handsome wife, sir; wife, sir; wife, sir; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - I have three daughters fair, sir; fair, sir; fair, sir; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - They are all too black and too browny, - They sit in the sun so cloudy; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - Go through my kitchen and my hall, - And find the fairest of them all; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - The fairest one that I can see, - Is little ---- ----, so come to me. - ---Monton, Lancashire (Miss Dendy). - - VI. Here come three dukes a-riding, a-riding, a-riding; - Here come three dukes a-riding, with a ransom, tansom, te! - - Pray what is your intention, sir [repeat as above]. - - My intention is to marry, &c. - - Which of us will you choose, sir, &c. - - You're all too black and too browsy, &c. - - We're good enough for you, sir, &c. - - Through the kitchen and over the wall, - Pick the fairest of us all. - - The fairest is that I can see, pretty Miss ----, come to me. - ---East Kirkby, Lincolnshire (Miss K. Maughan). - - VII. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a dusty, dusty, die! - - What do you want with us, sirs? [repeat as above]. - - We've come to choose a wife, Miss, &c. - - Which one of us will you have, sirs? &c. - - You're all too black and too browsy, - You sit in the sun so drowsy; - With a golden chain about your neck, - You're all too black and too browsy. - - Quite good enough for you, sirs, &c. - - We walk in our chamber, - We sit in our hall, - We choose the fairest of you all; - The fairest one that we can see - Is little ---- ----, come to me. - ---Wakefield, Yorks. (Miss Fowler). - - VIII. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes a-riding; - A randy, dandy, very fine day! - - And pray what is your will, sirs? &c. [as above]. - - We come for one of your daughters, &c. - - Which one will you have, sir? &c. - - They are all as black as a browsie, browsie, browsie, &c. - - One can knit, and one can sew, - One can make a lily-white bow; - One can make a bed for a king, - Please take one of my daughters in. - - The fairest one that I can see - Is [], come to me. - ---Gainford, co. Durham (Miss A. Edleston). - - IX. Here comes a poor duke a-riding, a-riding, - Here comes a poor duke a-riding; - With the ransom, tansom, tee! - - Pray who will you have to marry, sir? &c. - - You're all so black and so dirty, &c. - - We are quite as clean as you, sir, &c. - - Through the kitchen, and through the hall, - Pick the fairest one of all. - - The fairest one that I can see - Is ----, - The fairest one that I can see, - With a ransom, tansom, tee! - ---Sporle, Norfolk (Miss Matthews). - - X. Here comes one duke a-riding, - A-riding, a-riding; - Here comes one duke a-riding, - With a ransom, tansom, terrimus, hey! - - What is your intention, sir? &c. [as above]. - - My intention is to marry, &c. - - Marry one of us, sir? &c. - - You're all too black and dirty (or greasy), &c. - - We're good enough for you, sir, &c. - - You're all as stiff as pokers, &c. - - We can bend as much as you, sir, &c. - - Through the kitchen and through the hall, - I choose the fairest of you all; - The fairest one as I can see - Is pretty ---- ----, come to me. - - Now I've got my bonny lass, - Bonny lass, bonny lass; - Now I've got my bonny lass - To help us with our dancing. - ---Barnes, Surrey (A. B. Gomme). - - XI. Here comes one duke a-riding, a-riding, a-riding; - Here comes one duke a-riding - On a ransom, dansom bay! - - You're all so black and dirty, &c. - - Pray which of us will you choose, sir, &c. - - Up in the kitchen, down in the hall, - And choose the fairest one of all. - The fairest one that I can see - Is pretty Miss ----, so come to me. - ---Bocking, Essex (_Folk-lore Record_, vol. iii., pt. ii., pp. 170-171). - - XII. Here comes one duke a-riding, a-riding, a-riding, - Here comes one duke a-riding, with a ransom, tansom, ta! - - Pray which of us will you choose, sir? &c. - - You're all so black and so blousey, &c. - - We're quite as white as you, sir, &c. - - Up of the kitchen, down of the hall, - Pick the fairest girl of all; - The fairest one that I can see - Is ---- ----, come to me. - ---Suffolk (Mrs. Haddon). - - XIII. Here comes the Duke of Rideo, - Of Rideo, of Rideo; - Here comes the Duke of Rideo, - Of a cold and frosty morning. - - My will is for to get married, &c. - - Will any of my fair daughters do? &c. - [The word "do" must be said in a drawling way.] - - They are all too black or too proudy, - They sit in the sun so cloudy; - With golden chains around their necks, - That makes them look so proudy. - - They're good enough for you, sir! &c. - - I'll walk the kitchen and the hall, - And take the fairest of them all; - The fairest one that I can see - Is Miss ---- - So Miss ----, come to me. - - Now we've got this pretty girl, - This pretty girl, this pretty girl; - Now we've got this pretty girl, - Of a cold and frosty morning. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 222-223). - - XIV. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes a-riding; - With a ransom, tansom, tisamy, tea! - - What is your good will, sirs? &c. - - My good will is to marry, &c. - - One of my fair daughters? &c. - - You're all too black and browsy, &c. - - Quite as good as you, sirs, &c. - - [The dukes select a girl who refuses to go to them.] - - O, naughty maid! O, naughty maid! - You won't come out to me! - You shall see a blackbird, - A blackbird and a swan; - You should see a nice young man - Persuading you to come. - ---Wrotham, Kent (Miss Dora Kimball). - - XV. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding, to my nancy, pancy, disimi, oh! - - Which of us will you have, sir? &c. - - You're all so fat and greasy, &c. - - We're all as clean as you, sir, &c. - - Come down to my kitchen, come down to my hall, - I'll pick the finest of you all. The fairest is that girl - I shall say, "Come to me." - - I will buy a silk and satin dress, to trail a yard as we go - to church, - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - - I will buy you a gold watch and chain, to hang by your side - as we go to church; - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - - I will buy you the key of the house, to enter in when my - son's out; - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - ---Earls Heaton, Yorks. (H. Hardy). - - XVI. Here comes one duke a-riding, - With a rancey, tancey, tiddy boys, O! - Rancey, tancey, tay! - - Pray which will you take of us, sir? &c. - - You're all as dark as gipsies, &c. - - Quite good enough for you, &c. - - Then we'll take this one, &c. - -[After all are taken, the dukes say]-- - - Now we've got this bonny bunch, &c. - ---Hurstmonceux, Sussex, about 1880 (Miss E. Chase). - -[A Devon variant gives for the third verse-- - - You are all too black and ugly, and ugly, and ugly. - -And-- - - You are all too black and _browsie_, &c. - -With the additional verse-- - - I walked through the kitchen, - I walked through the hall, - For the prettiest and fairest - Of you all. - -Ending with-- - - Now I have got my bonny lass, &c. - -And something like-- - - Will you come and dance with me? - ---Devon (Miss E. Chase)]. - - XVII. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding to the ransy, tansy, tay! - - Pray what do you come riding for? &c. - - For one of your fairy [? fair] daughters, &c. - - Will either one of these do? &c. - - They're all too black and too dirty, &c. - - They're quite as clean as you, sir, &c. - - Suppose, then, I take you, Miss, &c. - ---Clapham, London (Mrs. Herbertson). - -[Another version is played by the duke announcing that he wants a wife. -The circle of maids and duke then reply to each other as follows:-- - - Open the door and let him in. - - They're all as stiff as pokers. - - Quite as good as you, sir. - - I suppose I must take one of them? - - Not unless you like, sir. - - I choose the fairest of you all, - The fairest one that I can see - Is ----, come to me. - ---Clapham Middle-class Girls School (Mrs. Herbertson)]. - - XVIII. Here comes the duke a-riding, - With my rantum, tantum, tantum, tee! - Here comes the duke a-riding, - With my rantum, tantum, tee! - - What does the duke a-riding want? - With his rantum, tantum, tantum, tee, &c. - - The youngest and fairest daughter you've got, &c. - ---Dublin (Mrs. Coffey). - - XIX. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding, a ransom, tansom, tee! - - What is your good will, sir, &c. - - My will is for to marry, &c. - - Will ever a one of us do? &c. - - You're all so black and so browsy. - You sit in the sun and get frowsy, - With golden chains about your necks, - You're all so black and so browsy. - - Quite as good as you, sir, &c. - -[There is more of this, but it has been forgotten by my authority.] - ---Thos. Baker, junr. (_Midland Garner_, N. S., ii. 32). - - XX. Here comes a duke a-riding, - With a ransom, tansom, titta passee! - Here comes a duke a-riding, - With a ransom, tansom, tee! - - Pray what is your good will, sir? - With a ransom, tansom, titta passee! - Pray what is your good will, sir? - With a ransom, tansom, tee! - - My will is for to marry you (as above). - - Pray which of us will you have, sir? &c. - - Through the gardens and through the hall, - With a ransom, tansom, titta passee! - I choose the fairest of you all, - With a ransom, tansom, tee! - ---Settle, Yorks. (Rev. W. G. Sykes). - - XXI. There came three dukes a-riding, ride, ride, riding; - There came three dukes a-riding, - With a tinsy, tinsy, tee! - - Come away, fair lady, there is no time to spare; - Let us dance, let us sing, - Let us join the wedding ring. - ---West of Scotland (_Folk-lore Record_, iv. 174). - - XXII. Here come three dukes a-riding, - A-riding, a-riding. - - . . . . . - - They will give you pots and pans, - They will give you brass; - They will give you pots and pans - For a pretty lass. - ---Penzance, Cornwall (Mrs. Mabbott). - - XXIII. Here come four dukes a-riding, - Ring a me, ding a me, ding. - - What is your good will, sirs? - Ring a me, ding a me, ding. - - Our good will's to marry, &c. - - Marry one of us then, &c. - - You're too poor and shabby, &c. - - We're quite as good as you are, &c. - - Suppose we have one of you then, &c. - - Which one will you have, &c. - - We'll have ---- to marry, &c. - - Who will you send to fetch her, &c. - - We'll send ---- to fetch her. - ---Roxton, St. Neots (Miss E. Lumley). - - XXIV. Here come three dukes a-riding, - With me rancy, tansy, tissimy tee, - Here come three dukes a-riding, - With a ransom, tansom, tissimy tee. - Here come three dukes a-riding, - With a ransom, tansom, tissimy tee. - - Pray which of us will you have, sir (repeat as above). - - I think I will have this one (repeat). - - . . . . . - -[Forgotten, but the girls evidently decline to part with one of their -number.] - - You are all too black and too blousy (repeat). - We're far too good for you, sir (repeat). - ---Isle of Man (A. W. Moore). Played at a Manx Vicarage nearly sixty -years ago (Rev. T. G. Brown). - - XXV. Here comes a Jew a riding, - With the ransom, tansom, tissimi, O! - - And pray what is your will, sir? (as above). - - Then pray take one of my daughters, &c. - - They are all too black and too browsy, &c. - - They are good enough for you, sir, &c. - - My house is lined with silver, &c. - - But ours is lined with gold, sir, &c. - - Then I'll take one of your daughters, &c. - ---Forest of Dean, Gloucester (Miss Matthews). - - XXVI. The Campsie dukes a-riding, a-riding, a-riding; - The Campsie dukes a riding, come a rincey, dincey, dee. - ---Biggar (Wm. Ballantyne). - - XXVII. Five dukes comes here a-ridin', - A-ridin' fast one day; - Five dukes comes here a-riding, - With a hansom, dansom day. - - What do you want with us, sirs, - With us, sirs, &c. - - We want some wives to marry us, - To marry us, to marry us, &c. - - Will you marry us, Miss Nancy, - Miss Nancy, Miss Nancy, &c. - - We won't marry you to-day, sirs, &c. - - Will you marry us to-day, Miss? &c. (to another girl). - - We will marry you to-day, sirs, &c. - ---London, Regent's Park (A. B. Gomme). - - XXVIII. There's three dukes a-riding, a-riding, - There's three dukes a-riding, - Come a ransin, tansin, my gude wife. - Come a ransin, tansin te-dee, - Before I take my evening walk, - I'll have a handsome lady, - The fairest one that I do see. - ---Rosehearty, Pitsligo (Rev. W. Gregor). - - XXIX. One duck comes a-ridin', sir, a-ridin', sir, - A-ridin' to marry you. - - And what do you want with me, sir? - - I come to marry you two. - - There's some of us ready to dance, sir; - Ready to dance and sing; - There's some of us ready to dance, sir, - And ready to marry you. - - Then come to me, my darlin', my darlin', darlin' day, - With a ransom, tansom, tansom, tansom tay. - ---London, Regent's Park (A. B. Gomme). - - XXX. There's a young man that wants a sweetheart-- - Wants a sweetheart--wants a sweetheart-- - There's a young man that wants a sweetheart, - To the ransom tansom tidi-de-o. - - Let him come out and choose his own, - Choose his own, choose his own; - Let him come out and choose his own, - To the ransom tansom tidi-de-o. - - Will any of my fine daughters do, &c. - - They are all too black and brawny, - They sit in the sun uncloudy, - With golden chains around their necks, - They are too black and brawny. - - Quite good enough for you, sir! &c. - - I'll walk in the kitchen, and walk in the hall, - I'll take the fairest among you all; - The fairest of all that I can see, - Is pretty Miss Watts, come out to me. - Will you come out? - - Oh, no! oh, no! - - Naughty Miss Watts she won't come out, - She won't come out, she won't come out; - Naughty Miss Watts she won't come out, - To help us in our dancing. - Won't you come out? - - Oh, yes! oh, yes! - ---Dorsetshire (_Folk-lore Journal_, vii. 223-224). - -(_c._) Three children, generally boys, are chosen to represent the three -dukes. The rest of the players represent maidens. The three dukes stand -in line facing the maidens, who hold hands, and also stand in line. -Sufficient space is left between the two lines to admit of each line in -turn advancing and retiring. The three dukes commence by singing the -first verse, advancing and retiring in line while doing so. The line of -maidens then advances singing the second verse. The alternate verses -demanding and answering are thus sung. The maidens make curtseys and -look coquettishly at the dukes when singing the fourth verse, and draw -themselves up stiffly and indignantly when singing the sixth, bending -and bowing lowly at the eighth. The dukes look contemptuously and -criticisingly at the girls while singing the fifth and seventh verses; -at the ninth or last verse they "name" one of the girls, who then -crosses over and joins hands with them. The game then continues by all -four singing "Here come four dukes a-riding," and goes on until all the -maidens are ranged on the dukes' side. - -This method of playing obtains in most versions of the game, though -there are variations and additions in some places. In the Bocking, -Barnes, Dublin, Hurstmonceux, Settle, Symondsbury, Sporle, Earls Heaton, -and Clapham versions, where the verses begin with "Here comes one Duke -a-riding," one boy stands facing the girls, and sings the first verse -advancing and retiring with a dancing step, or with a step to imitate -riding. In some instances the "three Dukes" advance in this way. In the -Barnes version, when the chosen girl has walked over to the duke, he -takes her hands and dances round with her, while singing the tenth -verse. In the Symondsbury (Dorset) version the players stand in a group, -the duke standing opposite, and when singing the sixth verse, advances -to choose the girl. When there is only one player left on the maidens' -side the dukes all sing the seventh verse; they then come forward and -claim the last girl, and embrace her as soon as they get her over to -their side. In the Hurstmonceux version, when the girls are all on the -dukes' side, they sing the last verse. Miss Chase does not say whether -this is accompanied by dancing round, but it probably would be. In the -Dublin version, after the third verse, the duke tries to carry off the -youngest girl, and her side try to save her. In the Wrotham version, -after the girls' retort, "Quite as good, as you, sir," the dukes select -a girl, who refuses to go to them: they then sing the last six lines -when the girl goes over. In the second Dorset version (which appeared in -the _Yarmouth Register_, Mass., 1874) the players consisted of a dozen -boys standing in line in the usual way, and a dozen girls on the -opposite side facing them. The boys sing the first two verses -alternately; the girl at first refuses and then consents to go. Dancing -round probably accompanies this, but there is no mention of it. In -Roxton, St. Neots, after the verses are sung, the duke and the selected -girl clasp hands, and he pulls her across to the opposite side, as in -"Nuts in May." In Settle (Yorks.) the game is called "The Dukes of York -and Lancaster." The first duke advances with a dancing step. The game is -then played in the usual way until all the players are ranged on the -dukes' side; then the two original dukes, one of whom is "red" and the -other "white," join hands, and the other players pass under their raised -hands. The dukes ask each of them, in a whisper, "red?" or "white?" The -player then goes behind the one he or she has chosen, clasping the -duke's waist. When all the players have chosen, a tug-of-war ensues -between the two sides. In the Earls Heaton version, the duke sings the -verses, offering gifts to the girl when she has been selected. In the -Oxfordshire version (Miss Broadwood) one player sings the words of the -verse, and all join in the refrain as chorus. In the Monton (Lancashire) -version the duke sings the last verse, and then takes a girl from the -opposite side; and in another version from Barnes, in which the words of -the last verse are the same as these, one of the dukes' side crosses -over and fetches the girl. The duke bows lowly before the chosen girl in -the Liphook version before she joins his side. In the East Kirkby, -Lincolnshire, version, when the dukes sing the last verse, they advance -towards the opposite side, who, when they see the direction in which -they are coming, form two arches, by three of the players holding up -their arms, the dukes' side going through one arch and returning through -the other, bringing the chosen girl with them. One Clapham version is -played in a totally different manner: the maidens form a circle instead -of a line, and the duke stands outside this until he is admitted at the -line which says, "let him in." At the conclusion of the dialogue he -breaks in and carries one player off. This is an unusual form; I have -only met with one other instance of it. - -(_d._) The action in many of these versions is described as very -spirited: coquetry, contempt, and annoyance being all expressed in -action as the words of the game demands. The dancing movement of the -boys in the first verse to imitate riding, though belonging to the -earlier forms, is, with the exception of two or three versions, only -retained in those which are commenced by one player, partly, perhaps, -because of the difficulty three or more players experience in "riding" -or "prancing" while holding each other's hands in line form. I have seen -the game played when the "prancing" of the dukes (in a game where there -were a dozen or more players on each side at starting, as in the Dorset -version) was as important a feature as the maidens' actions in the other -verses. I think the oldest form of the game is that played by a fairly -equal number of players on each side, boys on one side and girls on the -other, rather than that of "one" or "three" players on the dukes' side, -and all the others opposite. The game then began with the present words, -"Here come three dukes;" these three each chose a girl at the same time, -and when these three were wived, another three "dukes" would pair with -three more of the girls, and after that another three, and so on. This -form would account for the modern idea that the number of dukes -increases on every occasion that the verses are sung, after the first -wife has been taken over, and until all the girls have been thus chosen. -This idea is expressed in some versions by the change of words: "Here's -a fourth [or fifth, and so on] duke come a riding" to take a wife, the -chosen maiden becoming a duke as soon as she has passed over on to the -dukes' side. The process of innovation may be traced by the methods of -playing. Thus, in one version played at Barnes (similar in other -respects to No. 10), beginning "three dukes a riding," _three_ girls -were chosen by the three first dukes, one by each, at the same time, and -all three girls walked across with the three dukes to the boys' line, -and stood next their respective partners. In two imperfect versions I -have obtained in Regent's Park, London, the same principle occurs. One -girl began--"One duck comes a ridin'," and two girls from the opposite -side walked across; the other "Five dukes come here a ridin'" was -played by five players on each side, and this was continued throughout. -When the verses were said, each of the five dukes took a player from the -opposite side and danced round with her. Again, in those versions -(Symondsbury and Barnes), where when one player is left on the maidens' -side without a partner, and all the dukes are mated, the additional -verse is sung, and this player is taken over too. Beyond these versions -are the large number beginning with three or more children singing the -formula of "three dukes," and choosing one girl at a time, until all are -taken over on to the dukes' side. Finally, there are the versions, more -in accord with modern ideas, which commence with one duke coming for a -wife, and continue by the girls taken over counting as dukes, the -formula changing into two dukes, and so on. - -If this correctly represents the line of decadence in this game, those -versions in which additional verses appear are, I think, instances of -the tacking on of verses from the "invitation to the dance" or "May" -games; particularly in the cases in which the words "Now I've got my -bonny lass" appear. The Earls Heaton version is curious, in that it has -several verses which remind us of the old and practically obsolete "Keys -of Canterbury" (Halliwell, 96). It may well be that a remembered -fragment of that old ballad, which was probably once danced as a -dramatic round, has been tacked on to this game. The expression "walk -with me," or "walk abroad with me," is significant of an engaged or -betrothed couple. "I'm walking or walking out with so and so" is still -an expression used by young men and young women to indicate an -engagement. "She did ought to be married now; she've walked wi' him -mor'n'er a year now." Some of the versions show still more marked signs -of decadence. The altered wording, "Here comes a Jew a riding," "Here -comes the Duke of Rideo," "A duck comes a ridin'," and the Scotch -"Campsie Dukes a riding;" a Berkshire version, collected by Miss Thoyts -(_Antiquary_, xxvii. p. 195), similar to the Shropshire game, but with a -portion of the verse of "Milking Pails" added to it, and the refrain of -"Ransome, tansome, tismatee;" together with the disappearance of some -of the verses, are all evidently the results of the words being learnt -orally, and imperfectly understood, or not understood at all. - -In this game, said in Lancashire to be the "oldest play of all," judging -both by the words and method of playing, we have, I believe, a distinct -survival or remembrance of the tribal marriage--marriage at a period -when it was the custom for men of a clan to seek wives from the girls of -another clan, both clans belonging to one tribe. The game is a purely -marriage game, and marriage in a matter-of-fact way. Young men of a clan -or village arrive at the abode of another clan for the purpose of -seeking wives, probably at a feast or fair time. The maidens are -apparently ready and expecting their arrival. They are as willing to -become wives as the dukes are to become husbands. It is not marriage by -force or capture, though the triumphant carrying off of a wife appears -in some versions. It is exogamous marriage custom, after the tribe had -settled down and arranged their system of marriage in lieu of a former -more rude system of capture. The suggested depreciation of the girls, -and their saucy rejoinders, may be looked upon as so much good-humoured -chaff and banter exchanged between the two parties to enhance each -other's value, and to display their wit. While it does not follow that -the respective parties were complete strangers to one another, these -lines may indicate that each individual wished "to have as good a look -round as possible" before accepting the offer made. It will be seen that -there is no mention of "love" in the game, nor is there any individual -courtship between boy and girl. The marriage formula does not appear, -nor is there any sign that a "ceremony" or "sanction" to conclude the -marriage was necessary, nor does kissing occur in the game. - -There is evidence of the tribal marriage system in the survivals of -exogamy and marriage by capture occasionally to be noted in traditional -local custom. Thus the custom recorded by Chambers (_Book of Days_, i. -722) of the East Anglians (Suffolk), where whole parishes have -intermarried to such an extent that almost everybody is related to or -connected with everybody else, is distinctly a case in point, the -intermarrying of "parishes" for a long series of years necessarily -resulting in close inter-relationship. One curious effect of this is -that no one is counted as a "relation" beyond first cousins; for if -"relationship" went further than that it might "almost as well include -the whole parish." The old proverb (also from East Anglia): - - "To change the name, and not the letter, - Is a change for the worse, and not for the better;" - -that is, it is unlucky for a woman to marry a man whose surname begins -with the same letter as her own, also indicates a survival of the -necessity of marrying into another clan or tribal family. - -Another interesting point in the game is the refrain, "With a rancy, -tancy, tay," which with variations accompanies all versions, and -separates this game from some otherwise akin to it. There is little -doubt that this refrain represents an old tribal war cry, from which -"slogans" or family "cries" were derived. These cries were not only used -in times of warfare, tribes were assembled by them, each leader of a -clan or party having a distinguishing cry and blast of a horn peculiar -to himself, and the sounding of this particular blast or cry would be -recognised by men of the same party, who would go to each other's -assistance if need were. The refrain is sung by all the players in -Oxfordshire and Lancashire, and in some versions the players in this -game put their hands to their mouths as if imitating a blast from a -horn, and a Lancashire version (about 1820-1830), quoted by Miss Burne, -has for the refrain, "With a rancy, tancy, terry boys horn, with a -rancy, tancy, tee." "The burden," says Miss Burne, "evidently -represented a flourish of trumpets." The Barnes version, "With a rancy, -tancy, terrimus hey!" and many others confirm this. - -An interesting article by Dr. Karl Blind (_Antiquary_, ix. 63-72), on -the Hawick riding song, "Teribus ye Teri Odin," points out that this -slogan, which occurs in the "Hawick Common-Riding Song," a song used at -the annual Riding of the Marches of the Common, is an ancient Germanic -war-cry. Dr. Blind, quoting from a pamphlet, _Flodden Field and New -Version of the Common Riding Song_, says, "It is most likely that the -inspiring strains of 'Terribus' would be the marching tune of our -ancestors when on their way for Flodden Field and other border battles, -feuds, and frays. The words of the common-riding song have been changed -at various periods, according to the taste and capacity of poets and -minstrels, but the refrain has remained little altered.... The -origin of the ancient and, at one time, imperative ceremony of the -common-riding is lost in antiquity, and this old, no longer understood, -exclamation, 'Teribus ye Teri Odin,' has (says Dr. Blind) all through -ages in the meanwhile clung to that ceremony." - -If we can fairly claim that the words of this game have preserved an old -slogan or tribal cry, an additional piece of evidence is supplied to the -suggestion that the game is a reflection of the tribal marriage--a -reflection preserved by children of to-day by means of oral tradition -from the children of a thousand years ago or more, who played at games -in imitation of the serious and ordinary actions of their elders. - - -Three Flowers - - My mistress sent me unto thine, - Wi' three young flowers baith fair and fine-- - The Pink, the Rose, and the Gilliflower: - And as they here do stand, - Whilk will ye sink, whilk will ye swim, - And whilk bring hame to land? - -A group of lads and lasses being assembled round the fire, two leave the -party and consult apart as to the names of three others, young men or -girls, whom they designate Red Rose, the Pink, and the Gilliflower. If -lads are first pitched upon, the two return to the fireside circle, and -having selected a lass, they say the above verse to her. The maiden must -choose one of the flowers named, on which she passes some approving -epithet, adding, at the same time, a disapproving rejection of the other -two; for instance, I will sink the Pink, swim the Rose, and bring home -the Gilliflower to land. The two young men then disclose the names of -the parties upon whom they had fixed those appellations respectively, -when of course it may chance that she has slighted the person she is -understood to be most attached to, or chosen him whom she is believed -to regard with aversion; either of which events is sure to throw the -company into a state of outrageous merriment.--Chambers' _Popular -Rhymes_, p. 127. Mr. W. Ballantyne has given me a description of this -game as played at Biggar when he was a boy, which is practically the -same as this. - - -Three Holes - - _T_ B - _a_ o A o o - _w_ 1 2 3 - -Three holes were made in the ground by the players driving the heels of -their boots into the earth, and then pirouetting. The game was played -with the large marbles (about the size of racket balls) known as -"bouncers," sometimes as "bucks." The first boy stood at "taw," and -bowled his marble along the ground into 1. (It was bad form to make the -holes too large; they were then "wash-hand basins," and made the game -too easy.) Taking the marble in his hand, and placing his foot against -1, he bowled the marble into 2. He was now "going up for his firsts." -Starting at 2, he bowled the marble into 3, and had now "taken off his -firsts," and was "coming down for his seconds." He then bowled the -marble back again into 2, and afterwards into 1. He then "went up for -his thirds," bowling the marble into 2, and afterwards into 3, and had -then won the game. When he won in this fashion, he was said to have -"taken off the game." But he didn't often do this. In going up for his -firsts, perhaps his marble, instead of going into 2, stopped at A; then -the second boy started from taw, and, having sent his marble into 1, -bowled at A; if he hit the marble, he started for 2, from where his -marble stopped; if he missed, or didn't gain the hole he was making for, -or knocked his antagonist's marble into a hole, the first boy played -again, hitting the other marble, if it brought him nearer to the hole he -was making for, or else going on. In such a case as I have supposed, it -would be the player's aim to knock A on to B, or some place between 2 -and 3, so as to enter 2, and then strike again so as to near 3, enter 3, -and strike on his way down for his seconds, and near 2 again. These -were the chances of the game; but if the boy who started went through -the game without his antagonist having a chance, he was said "to take -off the game."--London (J. P. Emslie). - - -Three Jolly Welshmen - -One child is supposed to be taking care of others, who take hold of her -or of each other. Three children personate the Welshmen. These try to -rob the mother or caretaker of her children. They each try to capture as -many as they can, and I think the one who gets most is to be mother next -time.--Beddgelert (Mrs. Williams). - -See "Gipsy," "Mother, Mother," "Shepherd and Sheep," "Witch." - - -Three Knights from Spain - - I. Here come two dukes all out of Spain, - A courting to your daughter Jane. - - My daughter Jane, she is so young, - She can't abide your flattering tongue. - - Let her be young, or let her be old, - It is the price, she must be sold, - Either for silver or for gold. - So fare you well, my lady gay, - For I must turn another way. - - Turn back, turn back, you Spanish knight, - And rub your spurs till they be bright. - - My spurs they are of a costliest wrought, - And in this town they were not bought, - Nor in this town they won't be sold, - Neither for silver, nor for gold. - So fare you well, my lady gay, - For I must turn another way. - - Through the kitchen, and through the hall, - And take the fairest of them all; - The fairest is, as I can see, - Pretty Jane--come here to me. - - Now I've got my pretty fair maid, - Now I've got my pretty fair maid, - To dance along with me, - To dance along with me! - ---Eccleshall, Halliwell's _Nursery Rhymes_, p. 222. - - II. Here comes three lords dressed all in green, - For the sake of your daughter Jane. - - My daughter Jane, she is so young, - She learns to talk with a flattering tongue. - - Let her be young, or let her be old, - For her beauty she must be sold. - - My mead's not made, my cake's not baked, - And you cannot have my daughter Jane. - ---Cambridgeshire, Halliwell's _Nursery Rhymes_, p. 222. - - III. We are three brethren out of Spain, - Come to court your daughter Jane. - - My daughter Jane, she is too young, - And has not learned her mother tongue. - - Be she young, or be she old, - For her beauty she must be sold. - So fare you well, my lady gay, - We'll call again another day. - - Turn back, turn back, thou scornful knight, - And rub thy spurs till they be bright. - - Of my spurs take you no thought, - For in this town they were not bought. - So fare you well, my lady gay, - We'll call again another day. - - Turn back, turn back, thou scornful knight, - And take the fairest in your sight. - The fairest maid that I can see, - Is pretty Nancy--come to me. - - Here comes your daughter, safe and sound, - Every pocket with a thousand pound, - Every finger with a gay gold ring, - Please to take your daughter in. - ---Halliwell's _Nursery Rhymes_, cccxxxiii. - - IV. We are three brethren come from Spain, - All in French garlands; - We are come to court your daughter Jean, - And adieu to you, my darlings. - - My daughter Jean, she is too young, - All in French garlands; - She cannot bide your flattering tongue, - And adieu to you, my darlings. - - Be she young, or be she old, - All in French garlands; - It's for a bride she must be sold, - And adieu to you, my darlings. - - A bride, a bride, she shall not be, - All in French garlands; - Till she go through this world with me, - And adieu to you, my darlings. - -[There is here a hiatus, the reply of the lovers being wanting.] - - Come back, come back, you courteous knights, - All in French garlands; - Clear up your spurs, and make them bright, - And adieu to you, my darlings. - -[Another hiatus.] - - Smell my lilies, smell my roses, - All in French garlands; - Which of my maidens do you choose? - And adieu to you, my darlings. - - Are all your daughters safe and sound? - All in French garlands; - Are all your daughters safe and sound? - And adieu to you, my darlings. - - In every pocket a thousand pounds, - All in French garlands; - On every finger a gay gold ring, - And adieu to you, my darlings. - ---Chambers's _Popular Rhymes_, 143. - - V. Here come three Spaniards out of Spain, - A courting to your daughter Jane. - - Our daughter Jane, she is too young, - She hath not learnt the Spanish tongue. - - Whether she be young, or whether she be old, - It's for her beauty she must be sold. - - Turn back, turn back, ye Spanish knight, - And rub your spurs till they be bright. - - Our spurs are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - - Pass through the kitchen, and through the hall, - And pick the fairest of them all. - - This is the fairest I can see, - So pray, young lady, walk with me. - ---Leicester (Miss Ellis). - - VI. Here come three Spaniards out of Spain, - A courting of your daughter Jane. - - My daughter Jane, she is too young, - She has not learned the Spanish tongue. - - Whether she be young or old, - She must have a gift of gold; - So fare you well, my lady gay, - We'll turn our heads another way. - - Come back, come back, thou Spanish knight, - And pick the fairest in this night. - ---Addy's _Sheffield Glossary_. - - VII. There were three lords they came from Spain, - They came to court my daughter Jane; - - My daughter Jane, she is too young - To hear your false and flattering tongue. - - So fare thee well, your daughter Jane, - I'll call again, another day, another year. - - Turn back, turn back, and choose - The fairest one that you can see. - - The fairest one that I can see, - Is pretty Jane, will you come with me. - - [Jane says No.] - - The proud little girl, she won't come out, she won't come - out, to help us with our dancing; - So fare you well, I'll come again another day. - - Turn back, turn back, and choose - The fairest one that you can see. - - The fairest one that I can see, - Is pretty Sarah, will you come with me? - - [Yes.] - - Now we have got the pretty fair maid - To help us with our dancing, - Dance round the ring. - ---Belfast (W. H. Patterson). - - VIII. There was one lord came out of Spain, - He came to court our daughter Jane. - - Our daughter Jane, she is too young, - To be controlled by flattering tongue. - - Oh! fare thee well. Oh! fare thee well, - I'll go and court some other girl. - - Come back, come back, your coat is wide, - And choose the fairest on our side. - - The fairest one that I can see, - Come unto me, come unto me. - ---Belfast (W. H. Patterson). - - IX. There were three lords came out of Spain, - They came to court my daughter Jane; - - My daughter Jane, she is too young - To bear your false and flattering tongue. - - So fare you well, so fare you well, - I'll go and court some other girl. - - Come back, come back, your coat is white, - And choose the fairest in your sight. - - The fairest one that I can see, - Is [] come unto me. - ---Belfast (W. H. Patterson). - - X. Here come three dukes dressed all in green, - They come to court your daughter Jane. - - My daughter Jane, she is too young - To understand your flattering tongue. - - Let her be young, or let her be old, - It is for her beauty she must be sold. - - Eighteenpence would buy such a wench, - As either you or your daughter Jane.[10] - ---Middlesex (from Mrs. Pocklington-Coltman's maid). - - XI. There came a king from Spain, - To court your daughter Jane. - - My daughter Jane, she's yet too young - To be deluded by a flattering tongue. - - Whether she's old, or whether she's young, - It's for her beauty she must come. - - Then turn about, her coat is thin, - And seek the fairest of your right. - - The fairest one that I can see - Is fair and lovely Jan-ie. - - Then here's my daughter safe and sound, - And in her pocket three hundred pound, - And on her finger a gay gold ring, - She's fit to walk with any king. - ---Annaverna, Ravensdale, Co. Louth (Miss R. Stephens). - - XII. There came three dukes a-riding, riding, riding; - Oh! we be come all out of Spain, - All for to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother-tongue. - - Let her be young, or let her be old, - The fate of beauty's to be sold. - - Here's my daughter safe and sound, - And in her pocket a thousand pound, - And on her finger a gay gold ring. - - Here's your daughter not safe nor sound, - And in her pocket no thousand pound, - And on her finger no gay gold ring; - Open your door and take her in. - ---London (Miss Dendy). - - XIII. There came three dukes all out of Spain, - All for to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother-tongue. - - Let her be young, let her be old, - The fate of beauty's to be sold. - - Walk through the parlour, walk through the hall, - And choose the fairest one of all. - - The fairest one that I can see - Is little ----, so come to me. No! - - Will you come? No! - - Naughty one, naughty one, you won't come out - To join us in our dancing! - Will you come? Yes! - - Now we've got a pretty fair one - To join us in our dancing. - ---Colleyhurst, Manchester (Miss Dendy). - - XIV. Two poor gentlemen are come out of Spain, - Come to court your daughter Jane. - - My daughter Jane, is yet too young - To understand your flattering tongue. - - Let her be young, or let her be old, - She must be sold for Spanish gold. - - Turn back, turn back, you haughty knight, - And take the fairest in your sight. - - This is the fairest I can see, - So () must come to me. - ---Bexley Heath (Miss Morris). - - XV. Here come three lords all dressed in green, - All for the sake of your daughter Jane. - - My daughter Jane, she is so young, - She doesn't know her mother-tongue. - -[Or, - - My cake ain't baked, my ban [_qy._ beer or barm] ain't - brewed, - And yew can't hev my daughter Jane.] - - Fie upon you and your daughter Jane; [scornfully,] - Eighteenpence will buy a good wench, - As well as you and your daughter Jane. - ---Swaffham, Norfolk (Miss Matthews). - - XVI. Here come three lords all dressed in green, - Here come three lords all come from Spain, - All for the sake of your daughter Jane. - - My daughter Jane, she is so young, - She hath no knowledge in her tongue. - ---Kent (Miss Fowler). - - XVII. I am a gentleman come from Spain; - I've come to court your daughter Jane. - - My daughter Jane, is yet too young - To understand your flattering tongue. - - Let her be young, or let her be old, - She must be sold for Spanish gold. - So fare thee well, my lady gay, - I'll call upon you another day. - - Turn back, turn back, you saucy lad,[11] - And choose the fairest you can spy! - - The fairest one that I can see - Is pretty Miss ----. Come to me! - - I've brought your daughter home safe and sound, - With money in her pocket here, a thousand pound: - Take your saucy girl back again. - ---Bocking, Essex (_Folk-lore Record_, iii. pt. ii. 171). - - XVIII. Here comes three knights all out of Spain, - A-courting of your daughter Jane. - - My daughter Jane, she is too young, - She can't abide your flattering tongue. - - If she be young, or she be old, - She for her beauty must be sold. - - Go back, go back, you Spanish knight, - And rub your spurs till they are bright. - - My spurs are bright and richly wrought, - And in this town they were not bought, - And in this town they shan't be sold, - Neither for silver nor for gold. - - Walk up the kitchen and down the hall, - And choose the fairest of us all. - - Madams, to you I bow and bend, - I take you for my dearest friend; - You are two beauties, I declare, - So come along with me, my dear. - ---Wenlock, Condover, Ellesmere, Market Drayton (_Shropshire Folk-lore_, -p. 516). - - XIX. Here come three dukes all out of Spain, - In mourning for your daughter Jane. - - My daughter Jane, is yet too young - To cast her eyes on such a one. - - Let her be young, or let her be old, - 'Tis for her beauty she must be sold. - So fare thee well, my lady gay, - I'll call on you another day. - - Turn back, turn back, you saucy Jack, - Up through the kitchen and through the hall, - And pick the fairest of them all. - - The fairest one that I can see. - So please, Miss ----, come with me. - ---Pembrokeshire, Wales (_Folk-lore Record_, v. 89). - - XX. Here's two brothers come from Spain, - For to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother tongue. - - Be she young, or be she old, - For her beauty she must be sold. - - But fare thee well, my lady gay, - And I'll call back some other day. - - Come back! come back! take the fairest you see. - - The fairest one that I can see - Is bonnie Jeanie [or Maggie, &c.], so come to me. - - Here's your daughter, safe and sound, - In every pocket a thousand pound, - On every finger a gay gold ring, - So, pray, take your daughter back again. - ---_People's Friend_, quoted in review of "Arbroath: Past and Present." - - XXI. We are three suitors come from Spain, - Come to court your daughter Jane. - - My daughter Jane she is too young - To be beguiled by flattering tongue. - - Let her be young, or let her be old, - For her beauty she must be sold. - - Return, return, your coat is white, - And take the fairest in your sight. - - Here's your daughter safe and sound, - And in her pocket five hundred pound, - On her finger a gay gold ring, - Fit to walk with any king. - ---Dublin (Mrs. Lincoln). - - XXII. Here comes a poor duke out of Spain, - He comes to court your daughter Jane. - - My daughter Jane is yet too young, - She has a false and flattering tongue. - - Let her be young, or let her be old, - Her beauty is gone, she must be sold. - - Fare thee well, my lady gay, - I'll call again another day. - - Turn back, turn back, you ugly wight, - And clean your spurs till they shine bright. - - My spurs they shine as bright as snow, - And fit for any king to show; - So fare thee well, my lady gay, - I'll call again another day. - - Turn back, turn back, you ugly wight, - And choose the fairest one you like. - - The fairest one that I can see, - Is you, dear ----, so come with me. - ---_Notes and Queries_ (1852), vol. vi. 242. - - XXIII. Here comes three knights all out of Spain, - We have come to court your daughter Jane. - - Our daughter Jane she is too young, - She has not learned the Spanish tongue. - - Whether she be young or old, - 'Tis for her beauty she must be sold. - - Turn back, turn back, ye Spanish knights, - And rub your spurs till they are bright. - - Our spurs are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - - Turn back, turn back, ye Spanish knights, - And brush your buckles till they are bright. - - Our buckles are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - ---Yorkshire (Miss E. Cadman). - - XXIV. There was one lord that came from Spain, - He came to court my daughter Jane; - - My daughter Jane, she is too young - To be controlled by a flattering tongue. - - Will you? No. - Will you? Yes. - -[This second one then joins hands with the "lord," and they dance round -together, saying--] - - You dirty wee scut, you wouldn't come out - To help us with our dancing. - ---Ballymiscaw school, co. Down (Miss C. N. Patterson). - - XXV. There were one lord came out of Spain, - Who came to court your daughter Jane. - - Your daughter Jane, she is too young - To be controlled by flattering tongue. - - Oh! fare thee well; oh! fare thee well; - I'll go and court some other girl. - - Come back, come back, your coat is white, - And choose the fairest in your sight. - - The fairest one that I can see, is ----, come to me. - ---Holywood, co. Down (Miss C. N. Patterson). - - XXVI. Here's two dukes come out from Spain, - For to court your daughter Jane; - - My daughter Jane is far too young, - She cannot hear your flattering tongue. - - Be she young, or be she old, - Her beauty must be sold, - Either for silver or for gold; - So fare you well, my lady fair, - I'll call again some other day. - ---Galloway (J. G. Carter). - - XXVII. Here's one old Jew, just come from Spain, - To ask alone your daughter Jane. - - Our daughter Jane is far too young - To understand your Spanish tongue. - - Go away, Coat-green. - - My name is _not_ Coat-green, - I _step_ my foot, and away I go. - - Come back, come back, your coat is green, - And choose the fairest one you see. - - The fairest one that I can see - Is pretty Alice. Come to me. - - I will not come. - - Naughty girl, she won't come out, - She won't come out, she won't come out; - Naughty girl, she won't come out, - To see the ladies dancing. - - I will come. - - Pretty girl, she has come out, - She has come out, she has come out; - Pretty girl, she has come out, - To see the ladies dancing. - ---Berwickshire (A. M. Bell, _Antiquary_, vol. xxx. p. 15). - - XXVIII. Here come two Jews, just come from Spain, - To take away your daughter Jane. - - My daughter Jane is far too young, - She cannot bear your chattering tongue. - - Farewell! farewell! we must not stay; - We'll call again another day. - - Come back, come back, your choice is free, - And choose the fairest one you see. - - The fairest one that I can see - Is A---- F----. Come to me. - ---Cowes, Isle of Wight (Miss E. Smith). - - XXIX. There came three dukes a-riding, a-riding, a-riding, - There came three dukes a-riding, - To court my daughter Jane. - - My daughter Jane is far too young, far too young, - My daughter Jane is far too young, - She hath a flattering tongue. - - They're all as red as roses, as roses, as roses, - They're all as red as roses with sitting in the sun. - ---Perth (Rev. W. Gregor). - - XXX. Here comes a duke a-riding, - To court your daughter Jane. - - My daughter Jane is far too young - To listen to your saucy tongue; - Go back, go back, you saucy Jack, - And clean your spurs and.... - - My spurs are bright as bright can be, - With a tissima, tissima, tissima tee. - - Go through the house, go through the hall, - And choose the fairest of them all. - - The fairest one that I can see - Is ----. Come to me. - ---Clapham School (Mrs. Herbertson). - - XXXI. Here comes three dukes a-riding, a-riding, - Here comes three dukes a-riding, to court your daughter - Jane. - - My daughter Jane is yet too young - To bear your silly, flattering tongue. - - Be she young, or be she old, - She for beauty must and shall be sold. - So fare thee well, my lady gay, - We'll take our horse and ride away, - And call again another day. - - Come back, come back! you Spanish knight, - And clean your spurs, they are not bright. - - My spurs are bright as "rickety rock" [and richly wrought], - And in this town they were not bought, - And in this town they shan't be sold, - Neither for silver, copper, nor gold. - So fare thee well, &c. - - Come back! come back! you Spanish Jack [or coxcomb]. - - Spanish Jack [or coxcomb] is not my name, - I'll stamp my foot [stamps] and say the same. - So fare thee well, &c. - - Come back! come back! you Spanish knight, - And choose the fairest in your sight. - - This is the fairest I can see, - So pray, young damsel, walk with me. - - We've brought your daughter, safe and sound, - And in her pocket a thousand pound, - And on her finger a gay gold ring, - We hope you won't refuse to take her in. - - I'll take her in with all my heart, - For she and "me" were loth to part. - ---Cornwall (_Folk-lore Journal_, v. 46, 47). - - XXXII. Here comes three dukes all out of Spain, - For to court your daughter Jane. - - My daughter Jane, she is too young, - She cannot bear your flattering tongue. - - Be she young, or be she old, - For her beauty she must be sold. - - So fare thee well, my lady gay, - We'll call again another day. - - Turn back, turn back, you Spanish knight, - And take the fairest in your sight. - - Well through the kitchen and through the hall, - I take the fairest of you all. - - The fairest one that I can see - Is pretty ----, come to me. - ---Gloucestershire (Northall's _Rhymes_, p. 385). - - XXXIII. Two poor sailors dressed in blue, - Two poor sailors dressed in blue, - Two poor sailors dressed in blue, - We come for the sake of your daughter Loo. - - My daughter Loo, she is too young, - She cannot bear your flattering tongue. - - Whether she be young, or whether she be old, - It is our duty, she must be sold. - - Take her, take her, the coach is free, - The fairest one that you can see. - - The fairest one that we can see, - Is bonnie []. Come to me. - - Here's all your daughters safe and sound, - In every pocket a thousand pound, - On every finger a guinea gold ring, - So please, take one of your daughters in. - ---Fochabers, N.E. Scotland (Rev. W. Gregor). - - XXXIV. Two poor sailors dressed in blue, dressed in blue, dressed - in blue, - Two poor sailors dressed in blue, come for the sake of your - daughter Loo. - - My daughter Loo, she is too young, she is too young, she is - too young, - She cannot bear your flattering tongue. - - Let her be young, or yet too old, yet too old, yet too old, - But for her beauty she must be sold. - - The haughty thing, she won't come out, she won't come out, - she won't come out; - The haughty thing, she won't come out, - To help us with our dancing. - - Now we have got a beautiful maid, a beautiful maid, a - beautiful maid; - Now we have got a beautiful maid, - To help us with our dancing. - ---Nairn (Mrs. Jamieson, through Rev. W. Gregor). - - XXXV. One poor sailor dressed in blue, dressed in blue, dressed in - blue, - One poor sailor dressed in blue, - Has come for the sake of your daughter Sue. - - My daughter Sue, she is too young, - She cannot bear your flattering tongue. - - Whether she be young, or whether she be old, - For her beauty she must be sold. - - Take her, take her, the coach is free. - - The fairest one that I can see is bonny (), come with - me. - - [No!] - - The dirty sclipe, she won't come out, she won't come out, - she won't come out; - The dirty sclipe, she won't come out to dance along with me. - - Now, I have got another poor maid, &c., - To come along with me. - ---Cullen (Rev. W. Gregor). - - XXXVI. Here comes two ladies down from Spain, - A len (?) [all in] French garland. - I've come to court your daughter Jane, - And adieu to you, my darling. - ---Scotland (_Notes and Queries_, 3rd series, v. 393). - - XXXVII. Here are just three tribes come down from Spain, - To call upon my sister Jane. - - My sister Jane, she is far too young; - I cannot bear her chattering tongue. - - The fairest lily that I can see, - Is pretty little Lizzie, will ye come to me? - - [No!] - - The dirty thing, she won't come out, she won't come out, she - won't come out; - The dirty thing, she won't come out, to help us with the - dancing. - - [Yes!] - - Now we've got a pretty maid, a pretty maid, a pretty maid; - Now we've got a pretty maid, to help us with the dancing. - ---Waterford (Miss H. E. Harvey). - -(_b_) The players stand in two lines, facing one another, three boys on -one side and the girls (any number) on the other. The boys advance and -retire dancing, and saying the first two lines. The girls stand still, -one who personates a mother answers with the next two lines. The boys -then advance and reply. When they are retiring the mother says the next -lines and the boys reply; they then choose a girl and take her over to -their side. The dialogue is generally spoken, not sung. The boys turn -their toes outwards to show their spurs. The number of players on the -girls' side is generally an uneven one, the odd one is the mother and -says the dialogue. This is the most general way of playing, but there -are interesting variations. Chambers says two parties play, one -representing a dame and her daughters, the other the suitors. The -suitors move backwards and forwards with their arms entwined. The mother -offers her daughters when she says "Smell my lilies," and the game ends -by some little childish trick, but unfortunately, he does not describe -this. Miss Ellis (Leicester) says if the number of players suited, -probably all the boys, instead of three, would be on one side and the -girls on the other, but there is no hard and fast line. They turn out -their toes to show their spurs: when they sing or say, "Pass through the -kitchen," &c., the girls stretch out their arms, still keeping hold of -hand, and the boys, forming a long tail, wind in and out under their -arms as they stand. Having previously decided among themselves which -girl they shall seize, they go up and down the lines several times, -until the period of suspense and expectation is supposed to have lasted -long enough. Then the last boy in the line puts his arms round the -chosen girl's waist and carries her off. This goes on until there is -only one girl left, who recommences the game on her part by singing the -first lines, choosing first a boy, who then becomes a Spaniard. In the -first version from Belfast, the first girl who is asked to go refuses, -and another is asked, who consents. In the Manchester version (Miss -Dendy), the girl refuses twice, then accepts. The "mother" is seated in -state with her "daughters" round her in the Bexley Heath (Miss Morris) -version. The two "gentlemen" advance to her and turn haughtily away -when refused. Then they choose a girl and take her over to their side. -In the Shropshire (Edgmond) version, two girls, one from each end of the -line of "daughters," goes over to the knights' side, who also "bow" and -"bend" when saying the lines, and the game is repeated saying five, -seven, &c., knights. Here, also, the last player left on the girls' side -takes the knight's part in the next game. Miss Burne adds, at other -places the knights call only one girl by name each time. Both lines in -the Shropshire game advance and retire. In the Dublin game (Mrs. -Lincoln), three young boys are chosen for the suitors, one girl is the -mother, and any number from three to six personate the daughters. The -first boy only speaks the lines. At "Return, return, your coat is -white," he, with the other two "suitors," takes the girl, brings her -back, and says the last verse. They then sit down, and the second suitor -does the same thing, then the third one. Then the game is begun again -[with three other boys] until all the daughters have been taken. In the -version quoted from _Notes and Queries_, two children, mother and -daughter, stand on one side, the other players opposite to them, and -advance and retire. The contributor says they chant the words to a -pleasing old melody. The Yorkshire version (Miss E. Cadman) is played in -the usual way, both sides advancing and retiring in turn, and at the end -one of the "knights" tries to catch one of the girls. They cross the -room to each other's places. In Co. Down, at Ballymiscaw, Miss Patterson -says one player refuses when asked, and another consents, this one and -the "lord" then join hands and dance round together, saying the last -words. The Annaverna version is sung by one on each side--"king and the -mother." The Berwickshire game was played by six children, one on one -side, five on the other. The first lines are sung on both sides; then -the rest is dialogue until the girl refuses, when the "Jew" dances round -by himself, singing the words; she then consents, and the two dance -round with joined hands as in a reel, singing the last verse. The -dialogue is spoken with animation, and the "Jew steps his foot" and -prances away when saying these words. Twelve children in the Perth -version stand in a row, another stands a little in advance, who is -called "daughter Jane," another is the "mother." Three more stand in -front of the twelve and are the "Dukes." These dance forwards and -backwards before "Jane and her mother," singing the first lines. The -mother answers. When they sing the last line the "Dukes" choose one of -the twelve, and sing the words over again until all the twelve are on -the "Dukes'" side. Then they try to carry off "Jane" and the "mother," -and run until they are caught. In the Clapham school version (Mrs. -Herbertson), the "Duke" tries to drag by force the chosen girl across a -handkerchief or other boundary, if successful she goes on his side. In -the Cornwall version the "Dukes" retire and consult before choosing a -girl, then select one. When all have been taken they bring them back in -the same order to the "mother," saying the last verse, and the "mother" -replies in the last two lines. In the London version, the "Dukes" take -the girl and rob her, then bring her back. In the Fochabers version -(Rev. W. Gregor), the two "sailors" join hands crosswise, walk backwards -and forwards, and sing the words. The girl crosses over to them when -chosen. When all are chosen the "sailors" bring all the girls before the -mother, singing the last verse. The mother searches the daughters one -after the other, finding neither money nor ring. She then chases the -sailors, and the one caught becomes mother next game. - -(_c_) This game has been said by previous collectors, and at first sight -may be thought to be merely a variant of "Three Dukes," but it will on -investigation, I think, prove to be more than this. In the first place, -the obvious borrowing from the "Three Dukes" of a few words, as in -versions Nos. 29, 30, and 31, tells against the theory of identity of -the two games. Then the form of marriage custom is different, though it -is still marriage under primitive conditions of society. The personal -element, entirely absent from the "Three Dukes," is here one of the -principal characteristics. The marriage is still one without previous -courtship or love between two individuals, but the parental element is -present here, or at any rate that of some authority, and a sanction is -given, although there is no trace of any actual ceremony. The young men, -or suitors, apparently desire a particular person in marriage, and -although there is no wooing of that person a demand is made for her. -These suitors are, I think, making the demand on the part of another -rather than for themselves. They are the ambassadors or friends of the -would-be bridegrooms, and are soliciting for a marriage in which -purchase money or dowry is to be paid. The mention of "gold and silver" -in many versions, and the line, "she must be sold," is important. - -All these indications of purchase refer to a time when the custom of -offering gold, money, or other valuables for a bride was in vogue. -While, therefore, the game has traces of carrying off the bride, this -carrying off is in strict accord with the conditions prevalent when -marriage by purchase had succeeded to marriage by capture. The -bargaining spirit is not much "en evidence" in this game, not, that is -to say, in the same sense as is shown in "Three Sailors," p. 282, but -there is sufficient evidence of a mercantile spirit to prove that women -and girls were too valuable to be parted with by their own tribe or -family without something deemed equivalent being given in return. There -is a desire shown to possess the girl for her beauty; and that a choice -of a suitor could or would be made is shown by the remarks that she is -too young and does not know the language and customs of this suitor. - -The mention of the spurs conveys the suggestion that the suitors or -ambassadors are men of quality and renown. To win their spurs was an -object greatly desired by all young men. Their reply to the taunt that -their spurs are "dull" may mean that they are not bright from use, and -may also show the idea that these men have come on a journey from some -distance for a bride or brides, and this only is responsible for their -spurs not being as bright as usual. Again, being "richly wrought" is -probably an indication of wealth or consequence. Mention must be made of -the mead not being made nor the cake yet baked, which occurs in two -versions. If these two versions can be considered old ones, this would -tend to show evidence of the ceremony of the eating together of -particular food, which forms the most important element in primitive -marriage ceremonies. - -There occurs in some versions the incident of asking the girl to come, -and the dancing round when she consents, mostly in connection with the -incident of invitation to dance. This may not therefore belong, and I do -not think it does, to the early forms of this game; but we must remember -that dancing formed a part of the marriage ceremonies down to quite a -late date, and it is therefore not surprising it should be found in many -versions. - -It has been suggested that this game has for its origin an historical -event in the reign of Edward III., whose daughter Jane married a prince -of Spain. There is some possibility in this, as doubtless the marriage -was conducted by ambassadors first of all with pomp and ceremonial, but -I think the game really dates from a much earlier period, and if there -are any grounds for connecting it with this particular royal marriage, -it may merely have altered and fixed some of the words, such as -"daughter Jane," "Lords from Spain," "Spanish gold," in people's minds, -and in this way tended to preserve the game in its modern form. - -Mr. Addy, in his _Sheffield Glossary_, considers that the mention of the -three knights and gifts of gold is a fragment of some old pageant of the -Three Kings of Cologne, who, according to ancient legend, brought gifts -to the infant Jesus, but I can see no evidence of this. - -It is somewhat curious that this game is very rarely sung to a tune, nor -have I succeeded in obtaining one. It is usually said to a sort of -sing-song chant, or else it is spoken in dialogue, and that with a good -deal of animation. - -Mr. Newell gives versions, as played in America, similar to many here -given, and Mr. Northall (_Folk Rhymes_, p. 385) gives one from -Gloucestershire and Warwickshire. - - [10] Incomplete, there is more of the game, but the maid could not - remember it. - - [11] Probably once "boy," pronounced "by" in Essex. - - -Three Little Ships - -[Music] - ---London (A. B. Gomme). - -[Music] - ---Rimbault's _Nursery Rhymes_. - - I. Three little ships come sailing by, - Sailing by, sailing by; - Three little ships come sailing by, - New Year's day in the morning. - - Who do you think was in the ships, - In the ships, in the ships; - Who do you think was in the ships, - New Year's day in the morning? - - Three pretty girls were in the ships, - In the ships, in the ships; - Three pretty girls were in the ships, - New Year's day in the morning. - - One could whistle, and one could sing, - One could play on the violin; - One could whistle, and one could sing, - New Year's day in the morning. - ---London (A. B. Gomme). - - II. I saw three ships come sailing by, - Come sailing by, come sailing by; - I saw three ships come sailing by - On New Year's day in the morning. - - And what do you think was in them then, - In them then, in them then; - And what do you think was in them then, - On New Year's day in the morning? - - Three pretty girls were in them then, &c. - - One could whistle, and one could sing, - The other could play on the violin; - Such joy was there at my wedding, - On New Year's day in the morning. - ---Rimbault's _Nursery Rhymes_. - - III. As I sat on a sunny bank, - A sunny bank, a sunny bank; - As I sat on a sunny bank - On Christmas day in the morning. - - I saw three ships come sailing by, - Come sailing by, come sailing by; - I saw three ships come sailing by - On Christmas day in the morning. - - And who do you think was in those ships? &c. - But Joseph and his lady. - - And he did whistle, and she did sing, - And all the bells on earth did ring - For joy our Saviour he was born - On Christmas day in the morning. - ---Burne's _Shropshire Folk-lore_, p. 564. - -[The above verses, except the last one, are sung at Oswestry with these -additional ones:--] - - Pray, whither sailed those ships all three? &c. - Oh! they sailed unto Bethlehem, &c. - They combed his hair with an ivory comb, &c. - They washed his face in a golden cup, &c. - They wiped his face with a lily-white cloth, &c. - They brushed his shoes with a hairy brush, &c. - ---Burne's _Shropshire Folk-lore_, p. 564. - -(_c_) In the London version, which I obtained from a maid-servant--two -lines of children stand, hand in hand, facing one another. They advance -and retire in line, with dancing steps, alternately. The children sing -the lines. When the last verse is sung a girl from the end of each line -advances, and the two dance round together. This is continued until all -have danced in turn in the space between the lines. - -(_d_) It will be seen that there is a probability of the version I -collected as a dance game and Rimbault's nursery song being derived from -the Christmas carol, a variant of which I reprint from Miss Burne's -_Shropshire Folk-lore_. A version of this carol from Kent is given in -_Notes and Queries_, 3rd series, iii. 7. Mr. A. H. Bullen, in _Carols -and Poems_, gives an older version of the same. In this version there is -no mention of whistling, singing, or playing the violin; but in the Kent -version, the third verse is the same as the fourth of that collected by -Miss Burne, and the dance collected by myself. In the _Revue Celtique_, -vol. iv., Mr. Fitzgerald considers this carol to have been the original -from which the pretty words and dance, "Duck Dance," were derived, see -_ante_, vol. i. p. 113. If these words and dance owe their origin to the -carol, they may both show connection with an older form, when the carol -was danced as a dramatic round. - - -Three Old Bachelors - - Here come three old bachelors, - Walking in a row, - Seeking wives, and can't find 'em; - So open the ring, and take one in. - Now you're married, you must obey; - You must be true to all you say; - You must be kind, you must be good, - And help your wife to chop the wood. - ---Earls Heaton, Yorks. (Herbert Hardy). - -Mr. Hardy suggests that this is a variant of "See the Farmer Sow his -Seed," but it more nearly resembles "Silly Old Man," although the -marriage formula is that of "Oats and Beans." - - -Three Sailors - -[Music] - ---London (A. B. Gomme). - - I. Here come three sailors, three by three, - To court your daughter, a fair lady (pronounced ladee); - [_Or_, And down by your door they bend their knee]. - Can we have a lodging here, here, here? - Can we have a lodging here? - - Sleep, sleep, daughter, do not wake, - Here are three sailors we can't take; - You cannot have a lodging here, here, here, - You cannot have a lodging here. - - Here come three soldiers, three by three, - To court your daughter, a fair lady; - Can we have a lodging here, here, here? - Can we have a lodging here? - - Sleep, sleep, daughter, do not wake, - Here are three soldiers we can't take; - You cannot have a lodging here, here, here, - You cannot have a lodging here. - - Here come three kings, three by three, - To court your daughter, a fair lady; - Can we have a lodging here, here, here? - Can we have a lodging here? - - Wake, wake, daughter, do not sleep, - Here come three kings that we can take; - You can have a lodging here, here, here, - You can have a lodging here. - - Here's my daughter, safe and sound, - And in her pocket one hundred pound, - And on her finger a gay gold ring, - And she is fit to walk with a king. - - Here's your daughter, not safe nor sound, - Nor in her pocket one hundred pound, - On her finger no gay gold ring, - I'm sure she's not fit to walk with a king. - ---Barnes, Surrey, and London (A. B. Gomme). - - II. Here come three tinkers, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Sleep, sleep, daughter, do not wake, - Here come three tinkers we cannot take; - We haven't any lodgings here, oh, here, - We haven't any lodgings here. - - Here come three soldiers, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Sleep, sleep, daughter, do not wake, - Here come three soldiers we cannot take; - We haven't any lodgings here, oh, here, - We haven't any lodgings here. - - Here come three kings, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Wake, wake, daughter, do not sleep, - Here come three kings that we can take; - We have some lodgings here, oh, here, - We have some lodgings here. - - Here's my daughter, safe and sound, - And in her pocket five hundred pounds, - And on her finger a five guinea gold ring, - And she is fit to walk with a king. - - Here's your daughter, nor safe nor sound, - And in her pocket no five hundred pound, - And on her finger no five guinea gold ring, - And she's not fit to walk with the king. - ---Sporle, Norfolk (Miss Matthews). - - III. Here's three sweeps, three by three, - And down by the door they bend their knee; - Oh! shall we have lodgings here, oh, here? - Oh! shall we have lodgings here? - - Sleep, dear daughter, do not wake, - For here's three sweeps coming to take; - Lodgings here they shall not have, - So sleep, dear daughter, sleep. - - Here's three bakers, three by three, - And down by the door they bend their knee; - Oh! shall we have lodgings here, oh, here? - Oh! shall we have lodgings here? - - Sleep, dear daughter, do not wake, &c. (as above). - - Here's three kings, three by three, &c. (as above). - - Wake, dear daughter, do not sleep, - For here's three kings coming to take; - Lodgings here they all may have, - So wake, dear daughter, wake. - - Here's my daughter, safe and sound, - And on her finger a guinea gold ring, - And in her pocket a thousand pounds, - So she is fit to marry a king. - - Here's your daughter, safe and sound, - And on her finger no guinea gold ring, - And in her pocket no thousand pounds, - So she's not fit to marry a king. - ---Aberdeen Training College (Rev. W. Gregor). - - IV. Here come three tailors, three by three, - To court your daughter, fair and fair; - Have you got a lodger here, oh, here? - Have you got a lodger here? - - Sleep, daughter, sleep, sleep, - Here come three tailors we can't take; - We haven't got a lodger here, oh, here, - We haven't got a lodger here. - -[The verses are repeated for "sailors," "blacksmiths," &c., and then -"kings," and ends in the same way as the preceding version.] - ---Swaffham, Norfolk (Miss Matthews). - - V. Here come three sailors, three by three, - A courting your daughter, Caroline Mee; - [Some would sing it "Because your daughter"] - Can we have a lodging here to-night? - - Sleep, daughter, do not wake, - Here's three sailors we can't take; - You cannot have a lodging here to-night. - - Here come three soldiers, three by three, - A courting your daughter, Caroline Mee; - Can we have a lodging here to-night? - - Sleep, daughter, do not wake, - Here's three soldiers we can't take; - You cannot have a lodging here to-night. - -[This is repeated for "kings," and the game ends as in the previous -versions. "Three" hundred pounds being substituted for "five."] - ---Deptford, Kent (Miss Chase). - - VI. Here come some travellers three by three, - And down by a door they bend their knee. - "Can we get lodgings here?" - The fairest one that I can see - Is pretty little ----, come to me, - And you'll get lodgings here-- - "Will you come?" "Yes," or "No!" - ---Isle of Man (A. W. Moore). - -(_c_) The players form in two lines, and stand facing one another. One -line consists of a mother and daughters. The other of the suitors. The -mother stands a little in advance of her daughters. They remain -stationary during the game, the mother alone singing the words on her -side. The suitors advance and retire in line while singing their verses. -The mother turns partly round when singing the two first lines of her -verses addressing her daughters, and then faces the suitors when singing -to them the remaining two lines. When she accepts the "kings" she -brings one of her daughters forward, presents her to the suitors, and -shows them the money in her pocket, and the ring on her finger. The -daughter goes with the kings, who take her a little way apart, pretend -to rob her of her ring, money, and clothes, and then bring her back to -her mother, and sing the last verse. They then run off in all -directions, and the mother and daughters chase and catch them, and they -change sides. Sometimes all the daughters are taken by the suitors -before they are robbed and brought back. The game is also played by five -players only; three representing the sailors or suitors, and two the -mother and daughter. The mother then chases the suitors, and whoever she -catches becomes the daughter the next game. These are the usual methods -of playing. In the Norfolk version the middle one of the three suitors -takes the girl, robs her, and all three bring her back and sing the -verses. In the Isle of Man version one player sits down, the others join -hands, advance and retire singing the lines. The girl who is chosen -joins the one sitting down. - -(_d_) This game points to that period of tribal society, when the youths -of one tribe sought to obtain their wives from the maidens of another -tribe according to the laws of exogamy, but a definite person is here -selected for the wife, and it is to the relatives or persons having -authority (as in "Three Knights") that the demand for the bride is made, -and not to the girl personally, as in "Three Dukes." - -The game, while not so interesting a one to us as "Three Dukes," and -"Three Knights," has its particular or peculiar features. It is probably -later, and shows more clearly that position and wealth were of -importance to a man in the obtaining of a wife. Individually he has not -(apparently) courted the girl before, but he comes for that purpose now. -He may be announcing himself under the various ranks or professions -mentioned, before stating his real position; or, this may show that the -girl having many suitors, and those of all degrees, the "mother" or -relatives are actuated by purely mercenary motives, and wish to select -the best and richest suitor for her. We must remember that it was -accounted great honour to a girl to have many suitors and amongst these -men distinguished by the performance of brave deeds, which had gained -them renown and pre-eminence, or wealth. The fact that the rejection or -acceptance of the suitors is made known to the girl by the "mother," or -person having authority, shows that "sanction" or permission is -necessary, and that "rejection" or "acceptance" is signified to the -suitors in the words, you "may not," or, you "may" have a lodging here, -signifies admission into the family. This is a most interesting feature. -The girl is to "wake up," that would be to rouse up, be merry, dress in -bridal array and prepare for the coming festival. She is also given to -the suitors with "in her pocket one hundred pounds," and "on her finger -a gay gold ring." This, it will be seen, is given her by her "mother" or -person having authority, and probably refers to the property the girl -brings with her to her new abode for her proper maintenance there; the -ring shows likewise her station and degree in her former abode, and is -the token that she is fit bride for a king, and must be treated -accordingly. Curious, too, is "Here's my daughter safe and sound," which -looks like a warrant or guarantee of the girl's fitness to be a bride. -The expression "walk with," meaning "to marry," again occurs in this -game as in "Three Dukes." The line occurring in two versions, "And down -by the door they bend their knee," is suggestive of courtesy shown to -the bride and her family at the threshold of the house. - -The incident of the three kings becoming robbers is not easily -understood. Robbery was common of course, particularly when money and -valuables were known to be carried on the person; but I do not think -this is sufficient in itself to account for the incident. It may be a -reflection of the later fact that a man always took possession of his -wife's personal property after marriage, and considered it his own to do -as he pleased with. When this idea became codified in written law, the -idea might readily get reflected in the game, when _kings_ would not be -understood as apparently taking things that did not belong to them, -unless they were bandits in disguise. This last verse and the robbery -may be a later addition to the game, when robbery was of everyday -occurrence. There may have been (although there is nothing now in any -version to warrant the idea) some similar action on the part of the -kings, such as a further arraying of the bride, and presenting her to -their party or house, which has been misunderstood. Mr. Newell suggests -that children having forgotten the original happy finish, and not -understanding the "haggling" over the suitors, turned the kings into -bandits. Children think it such a natural thing to wish to marry kings, -princes, and princesses, and are so sincere in thinking it a matter of -course to refuse a sailor or soldier for a king, when it is only a -question of marriage, and not of choosing the one you like the best, -that this reason does not to me seem to apply to a game of this kind. - - -Through the Needle Eye, Boys - -Two leaders each choose a name such as "Golden Apple" and "Golden Pear." -The remaining children all hold each other's waists in a long string, -the "Golden Apple" and "Golden Pear" holding hands aloft like an arch. -The string of children then runs under the arch. The last child that -passes under is detained by the "Golden Apple" and "Golden Pear" (they -having dropped hands previously). The detained child is asked in a -whisper which she prefers, "Golden Apple," "Golden Pear;" she chooses, -and then stands at the back of the "Golden Apple" or "Golden Pear." When -all the children have passed through, the "Golden Apple" and "Golden -Pear" hold each other's hands and stand with the others behind them and -pull like a "Tug of War." There should be a line drawn between the -"Golden Apple" and the "Golden Pear," and whichever side pulls the other -over the line, wins the game.--Northumberland (from a lady friend of -Hon. J. Abercromby). - -The formula sung in Fraserburgh when the players are running under the -raised arms is-- - - Clink, clink, through the needle ee, boys, - One, two, three, - If you want a bonnie lassie, - Just tak me. - -After the tug of war the victors call out "Rotten eggs, rotten eggs" -(Rev. W. Gregor). - -The words used in Galloway are-- - - Through the needle e'e, boys, - Through the needle e'e! - If 'twasna for your granny's sake, - I wadna let 'e through. - ---Galloway (J. G. Carter). - -Jamieson describes this game in the south of Scotland as follows: "Two -children form an arch with both hands. The rest, who hold each other by -the skirts following in a line, attempt to pass under the arch. The -first, who is called the king, is sometimes laid hold of by those who -form the arch, each letting fall one of his arms like a portcullis for -enclosing the passenger. But more generally the king is suffered to -pass, the attempt being reserved for the last; whoever is seized is -called the prisoner. As soon as he is made captive he takes the place of -one of those who formed the arch, and who afterwards stand by his side." - -It is differently played in Mearns, Aberdeen, and some other counties. A -number of boys stand with joined hands in a semicircle, and the boy at -one end of the link addresses the boy at the other end of the line: - - A---- B----, if ye were mine, - I wad feed you with claret wine; - Claret wine is gude and fine, - Through the needle-ee, boys. - -The boy to whom this is addressed makes room between himself and his -next neighbour, as they raise and extend their arms to allow the -opposite boy to run through the opening followed by all the other boys -still linked to each other. If in running through the link should be -broken, the two boys who are the cause suffer some punishment.--Ed. -Jamieson's Dictionary. - -The Northumberland game resembles "Oranges and Lemons." The other -versions are nearer the "Thread the Needle" and "How many Miles to -Babylon" games. Both games may be derived from the same custom. - -See "How many Miles to Babylon," "Thread the Needle." - - -Thun'er Spell - -A thin lath of wood, about six inches long and three or four inches -broad, is taken and rounded at one end. A hole is bored in that end, and -in the hole is tied a piece of cord between two and three yards long. It -is then rapidly swung round, so as to produce a buzzing sound. The more -rapidly it is swung, the louder is the noise. It was believed that the -use of this instrument during a thunder-storm saved one from being -struck with "the thun'er bolt." I have used it with this intention -(Keith). In other places it is used merely to make a noise. It is -commonly deeply notched all round the edges to increase the noise. - -Some years ago a herd boy was observed making one in a farm-kitchen -(Udny). It was discovered that when he was sent to bring the cows from -the fields to the farmyard to be milked, he used it to frighten them, -and they ran frantically to their stalls. The noise made the animals -dread the bot-fly or "cleg." This torment makes them throw their tails -up, and rush with fury through the fields or to the byres to shelter -themselves from its attacks. A formula to effect the same purpose, and -which I have many and many a time used when herding, was: Cock tail! -cock tail! cock tail! Bizz-zz-zz! Bizz-zz-zz.--Keith (Rev. W. Gregor). - -Dr. Gregor secured one of these that was in use in Pitsligo, and sent it -to the Pitt-Rivers Museum at Oxford, where it now lies. Professor Haddon -has made a collection of these toys, and has written on their connection -with the Australian boomerang. - -They are still occasionally to be met with in country districts, but are -used simply for the purpose of making a noise. - -See "Bummers." - - -Tick - -A game mentioned by Drayton, and still played in -Warwickshire.--Halliwell's _Dictionary_. The same game as "Touch." - - -Tickle me Quickly - -An old game (undescribed) mentioned in Taylor's _Motto_, 1622, sig. D, -iv. - - -Ticky Touchwood. - - Ticky, ticky Touchwood, my black hen, - She lays eggs for gentlemen; - Sometimes nine and sometimes ten, - Ticky, ticky Touchwood, my black hen. - ---Sporle, Norfolk (Miss Matthews). - -Addy (_Sheffield Glossary_, under "Tiggy Touchwood") says, "One player -who is called Tiggy stands out, and each of the others takes hold of or -touches a piece of wood, such as a door, or rail, &c. One then leaves -his 'wood' and runs across the playground, and if whilst doing so Tiggy -can touch him he must stand out or take Tiggy's place." - -One child is chosen to be "Ticky," _i.e._, to be on the _qui vive_ to -lay hold of or touch any one who is not touching wood. If played out of -doors it must be clearly defined _what is wood_, trees and all growing -wood being forbidden. The fun consists in the bold ventures of those who -tempt "Ticky" to run after them, and contrive to touch "wood" just -before he touches them. When one is caught he is "Ticky" in -turn.--Swaffham, Norfolk (Miss Matthews). - -Played within a given boundary, in which were wooden buildings or -fences. When one of the players was being pursued by the tigger, if he -touched wood he could not be made prisoner, but he was not allowed to -remain long in that position, and directly his hand left wood he was -liable to instant capture. If when pursued he called out "a barla!" he -was again exempt from capture, but he could not move from the position -or place where he or she was when they called out, a barla! When wishing -to move he had to call out "Ma barla oot!" No den in this game, but -constant running.--Biggar (Wm. Ballantyne). - -Lowsley (_Berkshire Glossary_) says, "Boys have games called Touch-wood -and Touch-iron, where any one not touching either of the substances -named is liable to be caught by the one standing out." - -Ross and Stead (_Holderness Glossary_) give this game as Tiggy -Touchwood, a game similar to Tig, but in which the player must touch -wood. It is called Ticky, Ticky Touchwood by Brogden (_Lincolnshire -Provincial Words_), and Tiggy in Addy's _Sheffield Glossary_. - -Also played in another way. One tree or piece of wood was selected for -"Home," and the players darted out from this saying, "Ticky, Ticky -Touchwood," then running back to the tree and touching it before Ticky -caught them. "Parley" or "fainits" were the words called out when -exempt.--London (A. B. Gomme). - -It is also described in Patterson's _Antrim and Down Glossary_. - - -Tig. - -A game in which one player touches another, then runs off to be pursued -and touched in turn. - -Mr. Addy says, "Children _tig_ each other when they leave school, and -there is a rivalry among them to get the last tig. After a boy has said -_tig-poison_, he is not to be 'tigged' again." Brockett says: "Tig, a -slight touch (as a mode of salutation), a play among children on -separating for the night, in which every one endeavours to get the last -touch; called also Last Bat."--Brockett's _North Country Words_, and -consult Dickinson (_Cumberland Glossary_), also Jamieson. A boys' game, -in which the player scores by touching one who runs before him.--Stead's -_Holderness Glossary_. A play among children when separating for the -night.--Willan's _Dialect Words of West Riding of Yorks._ Called also -"Touch" and "Tigga Tiggy," in East and West Cornwall; (Courtney and -Couch), also Patterson's _Antrim and Down Glossary_. - -See "Canlie," "Cross Tig." - - -Time. - -The players stand in a line. Two are chosen, who stand apart, and fix on -any hour, as one, two, three, &c., or any half-hour. A nestie is marked -off at some distance from the row of players. One of the two goes in -front of the line of players, and beginning at one end asks each the -hour. This is done till the hour fixed on between the two is guessed. -The one that makes the right guess runs to catch the other of the two -that fixed the hour, and she makes off to the "nestie." If she is caught -she goes to the line of players, and the one that caught her takes her -place. If she reaches the "nestie" without being caught, she has still -to run to the line of players; if she does this without being caught -she holds her place as one of the time-fixers, but if caught she -takes her stand in the line, and the one that caught her becomes -time-fixer.--Fraserburgh (Rev. W. Gregor). - - -Tip it. - -This is played by six players, divided into two sides of three each, -with one captain to each side. A ring or other small object is taken by -the side which wins the toss, and then both sides sit down to a small -table. The in-side puts their hands under the table, and the ring is -given to one of the three players. At a given signal they all bring up -their closed hands on to the table, and the other side has to guess in -which closed fist the ring is. The guesser has the privilege of ordering -"off" the hands which he thinks are empty. If he succeeds in getting the -empty hands off, he says "tip it" to the remaining one. If he guesses -right the ring changes sides. The game is to keep the ring or other -object on one side as long as possible.--London (Alfred Nutt). - - -Tip-Cat. - -Strutt says this is so denominated from the piece of wood called a cat, -about six inches in length, and an inch and a half or two inches in -diameter, diminished from the middle to both ends. When the cat is on -the ground the player strikes it smartly, when it rises with a rotatory -motion high enough for him to hit it again before it falls, in the same -manner as a ball. He says there are various methods of playing the game, -and describes the two following: A large ring is made in the ground; in -the middle of this the striker takes his station; his business then is -to hit the cat over the ring. If he fails in doing so he is out, and -another player takes his place; if successful, he judges with his eye -the distance the cat is driven from the centre of the ring, and calls -for a number at pleasure to be scored towards his game: if the number -demanded be found upon measurement to exceed the same number of lengths -of the bludgeon, he is out; on the contrary, if it does not, he obtains -his call. The second way of playing is to make four, six, or eight -holes in the ground in a circular direction, and at equal distances from -each other, at every hole is placed a player with his bludgeon: one of -the opposite party who stand in the field tosses the cat to the batsman -who is nearest him, and every time the cat is struck the players are -obliged to change their situations, and run once from one hole to -another in succession; if the cat be driven to any great distance they -continue to run in the same order, and claim a score towards their game -every time they quit one hole and run to another; but if the cat be -stopped by their opponents and thrown across between any two of the -holes before the player who has quitted one of them can reach the other, -he is out. - -Mr. Kinahan says there is among old Irish games one sometimes called -cat, played with three or more players on each side, two stones or holes -as stations, and a lobber, but the regular cat is played with a stick -four inches long, bevelled at each end, called the cat. This bevelled -stick is laid on the ground, and one end hit with a stick to make it -rise in the air, when it is hit by the player, who runs to a mark and -back to his station. The game is made by a number of runs; while the -hitter is out if he fails three times to hit the cat, or if he is hit by -the cat while running.--(_Folk-lore Journal_, ii. 264.) The common game -of "tip-cat" was called _cat-and-kitten_ by Dorset children. The long -stick represented the "cat" and the small pieces the -"kitten."--(_Folk-lore Journal_, vii. 234.) Elworthy (_West Somerset -Words_) calls it Stick and Snell. Brogden (_Provincial Words, -Lincolnshire_) gives it as tip-cat, as does Lowsley (_Berkshire -Glossary_), also Trippit and Coit, and Trippit and Rack in some parts of -the North.--Brockett's _North Country Words_. Once commonly played in -London streets, now forbidden. - -See "Cudgel," "Waggles." - - -Tip-tap-toe. - -A square is drawn having nine smaller squares or houses within it. Two -persons play. They alternately make the one a square and the other a -cross in any one of the houses. He that first gets three in a line wins -the game.--Peacock's _Manley and Corringham Glossary_. Brogden -(_Provincial Words, Lincolnshire_) calls it Tit-tat-toe, also Lowsley -(_Berkshire Glossary_). - -Northall says called Tick-tack-toe in Warwickshire and Staffordshire; -the rhyme is "Tick-tack-toe, I've caught you." - -This game is called "Noughts and Crosses," in London, probably from -those marks being used in the game. - -See "Kit-Cat-Cannio," "Noughts and Crosses." - - -Tiring Irons. - -An old game with iron rods and rings.--Holland's _Cheshire Glossary_. - - -Tisty Tosty - -See "Shuttlefeather," "Teesty Tosty." - - -Titter-totter - -The game of see-saw.--Halliwell's _Dictionary_. - - -Tit-tat-toe. - -A game played by school children on slates. A round is drawn, which is -divided into as many divisions as is thought necessary, sixteen being -generally the least. These divisions are each numbered, the centre -containing a higher figure than any in the divisions, usually 25, 50, or -100. Several children can play. They each have a place or square -allotted to them on the slate in which to record the numbers they -obtain. A space is allotted to "Old Nick" or the "Old Man." The players -alternately take a pencil in their right hand (holding it point -downwards on 1, and tapping on each number with it), and shutting their -eyes move round and round the diagram saying-- - - "Tit, tat, toe, my first go, - Three jolly butcher boys all in a row - Stick one up, stick one down, - Stick one in the old man's ground." - -stopping and keeping the pencil in an upright position when the last -word is said. The player then opens his eyes, and registers in his -square the number at which the pencil stopped. This number is then -scratched through on the diagram, to signify that it is taken, the other -players proceed in the same manner as the first; then the first one -begins again. This is continued till all the numbers are scratched out, -or till one of the players puts his pencil into the centre, and thus -wins the game. If all the figures are taken before the centre is -touched, the game goes to the "Old man" or "Old Nick." Also, if one -player puts his pencil in a division already taken, he records nothing -and loses that turn; this is also the case if, after the verse is -repeated, the pencil is found to be on a division or boundary line or -outside the round.--London (A. B. Gomme). - -[Illustration] - -I was taught by a maid servant to play this game on the ground. This -girl drew the round and divisions and figures on the gravel path or -mould in the garden, and sharpened a piece of stick at one end for the -pointer. She did not know the game as one played on slates, but always -played it on the ground in this way. - -This game appears to indicate a lottery, and might originally have had -something to do with allotting pieces of land or other property to -prospective owners under the ancient common field system. The places -when taken by one player not being available for another, and the fact -of it being known as played on the ground, and not on slates, are both -significant indications of the suggested origin. The method of allotting -lands by lottery is described in Gomme's _Village Community_. Mr. -Newell, _Games_, p. 140, records a similar game called "Wheel of -Fortune." - - -Tods and Lambs - -A game played on a perforated board with wooden pins.--Jamieson. The -Editor adds that the game is materially the same as the English "Fox and -Geese." - -See "Fox and Geese" (2). - - -Tom Tiddler's Ground - -[Music] - ---Liverpool (Mrs. Harley). - -A line is drawn on the ground, one player stands behind it. The piece so -protected is "Tom Tiddler's ground." The other players stand in a row on -the other side. The row breaks and the children run over, calling out, -"Here we are on Tom Tiddler's ground, picking up gold and silver." Tom -Tiddler catches them, and as they are caught they stand on one side. The -last out becomes Tom Tiddler.--Monton, Lancashire (Miss Dendy). - -Tom Tiddler's Ground is played at Chirbury under the name of "Boney" = -Bonaparte! one boy taking possession of a certain area, and the others -trespassing on it, saying, "I am on Boney's ground." If they are caught -there, they are put "in prison" till released by a touch from a -comrade.--Chirbury (_Shropshire Folk-lore_, p. 523-524). - - I'm on Tom Tinker's ground, - I'm on Tom Tinker's ground, - I'm on Tom Tinker's ground, - Picking up gold and silver. - ---Derbyshire (_Folk-lore Journal_, i. 386). - -Northall (_Folk Rhymes_) gives the following lines, and describes it as -played as above, except that Tom Tinder is provided with a knotted -handkerchief, with which he buffets any one caught on his property:-- - - Here we are on Tom Tinder's ground, - Picking up gold and silver; - You pick weeds, and I'll pick seeds, - And we'll all pick carraway comfits. - -In the Liverpool district the game is called "Old Daddy Bunchey" (Mrs. -Harley), and in Norfolk "Pussey's Ground" (Miss Matthews). - -It is also mentioned by Lowsley (_Berkshire Glossary_). - - -Tops - -The special games now played with tops are mentioned under their -respective titles, but the general allusions to the ancient -whipping-tops are important enough to note. - -Strutt says the top was known with us as early at least as the -fourteenth century, when its form was the same as now, and the manner of -using it can admit of but little if any difference. Representations of -boys whipping tops occur in the marginal paintings of the MSS. written -at this period; and in a work of the thirteenth century, "Le Miracle de -Saint Loys," the whipping top (Sabot) is mentioned. The top was probably -in use as a toy long before. Strutt records the following anecdote of -Prince Henry, son of James I., which he met with in a MS. at the Museum, -the author of which speaks of it as perfectly genuine. His words -are--"The first tyme that he, the prince, went to the towne of Sterling -to meete the king, seeing a little without the gate of the towne a stack -of corne in proportion not unlike to a topp wherewith he used to play; -he said to some that were with him, 'Loe there is a goodly topp;' -whereupon one of them saying, 'Why doe you not play with it, then?' he -answered, 'Set you it up for me, and I will play with it.'"--_Sports_, -p. 385. - -Northbroke, in his Treatise against Dicing, 1579, p. 86, says: "Cato -giveth counsell to all youth, saying, '_Trocho_ lude, aleas fuge, _playe -with the toppe_, and flee dice-playing.'" - -In the English translation of Levinus Lemnius, 1658, p. 369: "Young -youth do merrily exercise themselves in whipping-top, and to make it -run swiftly about, that it cannot be seen, and will deceive the sight." - -Cornelius Scriblerus, in his Instructions concerning the Plays and -Playthings to be used by his son Martin, says: "I would not have Martin -as yet to scourge a top, till I am better informed whether the trochus -which was recommended by Cato be really our present top, or rather the -hoop which the boys drive with a stick."--_Pope's Works_, vi. 115. - -Among well-known classical allusions may be noted the following mention -of whipping the top, in Persius's third Satire: - - "Neu quis callidior buxum torquere flagello." - -Thus translated by Dryden: - - "The whirling top they whip, - And drive her giddy till she fall asleep." - -Thus also in Virgil's _neid_, vii. 378: - - "Ceu quondam torto volitans sub verbere turbo, - Quem pueri magno in gyro vacua atria circum - Intenti ludo exercent. Ille actus haben - Curvatis fertur spatiis: stupet inscia supra, - Impubesque manus, mirata volubile buxum: - Dant animos plag." - -Thus translated by Dryden: - - "As young striplings whip the top for sport, - On the smooth pavement of an empty court; - The wooden engine whirls and flies about, - Admired with clamours of the beardless rout, - They lash aloud, each other they provoke, - And lend their little souls at ev'ry stroke." - -And so Ovid, Trist. 1. iii. Eleg. 12: - - "Otia nunc istic: junctisque ex ordine ludis - Cedunt verbosi garrula bella fori. - Usus equi nunc est, levibus nunc luditur armis: - Nunc pila, _nunc celeri volvitur orbe trochus_." - -Passing from these general allusions to the top as a form of amusement, -we enter on more significant ground when we take into consideration the -various passages in the early dramatists and other writers (collected -together in Nares' _Glossary_), which show that tops were at one time -owned by the parish or village. - -"He's a coward and a coystril that will not drink to my niece, till his -brains turn like a parish-top."--Shakespeare, _Twelfth Night_, i. 3. - - "A merry Greek, and cants in Latin comely, - Spins like the parish-top." - ---Ben Jonson, _New Inn_, ii. 5. - - "I'll hazard - My life upon it, that a boy of twelve - Should scourge him hither like a parish-top, - And make him dance before you." - ---Beaumont and Fletcher, _Thierry and Theod._, ii. 1. - - "And dances like a town top, and reels and hobbles." - ---Ibid., _Night Walker_, i. 1. - -Every night I dream I am a town-top, and that I am whipt up and down -with the scourge stick of love.--"Grim, the Collier of Croydon," ap. -_Dodsley_, xi. 206. - -In the Fifteen Comforts of Marriage, p. 143, we read: "Another tells 'em -of a project he has to make town tops spin without an eel-skin, as if he -bore malice to the school-boys." - -Poor Robin, in his Almanack for 1677, tells us, in the Fanatick's -Chronology, it was then "1804 years since the first invention of -town-tops." - -These passages seem to refer to a custom of keeping tops by a township -or parish, and they are confirmed by Evelyn, who, speaking of the uses -of willow wood, among other things made of it, mentions great -"town-topps" (_Sylva_, xx. 29). The latest writers who give positive -information on the subject are Blackstone, who, in his note on -Shakespeare, asserts that to "sleep like a town top" was proverbial, and -Hazlitt, who, in his collection of _English Proverbs_, has "like a -parish-top." (See also Brand, ii. 448.) - -Steevens, in his notes on Shakespeare, makes the positive assertion that -"this is one of the customs now laid aside: a large top was formerly -kept in every village, to be whipt in frosty weather, that the peasants -might be kept warm by exercise, and out of mischief, while they could -not work." - -This passage is repeated in Ellis's edition of Brand, so that there is -only one authority for the two statements. The question is whether -Steevens was stating his own independent knowledge, or whether he based -his information upon the passage in Shakespeare which he was -illustrating. I think there can be no doubt that the custom existed, in -whatever way we accept Steevens' statement, and the question is one of -considerable interest. - -"Tops" is one of those games which are strictly limited to particular -seasons of the year, and any infringement of those seasons is strictly -tabooed by the boys. Hone (_Every Day Book_, i. 127), records the -following rhyme:-- - - Tops are in, spin 'em agin; - Tops are out, smuggin' about, - -but does not mention the season. It is, however, the early spring. This -rhyme is still in use, and may occasionally be heard in the streets of -London in the top season. Smugging is legitimate stealing when boys play -out of season. "Marbles furst, then comes tops, then comes kites and -hoops," said a London boy who had acquired some tops by "smuggin;" but -these rules are fast becoming obsolete, as is also the use of a dried -eel skin as the favourite whip or thong used. - -The keeping of a top by the parish in its corporate capacity is not -likely to have arisen for the sake of supplying people with amusement, -and we must look to a far more ancient origin for this singular custom. -Hone mentions a doubtful story of a top being used in the ritual of one -of the churches at Paris. (The burial of Alleluia. The top was whipped -by a choir-boy from one end of the choir to the other: _Every Day Book_, -i. 100), and if this can be confirmed it would be a link in the chain of -evidence. But the whole subject requires much more evidence than it is -now possible to go into here, though even, as far as we can now go, I am -tempted to suggest that this well-known toy takes us back to the -serious rites of ancient religions. - -Brady's _Clavis Calendaria_, i. 209, mentions the discontinued custom of -whipping tops on Shrove Tuesday as originating in the Popish Carnival as -types of the rigour of Church discipline. - -It is not improbable that the tee-totum is the earliest form of top, and -as its use is for gambling, it is probable that this and the top were -formerly used for purposes of divination. - -See "Gully," "Hoatie," "Hoges," "Peg Top," "Peg in the Ring," -"Scurran-Meggy," "Totum." - - -The Totum, or Tee-to-tum - -The Totum is really only a top to spin by hand. It is made of a square -piece of wood or bone, the four sides being each marked with a letter, -and the peg is put through a hole in the centre. Sometimes the totum is -shaped to a point on the under side, and a pin fixed in the upper part, -by which it is twirled round. - -The game played is one of chance; it may be played by two or more, -either boys or girls, and is played only at Christmas. In Keith the -letters are A, N, D, T. In playing the stake is one pin, and each plays -in turn. If the side with A on it falls uppermost the player wins the -whole stake--"A, tack a'." If N turns up the player gets nothing--"N, -nikil (nihil), nothing." If T turns up one pin falls to the player--"T, -tack ane." If D comes uppermost the player has to lay down a pin--"D, -dossie doon." At times the game was played by paying a stake to all the -letters except A, and the words used were--"D, dip it," "T, tip it," and -"N, nip it."--Keith (Rev. W. Gregor). - -We played the game when children usually at Christmas time. The players -sat round a table. A pool was made, each player putting in the same -amount of stakes, either pins, counters, nuts, or money. One player -collected the pool and then spun the tee-totum by his fingers. Whichever -letter was uppermost when it stopped, the player had to obey. - -T, was take all (the contents of the pool). - -H, half the contents. - -N, nothing. - -P, to put into the pool the same amount as the stakes were at first. - -When this was done the next player spun the totum in his turn. When one -player got T a fresh pool had to be collected.--London (A. B. Gomme). - -Jamieson's _Dictionary_ says children lay up stores of pins to play at -this game at Christmas time. - -William Dunbar, the Scottish poet (James IV.), seems to refer to this -game in the poem, _Schir, [yogh]it remembir as of befoir_, in the -words-- - - "He playis with _totum_, and I with _nichell_" (l. 74). - -Strutt (_Sports and Pastimes_, page 385) says the four sides were marked -with letters, and describes the game as we now play it in London. - -All tee-totums or whirligigs seem to have some reference to tops, except -that the tee-totum is used principally for gambling. - -Some have numbers on their sides like dice instead of letters, and some -are of octagonal shape. - -See "Lang Larence," "Scop-peril," "Tops." - - -Touch - -One player is chosen "he." He then runs amidst the other players and -tries to touch one, who then becomes "Tig" or "Touch" in turn. - -See "Ticky Touchwood," "Tig." - - -Tower of London - -The Tower is formed by a circle of children, two of whom constitute the -gate. These two join hands, and raise or lower their arm to open or shut -the gate. The Tower is summoned to open its gates to admit "King George -and all his merry men," how represented I can't remember; but I know -that at one point there is a chase, and the prisoner is caught and -brought before the king, when there ensues a scrap of dialogue in song -(Mrs. Harley). - -See "How many miles to Babylon," "King of the Barbarie." - - -Town Lovers - - There is a girl of our town, - She often wears a flowered gown; - Tommy loves her night and day, - And Richard when he may, - And Johnny when he can; - I think Sam will be the man! - ---Halliwell's _Nursery Rhymes_, pp. 217-218. - -A girl is placed in the middle of a ring and says the lines, the names -being altered to suit the players. She points to each one named, and at -the last line the one selected immediately runs away; if the girl -catches him he pays a forfeit, or the game is commenced again, the boy -being placed in the middle. - - -Trades - -Sides are chosen. These stand apart from each other, inside the line of -their den. One side chooses amongst themselves a trade, and then walk -over to the other side, imitating the actions pertaining to different -parts of that trade, and giving the initial letter. If the trade is -guessed by the opposite side, that side chooses the next trade, and -performs the actions. If the trade is not guessed, the side is at -liberty to choose another, and continue until one is guessed.--Forest of -Dean, Gloucestershire (Miss Matthews). - -The players that are to act the dumb tradesmen agree among themselves -what trades are to be imitated. When this point is settled they present -themselves before those that are to guess the trade, and proclaim three -poor tradesmen wanting a trade--dumb. They then begin the work of -imitation. The onlooker that first discovers the trade calls it out, and -he becomes the dumb tradesman during the next round.--Fraserburgh (Rev. -W. Gregor). - -Some of the players form a line, while three others come up and say-- - - "Here are three men from Botany Bay, - Got any work to give us to-day." - -The others ask, "What can you do?" To which they reply, "Anything." And -the others retort, "Set to work, then." - -The three then do some imaginary work, while those in the line have to -guess what it is.--Ogbourne, Wilts (H. S. May). - - "Two broken tradesmen newly come over, - The one from France and Scotland, the other from Dover." - "What's your trade?" - -Two boys privately arrange that the pass-word shall be some implement of -a particular trade. The trade is announced after the above dialogue, and -carpenters, nailors, sailors, smiths, tinkers, or any other is answered; -and on guessing the instrument, "Plane him," "Hammer him," "Rasp him," -or "Solder him," is called out; then the fun is that the unfortunate -wight who guesses the "tool" is beaten with the caps of his fellows till -he reaches a fixed goal, after which he goes out in turn.--Halliwell's -_Nursery Rhymes_, cccxvi. In his _Dictionary_ it is called "Trades, and -Dumb Motions." - -Northall (_English Folk-Rhymes_) records this game as being played in -Warwickshire. The method is practically the same as the Forest of Dean, -except that the "tradesmen" are beaten if their trade is easily guessed -by the others. They may also be beaten if they show their teeth during -the operations. - - -Trap, Bat, and Ball - -A game played with a trap, a ball, and a small bat. The trap is of wood -made like a slipper, with a hollow at the heel end for the ball, and a -kind of wooden spoon moving on a pivot, in the bowl of which the ball is -placed. Two sides play--one side bats, the other fields. One of the -batsmen strikes the end or handle of the spoon, the ball then rises into -the air, and the art of the game is for the batsman to strike it as far -as possible with the bat before it reaches the ground. The other side -who are "fielding," try either to catch the ball before it falls to the -ground, or to bowl it from where it falls to hit the trap. If they -succeed in catching the ball all the "ins" are out, and their side goes -in to strike the ball, and the previous batsmen to field; if the trap is -hit the batsman is out and another player of his side takes his place. -The batsman is also out if he allows the ball to touch the trap when in -the act of hitting it.--(A. B. Gomme.) - -Halliwell (_Dictionary_) says, "Nurspell" in Lincolnshire is somewhat -similar to "Trap Ball." It is played with a kibble, a nur and a spell. -By striking the end of the spell with the kibble the nur rises into the -air, and the game is to strike it with the kibble before it reaches the -ground. He who drives it the greatest distance is the winner. Miss Burne -(_Shropshire Folk-lore_, p. 527) says, "Trib and Knurr," otherwise "Dog -Stick," are local names for "Knur and Spell," a superior form of "Trap -Ball." The "knurr" is a hard wooden ball, the "trib" is the trap or -receptacle, the "Dog Stick" the sort of club with which it is struck. -The game is played as described by Halliwell. She adds it was formerly -the favourite pastime of young men on Shrove Tuesday. - -At Bury St. Edmonds, on Shrove Tuesday, Easter Monday, and Whitsuntide -festivals, twelve old women side off for a game at "Trap and Ball," -which is kept up with the greatest spirit and vigour until -sunset.--_Suffolk County Folk-lore_, p. 56. See also Chambers's _Book of -Days_, i. p. 428, for a similar custom among women at Chester. - -See "Nur and Spel," "Tribet," "Trippit and Coit." - - -Tray-Trip - -Grose says this was an ancient game, like Scotch-hop, played on a -pavement marked out with chalk into different compartments. According to -Halliwell (_Dictionary_), it was a game at dice. - -See "Hop-scotch," "Scotch Hop." - - -Tres-acre - -A game in which generally six are engaged--one taking a station before -two about 12 yards behind him, three 12 yards behind these two. One is -the catch-pole. Never more than two can remain; the supernumerary one -must always shift and seek a new station. If the catch-pole can get in -before the person who changes his station, he has the right to take his -place, and the other becomes pursuer.--Jamieson. - -This is not very descriptive, but the game is evidently the same as -"Round Tag" and "Twos and Threes," played with a small number. - - -Tribet - -A common children's game played in Lancashire; which, perhaps, may be -the primitive form of "Trap." It is played with a "pum," a piece of -wood about a foot long and two inches in diameter, and a "tribet," a -small piece of hard wood.--Halliwell's _Dictionary_. - -See "Trap, Bat, and Ball." - - -Trippit and Coit - -A game formerly known under the appellation of "Trippets," Newcastle. -It is the same as "Trip-cat" in some southern counties. The trippet -is a small piece of wood obtusely pointed--something like a shoe--hollow -at one end, and having a tail a little elevated at the other, which -is struck with a buckstick. It is also called "Buckstick, -Spell-and-Ore."--Brockett's _North Country Words_. See also Dickinson's -_Cumberland Glossary_. Halliwell's _Dictionary_ says--The game is almost -peculiar to the North of England. There is a poem called "The Trip -Match" in _Mather's Songs_. - -See "Nur and Spel," "Trap, Bat, and Ball." - - -Trip and Go - - Trip and go, heave and hoe, - Up and down, to and fro; - From the town to the grove, - Two and two let us rove; - A-maying, a-playing, - Love hath no gainsaying; - So merrily trip and go, - So merrily trip and go. - ---Halliwell's _Nursery Rhymes_, cccxlviii. - -A game rhyme, but undescribed. - - -Trip-trout - -A game in which a common ball is used instead of the cork and feathers -in "Shuttlecock."--(Kinross) Jamieson. - -See "Shuttlefeather," "Teesty Tosty." - - -Troap - -A game played by two persons, with bandies or sticks hooked at the end, -and a bit of wood called a nacket. At each end of the ground occupied a -line is drawn. He who strikes off the nacket from the one line, tries to -drive it as near the other as possible. The antagonist who stands -between him and the goal tries to throw back with his hand the nacket to -the line from which the other has struck it. If he does this he takes -the place of the other. If not, the distance is measured between the -striking point and the nacket with one of the sticks used in striking, -and for every length of the stick one is counted against the -caster.--(Angus) Jamieson. The editor of Jamieson adds that the name -must have been originally the same as the English Trap, although in this -game a ball is used instead of a nacket, and it is struck off as in -cricket. - - -Troco, Trucks - -This was an old English game formerly known as "trucks." Strutt, p. 270, -299 (who gives an illustration of it), considers this game to be the -original of billiards. Professor Attwell says, _Notes and Queries_, 7th -series, xii. 137, "This game was played at Nassau House School, Barnes, -for twenty years. It is played on a lawn with balls, cues, and rings." - - -Troule-in-Madame - -In the Benefit of the Auncient Bathes of Buckstones, compiled by John -Jones at the King's Mede, nigh Darby, 1572, 4to. p. 12, we read: "The -ladyes, gentle woomen, wyves, and maydes, maye in one of the galleries -walke; and if the weather bee not aggreeable too theire expectacion, -they may haue in the ende of a benche eleuen holes made, intoo the which -to trowle pummetes, or bowles of leade, bigge, little, or meane, or also -of copper, tynne, woode, eyther vyolent or softe, after their owne -discretion; the pastyme _troule-in-madame_ is termed." Probably similar -to "Nine Holes." - - -Trounce-Hole - -A game at ball resembling trap, but having a hole in the ground for the -trap, a flat piece of bone for a trigger, and a cudgel for a -bat.--Norfolk, Holloway's _Dictionary of Provincialisms_. - -See "Trunket." - - -Troy Town - -A game in which a plan of a labyrinth is drawn on a slate and presented -as a puzzle by boys to their schoolfellows for them to find a way into -the central citadel. It appears to owe its origin to the medival mazes -or labyrinths called "Troy Towns," or "Troy Walls," many of which -existed in different parts of England and Wales. It appears that games -connected with the midsummer festivals were held in these labyrinths. -This may, perhaps, account for the origin of this puzzle being -considered a game. For accounts of labyrinths or mazes called "Troy -Towns," see _Notes and Queries_, 1st series, xi. 132, 193; 2nd series, -v. 211-213; 8th series, iv. 96, 97; in which many references are given; -_Tran. Cymmrodorion Soc._, 1822, i. 67-69; Roberts' _Cambrian -Antiquities_ (in which is a plan), 212, 213; and _Folk-lore Journal_, v. -45. - - -Truncher - -A game requiring dexterity. A young man lies flat, resting only on his -toes at a certain mark at one extremity and on a trencher in each hand -at the other. He then tries to reach out the trenchers as far as -possible, and if not held at the right angle and edgewise, down they go -and he is defeated.--Dickinson's _Cumberland Glossary_. - - -Trunket - -A game at ball played with short sticks, and having a hole in the ground -in lieu of stumps or wickets as in "Cricket"; and with these exceptions, -and the ball being "cop'd," instead of bowled or trickled on the ground, -it is played in the same way; the person striking the ball must be -caught out, or the ball must be deposited in the hole before the stick -or cudgel can be placed there.--Halliwell's _Dictionary_. - -See "Cudgel," "Trounce Hole." - - -Truss - -A boy's game like "Leap-Frog."--Halliwell's _Dictionary_. - - -Tuilyie-wap - -A childish amusement in Teviotdale, in which a number of boys take hold -of each other's hands and wrap themselves round the one who is at the -head; clasping themselves as firmly together as possible, and every one -pushing till the mass falls over.--Jamieson. - -See "Bulliheisle," "Eller Tree," "Snail-Creep," "Wind the Bush Faggot." - - -Turn, Cheeses, Turn - - Green cheeses, yellow laces, - Up and down the market places; - First a penny and then a groat, - Turn, cheeses, turn. - ---Leicester (Miss Ellis). - - Green cheeses, yellow laces, - Up and down the market places, - Turn, cheeses, turn! - ---Halliwell's _Nursery Rhymes_, cccx. - -This is acted by two or more girls who walk or dance up and down, -turning, when they say "Turn, cheeses, turn."--Halliwell. - -I remember playing this game, but my remembrance is very imperfect. As -far as I remember, there were two lines or rows of children. They danced -forwards and backwards, crossing to the opposite side, and turning -round. At the words, "Turn, cheeses, turn," the cheeses all turned round -rapidly and then sank on the ground. The players tried to inflate their -dresses as much as possible, and then stooped down to the ground, so -that the dress remained inflated; only the head and shoulders surrounded -by a ball-like skirt then appeared, intended to represent a cheese. All -joined hands and danced round at the end. The lines sang were the same -as the Leicester except the third, which was--"Some a penny, some a -groat, turn, cheeses, turn." It was necessary for skirts to be very -"full" to make good cheeses--as wide at the waist as at the bottom of -the skirt.--(A. B. Gomme.) - -Holland (_Cheshire Glossary_) says, a frequent amusement of girls is -making cheeses. They turn round and round till their dresses fly out at -the bottom; then suddenly squatting down, the air confined under the -dress causes the skirt to bulge out like a balloon. When skilfully done -the appearance is that of a girl's head and shoulders peeping out of an -immense cushion. Evans' _Leicestershire Glossary_ mentions this game. He -says, "The performers sing a song of which the refrain is 'Turn, -cheeses, turn,' but I do not remember to have heard the example cited by -Mr. Halliwell-Phillips."--_Percy Soc._, iv. p. 122. - -I always understood that the green cheeses were sage cheeses--cheeses -containing sage. Halliwell says, "Green cheeses, I am informed, are made -with sage and potato tops. Two girls are said to be 'cheese and -cheese.'" - - -Turn Spit Jack - -A game at country balls, &c., in which young men compete by singing for -their partners in the next dance.--Patterson's _Antrim and Down -Glossary_. - - -Turn the Ship - -This is commonly a girls' game. Two join hands and trip along, with -hands crossed, turning from one side to the other, and crossing their -arms over their heads without letting go their hold of each other, -singing at the same time-- - - Tip, tip, toe, London, lo! - Turn, Mary Ann, and away you go. - -Or-- - - Tip, tip, toe, leerie, lo! - Turn the ship and away you go; - A penny to you, and a penny to me, - And a penny to turn the basket. - ---Fochabers (Rev. W. Gregor). - - -Turn the Trencher, or, My Lady's Toilet - -An indoor game played at Christmas time by children and adults. All the -players in the room must be seated. They are then asked by the leader of -the game to choose some article of a lady's toilet, which article they -will personally represent, such as diamond ring, bracelet, comb, brush, -jug, basin, powder, hair-dye, dress, mantle, &c.--any article, in fact, -belonging to the toilet. - -The leader then goes to the centre of the room with a small trencher, -round card tray, plate, or saucer in her hand. She spins this (the -trencher) round as quickly as possible, saying, "My lady's going out and -needs her 'dress,'" or any other article she chooses to name. The player -who has taken the name of "dress" must get up from her seat and catch -the trencher before it falls. If successful this player then spins the -trencher, calling out the name of another article of the toilet. If the -player fails to catch it, a forfeit is demanded by the leader. -Occasionally the spinner will say, "My lady's going to a ball (or -elsewhere), and needs the whole of her toilet." When this is said, every -player has to get up and take another place before the trencher falls; -the last one to get a place has to take the trencher, and if it is down, -to pay a forfeit. At the end of the game the forfeits are "cried" in the -usual way.--(A. B. Gomme.) - -This (called "Truckle the Trencher") used to be a standard game for -winter evenings. A circle was formed, and each one was seated on the -floor, every player taking the name of a flower. This game was entered -into with the greatest vivacity by staid and portly individuals as well -as by their juniors.--Dorsetshire (_Folk-lore Journal_, vii. 238). - -A trencher, saucer, or plate is used. The players sit in a circle, and -one twirls the trencher, at the same time calling out the name of one of -the players. He or she jumps up and tries to catch the whirling trencher -before it falls. If it falls or is knocked over, a forfeit is lodged, -and the player who lodged the forfeit now becomes the twirler. If the -trencher is caught, it is handed back and twirled again, and another -name called out. The game continues till all or, at least, most of the -players have lodged forfeits. It is called "Turn the Plettie."--Macduff -(Rev. W. Gregor). - -This game is played in the same way in Ireland. It is called "Twirl the -Trencher," and the players take names of towns or beasts.--(Miss Keane.) - -Brogden (_Provincial Words, Lincolnshire_) and Halliwell (_Dictionary_) -mention it as "Turn Trencher," a game played at Christmas time. Moor -(_Suffolk Words and Phrases_) calls it "Move all." - - -Turvey - - Turvey, turvey, clothed in black, - With silver buttons upon your back; - One by one, and two by two, - Turn about, and that will do. - ---Haverfordwest (_Notes and Queries_, 3rd series, v. 394). - -The children marched two and two, in a measured step to a given -distance, then turned and marched back again. - -See "Alligoshee." - - -Tutt-ball - -"Tut-ball,"[12] as played at a young ladies' school at Shiffnal fifty -years ago. The players stood together in their "den," behind a line -marked on the ground, all except one, who was "out," and who stood at a -distance and threw the ball to them. One of the players in the den then -hit back the ball with the palm of the hand, and immediately ran to one -of three brickbats, called "tuts," which were set up at equal distances -on the ground, in such positions that a player running past them all -would describe a complete circle by the time she returned to the den. -The player who was "out" tried to catch the ball, and to hit the runner -with it while passing from one "tut" to another. If she succeeded in -doing so, she took her place in the den, and the other went "out" in her -stead. This game is very nearly identical with "rounders."--_Shropshire -Folk-lore_, p. 524. - -A game at ball, now only played by boys, but half a century ago by -adults on Ash Wednesday, believing that unless they did so they would -fall sick in harvest time. This is a very ancient game, and was -elsewhere called "Stool-ball," indulged in by the clergy as well as -laity to avert misfortune.--Ross and Stead's _Holderness Glossary_. The -game is not described. - -Addy (_Sheffield Glossary_) says this game is the same as "Pize-ball." -Halliwell (_Dictionary_) says it is a sort of "Stob-ball Play." - -See "Cat and Dog," "Rounders," "Stool Ball." - - [12] _Tut_, a prominence, from A. S. _ttian_, whence also E. _tout_, - q.v.--W. W. S. - - -Twelve Days of Christmas - -[Music] - ---Rimbault's _Nursery Rhymes_. - - I. The first day of Christmas, my true love sent to me - A partridge in a pear-tree. - - The second day of Xmas, my true love sent to me - Two turtle doves and a partridge in a pear-tree. - - The third day of Xmas, my true love sent to me - Three French hens and two turtle doves and - A partridge in a pear-tree. - - The fourth day of Xmas, my true love sent to me - Four colly birds, three French hens, two turtle doves, and - A partridge in a pear-tree. - - The fifth day of Xmas, my true love sent to me - Five gold rings, four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The sixth day of Xmas, my true love sent to me - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The seventh day of Xmas, my true love sent to me - Seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The eighth day of Xmas, my true love sent to me - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, two turtle doves, and - A partridge in a pear-tree. - - The ninth day of Xmas, my true love sent to me - Nine drummers drumming, eight maids a-milking, - Seven swans a-swimming, six geese a-laying, - Five gold rings, four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - - The tenth day of Xmas, my true love sent to me - Ten pipers piping, nine drummers drumming, - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - - The eleventh day of Xmas, my true love sent to me - Eleven ladies dancing, ten pipers piping, - Nine drummers drumming, eight maids a-milking, - Seven swans a-swimming, six geese a-laying, - Five gold rings, four colly birds, - Three French hens, two turtle doves, and - A partridge in a pear-tree. - - The twelfth day of Xmas, my true love sent to me - Twelve lords a-leaping, eleven ladies dancing, - Ten pipers piping, nine drummers drumming, - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - ---Halliwell's _Nursery Rhymes_, cccxlvi. - - II. The king sent his lady on the first Yule day, - A papingo-aye [a peacock]; - Wha learns my carol and carries it away? - - The king sent his lady on the second Yule day, - Three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the third Yule day, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the fourth Yule day, - A goose that was grey, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the fifth Yule day, - Three starlings, a goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the sixth Yule day, - Three goldspinks, three starlings, a goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the seventh Yule day, - A bull that was brown, three goldspinks, three starlings, - A goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the eighth Yule day, - Three ducks a-merry laying, a bull that was brown-- - [The rest to follow as before.] - - The king sent his lady on the ninth Yule day, - Three swans a-merry swimming-- - [As before.] - - The king sent his lady on the tenth Yule day, - An Arabian baboon-- - [As before.] - - The king sent his lady on the eleventh Yule day, - Three hinds a-merry hunting-- - [As before.] - - The king sent his lady on the twelfth Yule day, - Three maids a-merry dancing-- - [As before.] - - The king sent his lady on the thirteenth Yule day, - Three stalks o' merry corn, three maids a-merry dancing, - Three hinds a-merry hunting, an Arabian baboon, - Three swans a-merry swimming, - Three ducks a-merry laying, a bull that was brown, - Three goldspinks, three starlings, a goose that was grey, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - ---Chambers's _Pop. Rhymes_, p. 42. - - III. My lady's lap dog, - Two plump partridges and my lady's lap dog; - Three grey elephants, two plump partridges and my lady's lap - dog; - Four Persian cherry trees, three grey elephants, &c.; - Five Limerick oysters, four Persian cherry trees, &c.; - Six bottles of frontignac, &c.; - Seven swans a-swimming, &c., - Eight flip flap, floating fly boats, &c.; - Nine merchants going to Bagdad, &c.; - Ten Italian dancing-masters going to teach ten Arabian - magpies how to dance, &c.; - Eleven guests going to celebrate the marriage of the - Princess Baldroulbadour with the Prince of Terra-del-Fuego, - &c.; - Twelve triumphant trumpeters triumphantly trumpeting the - tragical tradition of Telemachus. - ---London (A. B. Gomme). - - IV. Twelve huntsmen with horns and hounds, - Hunting over other men's grounds! - Eleven ships sailing o'er the main, - Some bound for France and some for Spain; - I wish them all safe home again. - Ten comets in the sky, - Some low and some high; - Nine peacocks in the air, - I wonder how they all come there, - I do not know and I do not care. - Eight joiners in a joiners' hall, - Working with the tools and all; - Seven lobsters in a dish, - As fresh as any heart could wish; - Six beetles against the wall, - Close by an old woman's apple stall; - Five puppies of our dog Ball, - Who daily for their breakfast call; - Four horses stuck in a bog, - Three monkeys tied to a clog; - Two pudding ends would choke a dog, - With a gaping wide-mouthed waddling frog. - ---Halliwell's _Nursery Rhymes_, cclxxx., cvi. - -(_c_) "The Twelve Days" was a Christmas game. It was a customary thing -in a friend's house to play "The Twelve Days," or "My Lady's Lap Dog," -every Twelfth Day night. The party was usually a mixed gathering of -juveniles and adults, mostly relatives, and before supper--that is, -before eating mince pies and twelfth cake--this game and the cushion -dance were played, and the forfeits consequent upon them always cried. -The company were all seated round the room. The leader of the game -commenced by saying the first line. Generally the version used was -similar to No. I. In later years the shorter version, No. III., was -said. The lines for the "first day" of Christmas was said by each of the -company in turn; then the first "day" was repeated, with the addition of -the "second" by the leader, and then this was said all round the circle -in turn. This was continued until the lines for the "twelve days" were -said by every player. For every mistake a forfeit--a small article -belonging to the person--had to be given up. These forfeits were -afterwards "cried" in the usual way, and were not returned to the owner -until they had been redeemed by the penalty inflicted being performed. - -In version No. IV., the game began by the leader saying to the player -sitting next to her, "Take this!" holding the hands as if giving -something. The neighbour answered, "What's this?" The leader answered, -"A gaping, wide-mouthed, waddling frog." The second player then turned -to the third and repeated, "A gaping, wide-mouthed, waddling frog," and -so on all round the room. The leader then said, "Two pudding-ends would -choke a dog," continuing in the same way until twelve was reached. -Chambers does not describe the way the game given by him was played, but -it was probably much in the same manner. Rimbault's _Nursery Rhymes_ -gives the tune to which words of the song were repeated. The words given -are almost identical with No. I., but the tune, copied here, is the only -recorded one I have found. - -(_d_) It seems probable that we have in these rhymes a remnant of a -practice of singing or chanting carols or rhymes relating to the custom -of sending gifts to friends and relatives during the twelve days of -Christmas. The festival of the twelve days was an important one. The -great mid-winter feast of Yule consisted of twelve days, and from the -events occurring during those days it is probable that events of the -future twelve months were foretold.--On the festival of the twelve days -consult Keary's _Outlines of Primitive Belief_, p. 381. Miss Burne -records that the twelve days rule the year's weather; as the weather is -on each day of the twelve, so will it be in the corresponding month, and -for every mince-pie eaten in friends' houses during these days a happy -month is promised. In the games usually played at this season, viz., -those in which forfeits are incurred, and the redemption of these by -penances inflicted on the unhappy perpetrators of mistakes, we may -perhaps see a relic of the observance of certain customs and ceremonies, -and the penalties likely to be incurred by those persons who omitted to -religiously carry them out. It is considered unlucky in the North of -England and Scotland to enter a neighbour's house empty-handed. -Christmas bounties, and the practice of giving presents of food and corn -and meal on St. Thomas's Day, 21st December, to the poorer people, when -they used to go round to the farmers' houses to collect food to prepare -for this festival, may have had its origin in the idea that nothing -could be prepared or cooked during the festival of the twelve days. It -was a very general practice for work of all kinds to be put entirely -aside before Christmas and not resumed until after Twelfth Day. Dr. -Gregor records that no bread should be baked nor washing done during -this period, nor work left unfinished. Jamieson, in a note on Yule, says -that the _gifts_ now generally conferred at the New Year seem to have -originally belonged to Yule. Among the northern nations it was customary -for subjects at this season to present gifts to their sovereign,--these -were called Jolagiafir, _i.e._ Yule gifts. The custom in Scotland of -presenting what we vulgarly call a sweetie-skon, or a loaf enriched with -raisins and currants, has an analogy to this. - -It is difficult, with the scanty evidence at command, to do more than -make the simple suggestions above. The game is evidently in a process of -very rapid decadence, and we have probably only poor specimens of what -was originally the form of verses sung in the two versions from -Halliwell and Chambers. The London version, No. III., is only -recognisable as belonging to this game from the fact that it was known -as playing at the "twelve days," was always played on Twelfth Day, and -it was not considered proper nor polite for the guests to depart until -this had been played. This fact has induced me to add the fourth version -from Halliwell, because it appears to me that it may belong to the final -form which this game is taking, or has taken, namely, a mere collection -of alliterative nursery words, or rhymes, to puzzle the speaker under a -rapid repetition, and to exact forfeits for the mistakes made. - -See "Forfeits." - - -Twelve Holes - -A game similar to "Nine Holes," mentioned in Florio ed., 1611, p. -20.--Halliwell's _Dictionary_. - - -Uncle John is Ill in Bed - - I. Uncle John is ill in bed, - What shall I send him? - Three good wishes, and three good kisses, - And a race of ginger. - Who shall I send it by? - By the carrier's daughter; - Catch her by the lily-white hand - And carry her over the water. - _Sally_ goes a-courting night and day, - Histal, whistal, by her side, - _Johnny Everall_ by her side. - ---Shrewsbury, Chirbury (Burne's _Shropshire Folk-lore_, p. 511). - - II. Uncle Tom is very sick, - What shall we send him? - A piece of cake, a piece of bread, - A piece of apple dumpling. - Who shall we send it with? - Mrs. So and So's daughter. - She is neither without, - She is neither within, - She is up in the parlour romping about. - She came downstairs dressed in silk, - A rose in her breast as white as milk. - She pulled off her glove, - She showed me her ring, - To-morrow, to-morrow the wedding shall begin. - ---Nairn (Rev. W. Gregor). - -(_b_) The Shropshire version is played by the children forming a ring by -joining hands. After the eighth line is sung all the children stoop -down--the last to do so has to tell her sweetheart's name. In the Scotch -version the players stand in a row. They sing the first five lines, then -one player is chosen (who chooses another); the other lines are sung, -and the two shake hands. Another version from Scotland (Laurieston -School, Kirkcudbright, Mr. J. Lawson), is very similar to the one from -Nairn. - -Mr. Newell (p. 72) gives versions of this game which are fuller and more -complete than those given here. He thinks it bears traces of ancient -origin, and may be the last echo of a medival song, in which an -imprisoned knight is saved from approaching death by the daughter of the -king, or soldan, who keeps him in confinement. - - -Up the Streets - -[Music] - ---Liverpool (C. C. Bell). - - I. Up the streets and down the streets, - The windows made of glass; - Is not [naming one of the children] a nice young lass? - She can dance, she can sing, - She can show her wedding-ring. - Fie, for shame! fie, for shame! - Turn your back behind you. - ---Liverpool (C. C. Bell). - - II. Up streets, down streets, - Windows made of glass; - Isn't "Jenny Jenkins" a handsome young lass? - Isn't "Johnny Johnson" as handsome as she? - They shall be married, - When they can agree. - ---Monton, Lancashire, Colleyhurst, Manchester (Miss Dendy). - - III. Up street and down street, - Each window's made of glass; - If you go to Tommy Tickler's house - You'll find a pretty lass. - ---Halliwell's _Nursery Rhymes_, cccclxxx. - -(_b_) In the Liverpool version the children stand in a ring and sing the -words. At "Fie, for shame," the child named ceases to sing, and the -others address her particularly. When the verse is ended she turns her -back to the inside of the ring. All do this in turn. The Monton game is -played the same as "kiss-in-the-ring" games. - -(_c_) Northall (_English Popular Rhymes_, p. 549), gives a version -almost the same as the Monton version. He also quotes some verses from a -paper by Miss Tennant in the _English Illustrated Magazine_, June 1885, -which she gives as a song of the slums of London. In _Gammer Gurton's -Garland_ (1783, reprint 1810, p. 34), is a verse which is the same as -Halliwell's, with two additional lines-- - - Hug her, and kiss her, and take her on your knee, - And whisper very close, Darling girl, do you love me? - - -Wadds and the Wears (1) - -Mactaggart, in describing this, says it is one of the most celebrated -amusements of the Ingle ring. To begin it, one in the ring speaks as -follows:-- - - I hae been awa at the wadds and the wears - These seven lang years; - And come hame a puir broken ploughman, - What will ye gie me to help me to my trade? - -He may either say he's a "puir broken ploughman" or any other trade, but -since he has chosen that trade some of the articles belonging to it must -always be given or offered to recruit it. But the article he most wants -he privately tells one of the party, who is not allowed to offer him -anything, as he knows the thing, which will throw the offerer in a wadd, -and must be avoided as much as possible, for to be in a wadd is a very -serious matter. Now, the one on the left hand of the "poor ploughman" -makes the first offer by way of answer to what above was said--"I'll gie -ye the coulter to help ye to your trade." The ploughman answers, "I -don't thank ye for the coulter; I hae ane already." Then another offers -him another article belonging to the ploughman's business, such as the -moolbred, but this also is refused: another gives the sock, another the -stilts, another the spattle, another the naigs, and so on until one -gives the soam, which was the article he most wanted, and was the thing -secretly told to the one player. This throws the giver into a wadd, out -of which he is relieved in the following manner:-- - -The ploughman says to the one in the wadd, "Whether will ye hae three -questions and two commands, or three commands and two questions to -answer, or gang on wi', sae that ye may win out o' the wadd?" For the -one so fixed has always the choice which of these to take. Suppose he -takes the first, two commands and three questions, then a specimen of -these may be--"I command ye to kiss the crook," says the ploughman, -which must be completely obeyed by the one in the wadd; his naked lips -must kiss the sooty implement. Secondly, says the ploughman, I command -ye to stand up in that neuk and say-- - - "Here stan' I, as stiff's a stake, - Wha 'ill kiss me for pity's sake?" - -which must also be done; in a corner of the house must he stand and -repeat this couplet, until some tender-hearted lass relieves him. Then -the questions are asked, such as--"Suppose you were in a bed with Maggie -Lowden and Jennie Logan, your twa great sweethearts, what ane o'm wad ye -ding owre the bedside, and what ane wad ye turn to and clap and cuddle?" -He has to choose one, perhaps to the great mirth of the company. -Secondly, "Suppose ye were stannin' stark naked on the tap o' -Cairnhattie, whether wad ye cry on Peggie Kirtle or Nell o' Killimingie -to come wi' your claise?" He has again to choose. Lastly, "Suppose ye -were in a boat wi' Tibbie Tait, Mary Kairnie, Sally Snadrap, and Kate o' -Minnieive, and it was to coup wi' ye, what ane o' 'em wad ye sink? what -ane wad ye soom? wha wad ye bring to lan'? and wha wad ye marry?" Then -he has again to choose between the girls named. - -Chambers gives the following versions of the "Wadds":-- - -The wadds was played by a group seated round the hearth fire, the lasses -being on one side and the lads on the other. The questions are asked and -answers given alternately. A lad first chants-- - - O it's hame, and it's hame, and it's hame, hame, hame, - I think this night I maun gae hame. - -One of the opposite party then says-- - - Ye had better light, and bide a' night, - And I'll choose you a bonny ane. - - O wha will ye choose, an' I wi' you abide? - The fairest and rarest in a' the country side. - -At the same time presenting an unmarried female by name. If the choice -give satisfaction-- - - I'll set her up on the bonny pear-tree; - It's straught and tall, and sae is she; - I wad wake a' night her love to be. - -If the choice do not give satisfaction, from the age of the party-- - - I'll set her up i' the bank dike; - She'll be rotten ere I be ripe; - The corbies her auld banes wadna pike. - -If from supposed want of temper-- - - I'll set her up on the high crab-tree; - It's sour and dour, and sae is she; - She may gang to the mools unkissed by me. - -A civil mode of declining is to say-- - - She's for another, and no for me; - I thank you for your courtesie. - -The same ritual is gone through with respect to one of the other sex; in -which case such rhymes as the following are used:-- - - I'll put him on a riddle, and blaw him owre the sea, - Wha'll buy [Johnie Paterson] for me? - I'll put him on my big lum head, - And blaw him up wi' pouther and lead. - -Or, when the proposed party is agreeable-- - - I'll set him on my table head, - And feed him up wi' milk and bread. - -A refusal must be atoned for by a wadd or forfeit. A piece of money, a -knife, or any little thing which the owner prizes, will serve. When a -sufficient number of persons have made forfeits, the business of -redeeming them is commenced, and generally it is then that the amusement -is greatest. The duty of kissing some person, or some part of the room, -is usually assigned as a means of redeeming one's wadds. Often for this -purpose a lad has to kiss the very lips he formerly rejected; or, it may -be, he has to kneel to the prettiest, bow to the wittiest, and kiss the -one he loves best before the forfeit is redeemed.--The substance of the -above is from a note in Cromek's _Remains of Nithsdale and Galloway -Song_, p. 114, who says--In this game formerly young men and women -arranged themselves on each side of the fire, and alternately bestowed -husbands and wives on each other. Carleton's _Traits and Stories of the -Irish Peasantry_, p. 106, also describes the game without any material -difference. - -Another form of this game, practised in Dumfriesshire in the last -century, and perhaps still, was more common. The party are first fitted -each with some ridiculous name, not very easy to be remembered, such as -_Swatter-in-the-Sweet-Milk_, _Butter-Milk-and-Brose_, _the Gray Gled o' -Glenwhargan Craig_, &c. Then all being seated, one comes up, repeating -the following rhymes-- - - I never stealt Rob's dog, nor never intend to do, - But weel I ken wha stealt him, and dern'd him in a cleugh, - And pykit his banes bare, bare, bare eneugh! - Wha but----wha but---- - -The object is to burst out suddenly with one of the fictitious names, -and thus take the party bearing it by surprise. If the individual -mentioned, not immediately recollecting the name he bore, failed, on the -instant, to say "No me," by way of denying the accusation respecting the -dog, he was subjected to a forfeit; and this equally happened if he -cried "No me," when it was the name of another person which was -mentioned. The forfeits were disposed of as in the former -case.--_Popular Rhymes_, pp. 125-126. - -It will be seen that the first version of Chambers more nearly resembles -"Hey Wullie Wine" (vol. i. p. 207), and that the latter part of the -version given by Mactaggart is similar to "Three Flowers" (ante, p. 255, -and the first part to "Trades," p. 305). Mr. W. Ballantyne sent me a -version from Biggar as played when he was a boy. It is similar to -Mactaggart's. - -This game may indicate an earlier form of playing at forfeits than the -"Old Soldier," "Turn the Trencher," and kindred English games. -Mactaggart does not state that any article belonging to the person who -perpetrates the offence was given up and afterwards redeemed by the -owner performing a penalty. In Chambers' versions this is done. It may -be that, in Mactaggart's case, each offending person paid his or her -penalty immediately after committing the blunder or offence instead of a -leader collecting the forfeits from all offenders first, and then -"crying" all together afterwards. Whether the game originated in the -practice of "tabu," or was an outcome of the custom of restitution, or -ransom, legally made for the commission of crimes, such as that called -wergeld, the penalty or price to be paid to the relatives of a slain -man, or of punishment for certain offences then being in the hands of a -certain class of people, we cannot now decide; but it was customary for -penalties to be attached to the commission of minor offences, and the -punishment enforced without appeal to any legally constituted authority. -The object of most of the present forfeit games seems to have been to -make the offenders ridiculous, or, in the case of the above form of -games, to find out the person loved or hated. In Shropshire "Crying the -Weds" is the name given to the game of playing at forfeits. Wadd means a -pledge. Jamieson says "Wears" signifies the "Wars." "At the wars" is a -common mode still retained of describing the life of a soldier. Ihre -supposes that the early term wadd or wed is derived from wadd-cloth, -from this kind of merchandise being anciently given and received instead -of money; when at any time a pledge was left, a piece of cloth was used -for this purpose, and hence a pledge in general would be called wadd. - -In Waldron's description of the Isle of Man (ante, vol. i. p. 139) is an -account of a Twelfth Day custom which throws light on the game as -described by Chambers. - -See "Forfeits," "Hey Wullie Wine," "Three Flowers," "Trades." - - -Wadds and the Wears (2) - -Jamieson describes the game differently. He says--The players being -equally divided, and a certain space being marked out between them, each -lays down one or more wadds, or pledges, at that extremity where the -party to which he belongs choose their station. A boundary being fixed, -the object is to carry off the wadds from the one of these to the other. -The two parties advancing to the boundary seize the first opportunity of -crossing it, by making inroads on the territories of the other. If one -who crosses the line is seized by the opposite party before he has -touched any of their wadds, he is set down beside them as a prisoner, -and receives the name of a "stinker;" nor can he be released until one -of his own party can touch him without being intercepted by any of the -others, in which case he is free. If any one is caught in the act of -carrying off a wadd, it is taken from him; but he cannot be detained as -a prisoner, in consequence of his having touched it. If he can cross the -intermediate line with it, the pursuit is at an end. When one party has -carried off to their ground all the wadds of the other the game is -finished. - - -Waggles - -A game of tip-cat. Four boys stand at the corners of a large -paving-stone; two have sticks, the other two are feeders, and throw the -piece of wood called a "cat." The batters act much in the same way as in -cricket, except that the cat must be hit whilst in the air. The batter -hits it as far away as possible, and whilst the feeder is fetching it, -gets, if possible, a run, which counts to his side. If either of the -cats fall to the ground both batters go out, and the feeders take their -place. A game called "Whacks" is played in a similar way.--London -Streets (F. H. Low, _Strand Magazine_, Nov. 1891). - -See "Tip-cat." - - -Wallflowers - -[Music] - ---Nottingham (Miss Youngman). - -[Music] - ---Connell Ferry, near Oban (Miss Harrison). - -[Music] - ---Beddgelert (Mrs. Williams). - -[Music] - ---Ogbourne, Wilts. (H. S. May). - -[Music] - ---Longcot choir girls, Berks. (Miss I. Barclay). - - I. Wallflowers, wallflowers, growing up so high, - All of you young ladies are sure to die. - Excepting ----, she's the best of all. - She can hop, and she can skip, - And she can turn a candlestick. - Oh my, fie for shame, turn your face to the wall again. - ---Fernham and Longcot (Miss I. Barclay). - - II. Wallflowers, wallflowers, - Growing up so high, - All you young ladies - Are meant to die. - Excepting little ----, - She is the best of all. - She can skip, and she can dance, - She can turn the candlestick. - O my, fie for shame, - Turn your back to the wall again. - ---From London maidservant (Miss E. Chase). - -[Illustration] - - III. Willy, willy wallflower, - Growin' up so high, - We are all maidens, - We shall all die. - Excepting ----, - She's the youngest daughter, - She can hop, - She can skip, - She can turn the candlestick. - Fee, fie, shame, shame, - Turn your backs together again:--, - ----, your sweetheart is dead, - He's sent you a letter to turn back your head. - ---Wakefield, Yorks (Miss Fowler). - - IV. Wallflowers, wallflowers, - Growing up so high, - We young ladies, we shall die. - Except 'tis ----, - She's the youngest daughter. - She can hop, and she can skip, - She can play the wire, - Oh for shame, fie for shame, - Turn your back and have a game. - ---Hampshire (Miss E. Mendham). - - V. Wally, wally wallflower, - Growing up so high-- - All ye young ladies - You must all die. - Excepting ----, - She's the best of all-- - She can hop, and she can skip, - She can turn the mangle, - Oh my, fie for shame, - Turn your back to the wall again. - ---Barnes, Surrey (A. B. Gomme). - - VI. Wall flowers, wall flowers, growing up so high, - We are all children, and we shall all die. - Excepting ----, she's the youngest child, - She can hop, she can skip, - She can turn the wedding ring, - Fie, fie, fie for shame, - Turn your face to the wall again. - ---Nottingham (Miss Youngman). - - VII. Wally, wally wall-flower, - A-growen up so high, - All we children be sure to die. - Excepting [naming the youngest] - 'Cause she's the youngest, - Oh! fie! for shame! fie! for shame! - Turn your back to the wall again. - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 215). - - VIII. Wall-flowers, wall-flowers, growing up so high, - We are all living, and we shall all die. - Except the youngest here [naming her]. - Turn your back to overshed. (?) - -(This last line is repeated three times.) - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 215). - - IX. Wall-flowers, wall-flowers, growing up so high! - We shall all be maidens, [and so] we shall all die![13] - Excepting _Alice Gittins_, she is the youngest flower, - She can hop, and she can skip, and she can play the hour! - Three and four, and four and five, - Turn your back to the wall-side! - -_Or_, - - She can dance and she can sing, - She can play on the tambourine! - Fie, fie! fie, for shame! - Turn your back upon the game! - ---Ellesmere, Berrington, Wenlock (_Shropshire Folk-lore_, p. 513). - - X. Willie, willie wall-flowers, growing up so high! - We are all fair maids, we shall all die! - Excepting little ----, and she's the youngest here, - Turn your head towards the south, and she's the one to bear, - The willie, willie wallflowers. - -_Or_, - - Oh! for shame, fie, for shame, turn yourself to the wall - again-- - ---Sporle, Norfolk (Miss Matthews). - - XI. Wall-flowers, wall-flowers, growing up so high! - We are all ladies, we must all die! - Excepting ----, who is the prettiest child. - Fie, for shame, fie, for shame, turn your back to the wall - again. - ---Nottinghamshire and Lincolnshire (Miss Winfield) - - XII. Wall-flowers, wall-flowers, growing up so high! - We're all ladies, and we shall all die! - Excepting [naming smallest child in ring], - She can hop, and she can skip, and she can play the organ! - Oh! for shame, fie, for shame, - Turn your back upon our game. - ---Enbourne School, Berks. (Miss M. Kimber). - - XIII. Wall-flowers, wall-flowers, growing up so high! - We are all pretty maidens, we all have to die! - Except ----, she's the youngest girl, - Ah! for shame, ah! for shame, - Turn your back to us again. - I'll wash you in milk, - I'll dress you in silk, - I'll write down your name, - With a gold pen and ink. - ---Earls Heaton (Herbert Hardy). - - XIV. Oh flower, oh flower, growing up so high! - We are all children, we have all to die! - Except ----, she the youngest gay, - Oh! for shame, fie, for shame, - Turn your back against the wall. - ---Beddgelert (Mrs. Williams). - - XV. Wall-flowers, wall-flowers, growing up so high! - We are all little, and we've got to die! - Excepting ----, and she's the only one, - Oh! for shame, fie, for shame, - Turn your back to the wall again. - ---Cowes, Isle of Wight (Miss E. Smith). - - XVI. Little Molly white-flower, we are all maidens, - And we shall all die, except Polly Pegg, - She's the best of all, - She can hop, and she can skip, and she can turn the - candlestick! - Oh! fie, for shame, - Turn your back to the wall. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - XVII. Wall-flowers, wall-flowers, growing up so high! - We are all playmates, we shall all die! - Excepting ----, for she's the youngest flower, - Cry shame, cry shame, - And turn your face to the wall again. - ---Sheffield (S. O. Addy). - - XVIII. Wall-flower, wall-flower, growing up so high! - All the pretty maidens shall not die! - Excepting ----, she is the youngest child, - Oh! for shame, fie, for shame! - Turn your back to the wall again. - ---Dean, near Salisbury (Mrs. C. Brough). - - XIX. Water, water wall-flower, growing up so high, - We are all maidens, we must all die, - Except ----, the youngest of us all. - She can laugh, and she can dance, and she can play at ball; - Fie! fie! fie for shame! turn your face to the wall again. - ---Connell Ferry, near Oban (Miss Harrison). - - XX. Water, water wall-flower, growing up so high, - We are all maidens, we must all die. - Except ----, she's the youngest of them all; - She can dance, she can sing, - And she can dance the wedding ring (or "Hieland fling") - Fie! fie! fie for shame! - Turn your back to the wall again. - ---Galloway (J. G. Carter). - - XXI. Wall-flowers, wall-flowers, - Growing up so high; - All ye young maidens - Are all fit to die. - Excepting ----, and she's the worst of all, - She can hop, and she can skip, - And she can turn the candlestick. - Fye! fie! for shame, - Turn your face to the wall again. - ---(_Suffolk County Folk-lore_, p. 67.) - - XXII. Wall-flowers, wall-flowers, growing up so high, - All you young ladies will soon have to die; - Excepting ----, and she's the best of all. - She can dance, she can skip, she can turn the mangle quick; - Hi, ho! fie for shame! turn your back to the wall again. - ---Cambridge (Mrs. Haddon). - - XXIII. Wally, wally wall-flower, growing up so high, - We are all maidens, and we shall die; - All except the youngest one, and that is [child's name]. - Choose for the best, choose for the worst, - Choose the one that you love best. - - Now you're married, I wish you joy, - First a girl and then a boy, - Seven years after son and daughter, - Now, young couple, kiss together. - ---Hersham, Surrey (_Folk-lore Record_, v. 84). - - XXIV. Wally, wally wall-flowers, - Growing up so high; - We're all ladies, - We shall all die. - Excepting little ----, - She's the only one; - She can hop, she can skip, - She can play the herald, - Fie! fie! fie for shame! - Turn your back to the wall again. - ---Deptford, Kent (Miss Chase). - - XXV. Water, water wall-flower, - Growing up so high; - We are all maidens, - And we must all die. - ---- is the youngest, - She must kick, - And she must fling, - And she must turn the sofa; - Fie! fie! fie, for shame! - Turn your back to the wall again. - - XXVI. Except ----, and she's the youngest one, - She can hop, and she can skip, - She can turn the sofa; - Oh fie! fie! fie, for shame! - Turn your back to the wall again. - ---Cullen and Nairn (Rev. W. Gregor). - - XXVII. She can skip, she can dance, - She can ding us all o'er. - ---Aberdeen (Rev. W. Gregor). - - XXVIII. Green, green grovers, growing up so high, - We are all maidens, - And we must all die; - Except ----, the youngest of us all, - She can dance, and she can sing, - She can dance the Hieland fling; - Fie! fie! fie, for shame! - Turn your back to us again. - ---Nairn (Rev. W. Gregor). - - XXIX. Water, water, well stones, - Growing up so high, - We are all maidens, - And we must all die. - Except ----, - She's the youngest of us all, - She can dance, she can sing, - She can dance the "Hielan' Fling,"[14] - Oh fie, fie, for shame, - Turn your back to us again. - ---Dyke (Rev. W. Gregor). - - XXX. Here's a pot of wall-flowers, - Growing up so high; - We're all maidens, and we shall die. - Excepting [girl's name], - She can hop, and she can skip, - And she can play the organ. - Turn your back, you saucy Jack, - You tore your mother's gown. - ---Northants (Rev. W. Sweeting). - - XXXI. Wall-flowers, wall-flowers, growin' up so high, - Neither me nor my baby shall ever wish to die, - Especially [girl's name], she's the prettiest flower. - She can dance, and she can sing, and she can tell the hour, - With her wee-waw, wy-waw, turn her face to the wall. - ---Howth, Dublin (Miss H. E. Harvey). - -Or, - - Turn your back to all the game. - ---Bonmahon, Waterford (Miss H. E. Harvey). - - XXXII. Sally, Sally, wall-flower [or Waters], - Springing up so high, - We're all fair maids, - And we shall all die. - Excepting [girl's name], - She's the fairest daughter, - She can hop, and she can skip, - She can turn the organ. - Turn your face toward the wall, - And tell me who your sweetheart's called. - - Mr. Moffit is a very good man, - He came to the door with his hat in his hand, - He pulled up his cloak, and showed me the ring; - To-morrow, to-morrow, the wedding begins. - First he bought the frying-pan, - Then he bought the cradle, - And then one day the baby was born, - Rock, rock the cradle. - ---Hurstmonceux, Sussex (Miss Chase). - - XXXIII. Water, water, wild flowers, - Growing up so high, - We are all maidens, - And we shall all die, - Excepting [Eva Irving], - And she's the youngest of us all, - And she can hop, and she can skip, - And she can turn the candlestick, - [Or "She can play the organ."] - Piper shame! piper shame! - Turn your back to the wall again. - I pick up a pin, - I knock at the door, - I ask for ----, - She's neither in, - She's neither out, - She's up the garden skipping about. - Down come ----, as white as snow, - Soft in her bosom as soft as glow. - She pulled off her glove, - And showed us her ring, - To-morrow, to-morrow, - The bells shall ring. - ---Ogbourne, Wilts. (H. S. May). - - XXXIV. Water, water, wall-flowers, growing up so high, - We are all maidens, and we must all die, - Except ----, she's the only one, - She can dance, she can sing, she can play the organ, - Fie, fie, fie for shame, turn your face to the wall again. - Green grevel, green grevel, the grass is so green, - The fairest young lady that ever was seen. - O ----, O ----, your true love is dead, - He'll send you a letter to turn back your head. - ---Laurieston School, Kirkcudbright (J. Lawson). - - XXXV. [Mary Kelly's] stole away, stole away, stole away, - [Mary Kelly's] stole away, - And lost her lily-white flowers. - - It's well seen by her pale face, her pale face, her pale - face, - It's well seen by her pale face, - She may turn her face to the wall. - ---Belfast (W. H. Patterson). - -(_c_) The children form a ring by joining hands. They all dance slowly -round, singing the words. When the one child is named by the ring she -turns round, so that her face is turned to the outside of the ring and -her back inside. She still clasps hands with those on either side of -her, and dances or walks round with them. This is continued until all -the players have turned and are facing outwards. - -This concludes the game in many places, but in others the game is -continued by altering the last line of the verses, and the children -alternately turning round when named until they all face inside again. -In some of the versions the first child to turn her face to the wall is -the youngest, and it is then continued by the next youngest, until the -eldest is named. This obtains in Hampshire (Miss Mendham), Nottingham, -Symondsbury, Shropshire, Beddgelert, Sheffield, Connell Ferry, Oban, -Hersham, Surrey, Dyke. In the London (Miss Chase) and Sheffield versions -the child named leaves the ring and turns with her face to a wall. In -the Wakefield version Miss Fowler says a child stands in the middle, and -at the fifth line all the children say their own name. At the end of the -verse they all unclasp hands, and turn with their faces outside the -circle; the verse is repeated, when they all turn again facing inwards, -and so on over again. In the Nairn version, after all the players have -turned their faces outside the ring, they all throw their arms over -their heads, and turn so as to face inwards if possible without -disjoining hands. The children at Ogbourne, Wilts, clap hands when -singing the last two lines of the verses. At Enbourne School it is the -tallest child who is first named, and who turns her back; presumably the -next tallest is then chosen. In the Suffolk game one child stands -outside the ring; the ring sings the first four lines, and the child -outside sings the rest. At Wenlock Miss Burne says each child is -summoned in turn by name to turn their heads when the last line is said. -At Hurstmonceux a girl chooses a boy after her face is turned to the -wall. - -(_d_) The most interesting point about this game is that it appears to -refer to a custom or observance which particularly concerns young girls. -We cannot say what the custom or observance was originally, but the -words point to something in which a young maiden played the principal -part. "We are all maidens" and "she's the youngest here" runs through -most of the versions. A death seems to be indicated, and it may be that -this game was originally one where the death of the betrothed of the -youngest maiden was announced. This would account for the "turning the -face to the wall," which is indicative of mourning and great sorrow and -loss. The mention of the girl's accomplishments may mean that being so -young and accomplished she would quickly get another suitor, and this -might also account for the "fie for shame!"--shame to be thinking of -another lover so soon; or, on the other hand, the other maidens may -regret that by the loss of her lover and betrothed this young maiden's -talents will be lost in "old maidenhood," as she will not now be -married, and this will be "a shame." She will be, in fact, "on the -shelf" or "out of sight" for the rest of her life, and through no fault -of her own. The "we are all maidens" might refer to the old custom of -maidens carrying the corpse of one of their number to the grave, and the -words may have originally been the lament over her death. - -With reference to the words "turn the candlestick," which occurs in six -versions, "M. H. P.," in _Notes and Queries_ (7th ser., xi. 256), says: -"_Turning the Candlestick_.--A candlestick in the game of 'See-saw' is -the Yorkshire name for the child who stands in the centre of the plank, -and assists the motion by swaying from side to side." Toone -(_Etymological Dictionary_) says--Before the introduction of the modern -candlestick, the custom was to have the candle held by a person -appointed for that purpose, called a candle-holder, and hence the term -became proverbial to signify an idle spectator. - -"I'll be a candle-holder and look on."--_Romeo and Juliet._ - -"A candle-holder sees most of the game."--Ray's _Proverbs_. - -If this should be the meaning of the phrase in these rhymes, "she can -turn the candlestick" may have originally meant that now this maiden -can be nothing but a "looker on" or "candle-holder" in the world. The -meaning has evidently been forgotten for a long time, as other -expressions, such as "she can turn the organ," have had to be adopted to -"make sense" of the words. - -Aubrey (_Remaines of Judaisme_, p. 45) mentions the sport called -"Dancing the Candlerush," played by young girls; in Oxford called "Leap -Candle," which consisted of placing a candle in the middle of the room -and "dancing over the candle back and forth" saying a rhyme. This may be -the "dance" referred to in the rhymes. - -The tune of most versions is the same. It is pretty and plaintive, and -accords with the idea of mourning and grief. The Rev. W. D. Sweeting -says the tune in Northants seems to be lost. The game is sung to a sort -of monotone. - -Northall gives a version from Warwickshire similar to several given -here, and Mr. Newell (_Games and Songs of American Children_) gives a -version and tune which is similar to that of Hurstmonceux, Surrey. - -See "Green Grass." - - [13] At Wenlock they add to the chorus: - - O _Alice_! your true love will send you a letter to turn round - your head! - And she can turn the handlestick. - - [14] Another version from Forfarshire gives "Green, green, grivers," - and "Pull the cradle string" for "Dance the Hielan' Fling," and - one from Nairn is "Turn your back to the wall again." - - -Warney - - I'm the wee mouse in the hole in the wa', - I'm come out to catch you a'. - -One of the players starts with clasped hands to catch another. When this -is done they join hands--each one, on being caught, going into the -number to form a chain. If the chain breaks no one can be -caught.--Laurieston School, Kirkcudbright (J. Lawson). - -See "Stag," "Whiddy." - - -Way-Zaltin - -A sort of horse-game, in which two boys stand back to back with their -arms interlaced; each then alternately bends forward, and so raises the -other on his back with his legs in the air. This term, too, is sometimes -used for see-sawing.--Elworthy's _West Somerset Words_. Barnes (_Dorset -Glossary_) calls this game "Wayzalt." Holloway (_Dict. Prov._) says, in -Hants the game is called "Weighing." - -See "Weigh the Butter." - - -We are the Rovers - -[Music] - ---Bath (A. B. Gomme). - -[Music] - ---Hanbury, Staffs. (Miss Edith Hollis). - -[Music] - ---Wrotham, Kent (Miss D. Kimball). - - I. We are coming to take your land, - We are the rovers! - We are coming to take your land, - [Though you] are the guardian soldiers! - - We don't care for your men nor you, - [Though you] are the rovers! - We don't care for your men nor you, - For we are the guardian soldiers! - - We will send our dogs to bite, - We are the rovers! - We will send our dogs to bite, - Though you are the guardian soldiers! - - We don't care for your dogs nor you, - Though you're the rovers! - We don't care for your dogs nor you, - For we are the guardian soldiers! - - Will you have a glass of wine? - We are the rovers! - Will you have a glass of wine? - For respect of guardian soldiers! - - A glass of wine won't serve us all, - Though you're the rovers! - A glass of wine won't serve us all, - For we are the guardian soldiers! - - Will a barrel of beer then serve you all? - We are the rovers! - Will a barrel of beer then serve you all? - As you are the guardian soldiers! - - A barrel of beer won't serve us all, - Though you're the rovers! - A barrel of beer won't serve us all, - For we're gallant guardian soldiers! - - We will send our blue-coat men, - We are the rovers! - We will send our blue-coat men, - Though you are the guardian soldiers! - - We don't fear your blue-coat men, - Though you're the rovers! - We don't fear your blue-coat men, - For we are the guardian soldiers! - - We will send our red-coat men, - We are the rovers! - We will send our red-coat men, - Though you are the guardian soldiers! - - We don't mind your red-coat men, - Though you're the rovers! - We don't mind your red-coat men, - For we are the guardian soldiers! - - Are you ready for a fight? - We are the rovers! - Are you ready for a fight? - Though you are the guardian soldiers! - - Yes, we are ready for a fight, - Though you're the rovers! - Yes, we are ready for a fight, - For we are the guardian soldiers! - ---Ellesmere (_Shropshire Folk-lore_, p. 518). - - II. We have come for a glass of wine, - We are the Romans! - We have come for a glass of wine, - We are King William's soldiers! - - We won't serve you with the wine, - We are the Romans! - We won't serve you with the wine, - We are King William's soldiers! - - We will set our dogs to watch, - We are the Romans! - We will set our dogs to watch, - We are King William's soldiers! - - We don't care for you and your dogs, - We are the Romans! - We don't care for you and your dogs, - We are King William's soldiers! - - We will set our police to watch, - We are the Romans! - We will set our police to watch, - We are King William's soldiers! - - We don't care for you and your police, - We are the Romans! - We don't care for you and your police, - We are King William's soldiers! - - Are you ready for a fight? - We are the Romans! - Are you ready for a fight? - We are King William's soldiers! - - We are ready for a fight, - We are the Romans! - We are ready for a fight, - We are King William's soldiers! - ---Wrotham, Kent (Miss D. Kimball). - - III. Will you have a gill of ale? - We are the Romans! - Will you have a gill of ale? - For we are the Roman soldiers! - - A gill of ale won't serve us all, - We are the English! - A gill of ale won't, &c., - For we are the English soldiers! - - Take a pint and go your way, - We are, &c. [As above.] - - A pint of ale won't serve us all, - We are, &c. - - Take a quart and go your way, - We are, &c. - - A quart of ale won't serve us all, - We are, &c. - - Take a gallon and go your way, - We are, &c. - - A gallon of ale won't serve us all, - We are, &c. - - Take a barrel and go your way, - We are, &c. - - A barrel of ale will serve us all, - We are, &c. - ---Lancashire: Liverpool and its neighbourhood (Mrs. Harley). - - IV. Have you any bread and wine, - For we are the Romans! - Have you any bread and wine, - We are the Roman soldiers! - - Yes, we have some bread and wine, - For we are the English! - Yes, we have some bread and wine, - We are the English soldiers! - - Will you give us a glass of it? - For we are, &c. [As above.] - - Yes, we'll give you a glass of it, - For we are, &c. - - A glass of it won't serve us so, - For we are, &c. - - Then you shan't have any at all, - For we are, &c. - - Then we will break all your glasses, - For we are, &c. - - Then we will go to the magistrates, - For we are, &c. - - Then you may go to the magistrates, - For we are, &c. - - Then let us join our happy ring, - For we are, &c. - ---Hartley Witney, Winchfield, Hants. (H. S. May). - - V. Have you any cake and wine? - For we are the English! - Have you any cake and wine? - For we're the English soldiers! - - Yes, we have some cake and wine, - For we are the Romans! - Yes, we have some cake and wine, - For we're the Roman soldiers! - - Will you give us cake and wine? &c. - - No, we won't give you cake and wine, &c. - - Then we'll tell our magistrates, &c. - - We don't care for your magistrates, &c. - - Then we'll tell our highest men, &c. - - We don't care for your highest men, &c. - - Turn up your sleeves and have a fight, - For we are the Romans [English]! &c. - ---Enbourne School, Berks. (Miss M. Kimber). - - VI. Have you any bread and wine? - We are the Romans! - Have you any bread and wine? - For we're the government soldiers! - - Yes! we have some bread and wine, &c. - - Will you give us a glass of it? &c. - - We will give you a glass of it, &c. - - A glass of it won't serve us all, &c. - - We will give you a gallon of it, &c. - - We will break all your glasses, &c. - - We will tell the magistrates, &c. - - What care we for the magistrates, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - - Tuck up your sleeves up to your arms, &c. - Present! Shoot! Bang! Fire!! - ---Maxey, Northamptonshire (Rev. W. D. Sweeting). - - VII. Have you any bread and wine? - We are the English! - Have you any bread and wine? - We are the English soldiers! - - No, we have no bread and wine, - We are the Romans! - No, we have no bread and wine, - We are the Roman soldiers! - - A quart of ale won't serve us all, &c. - - Take a gallon and go your way, &c. - - A gallon of ale won't serve us all, &c. - - We will fetch the magistrate, &c. - - We don't care for the magistrate, &c. - - We will fetch the p'liceman, &c. - - We don't care for the p'liceman, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - ---Hanbury, Staffs. (Miss Edith Hollis). - - VIII. Have you any bread and wine, bread and wine, bread and wine, - Have you any bread and wine, - For we are English soldiers! - - Yes, we have some bread and wine, bread and wine, bread and - wine, - For we are French soldiers! - - Will you give us a quarter of it? &c. - - No, we won't give you a quarter of it, &c. - - Then we will send the magistrate, &c. - - What do we care for the magistrate, &c. - - What do we care for the convent dogs, &c. - - Are you ready for a fight, &c. - - Yes, we are ready for a fight, &c. - ---Hurstmonceux, Sussex (Miss E. Chase, 1892). - - IX. Have you any bread and wine, - Bread and wine, bread and wine? - Have you any bread and wine, - My Theerie and my Thorie? - - Yes, we have some bread and wine, bread and wine, &c. - - We shall have one glass of it, one glass of it, &c. - - Take one glass and go your way, go your way, &c. - - We shall have two glasses of it, two glasses of it, &c. - - Take two glasses and go your way, go your way, &c. - -[Repeat for three, four, and five glasses of it, then--] - - We shall have a bottle of it, a bottle of it, &c. - - A bottle of it ye _shall not_ have, ye shall not have, &c. - - We will break your glasses all, your glasses all, &c. - - We will send for the magistrates, the magistrates, &c. - - What care we for the magistrates, the magistrates? &c. - - We will send for the policemen, the policemen, &c. - - What care we for the policemen, the policemen? &c. - - We will send for the red coat men, the red coat men, &c. - - What care we for the red coat men, the red coat men? &c. - - What kind of men are ye at all, are ye at all? &c. - - We are all Prince Charlie's men, Prince Charlie's men, &c. - - But what kind of men are _ye_ at all, are _ye_ at all? &c. - - We are all King George's men, King George's men, &c. - - Are ye for a battle of it, a battle of it? &c. - - Yes, we're for a battle of it, - A battle of it, a battle of it, - Yes, we're for a battle of it, - My Theerie and my Thorie. - ---Perthshire (Rev. W. Gregor). - - X. What men are ye of? - What men are ye of? - What men are ye of? - Metherie and Metharie. - - We are of King George's men, - King George's men, King George's men, - We are of King George's men, - Metherie and Metharie. - - We will send for the policemen, &c. - - What care we for the policemen? &c. - - We will have a bottle of wine, &c. - - You shall not have, &c. - - We will have three bottles of wine, &c. - - You shall not have, &c. - - We will send for Cripple Dick, &c. - - What care we for Cripple Dick, &c. - - We finish off with a battle three, &c. - ---Northumberland (from a lady friend of Hon. J. Abercromby). - - XI. We shall have a glass of wine, - A glass of wine, a glass of wine, - We shall have a glass of wine, - Methery I methory. - - You shall not have a glass of wine, - A glass of wine, a glass of wine, - You shall not have a glass of wine, - Methery I methory. - - Then we'll break your dishes, then, &c. - - Then we'll send for the blue coat men, &c. - - What care I for the blue coat men, &c. - - Then we'll send for the red coat men, &c. - - What care we for the red coat men, &c. - - We are all King George's men, &c. - - We are all King William's men, &c. - ---Auchencairn, Kirkcudbright (Prof. A. C. Haddon). - - XII. Have you any bread and wine, bread and wine, bread and wine? - Have you any bread and wine? - Come a theiry, come a thory. - - Yes, we have some bread and wine, &c. - - Will you give us a glass of it? &c. - - Yes, we'll give you a glass of it, &c. - - Will you give us two glasses of it? &c. - - Yes, we'll give you two glasses of it, &c. - - Will you give us a pint of it? &c. - - A pint of it you shall not get, &c. - - We will break your window pane, &c. - - We will tell the policemen, &c. - - What care we for the policemen, &c. - - We will tell the red coat men, &c. - - What care we for the red coat men, &c. - - We will tell the magistrate, &c. - - What care we for the magistrate, &c. - - Will you try a fight with us? &c. - - Yes, we'll try a fight with you, &c. - - Are you ready for it now? &c. - - Yes, we're ready for it now, &c. - ---Perth (Rev. W. Gregor). - - XIII. Have you got any bread and wine, bread and wine, bread and - wine? - Have you got any bread and wine? - Come a theory, oary mathorie. - - Yes, we have some bread and wine, &c. - - We shall have one glass of it, &c. - - You shall not have one glass of it, &c. - - To what men do you belong? &c. - - We are all King George's men, &c. - - To what men do you belong, &c. - - We are all King William's men, &c. - - We shall have a fight, then, &c. - ---Perth (Rev. W. Gregor). - - XIV. Have you any bread and wine, - Ye o' the boatmen? - Have you any bread and wine, - Ye the drunk and sober? - - Yes, we have some bread and wine, &c. - - Will you give us of your wine, &c. - - Take one quart and go your way, &c. - - One quart is not enough for us, &c. - - Take two quarts and go your way, &c. - -[Continue up to six quarts, then--] - - Pray, what sort of men are you? &c. - - We are all King George's men, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - ---Forest of Dean (Miss Matthews). - - XV. I will fetch you a pint of beer, - He I over; - I will fetch you a pint of beer, - Whether we are drunk or sober. - - I will fetch you a quart of beer, - He I over; - I will fetch you a quart of beer, - Whether we are drunk or sober. - - I will fetch you two quarts of beer, &c. - - I will fetch you three quarts of beer, &c. - - I will fetch you a gallon of beer, &c. - - I will fetch you a barrel of beer, &c. - - I will fetch the old police, &c. - - Are you ready for a fight, &c. - ---Earls Heaton (H. Hardy) - -[Another variant from Earls Heaton is:--] - - Have you got a bottle of gin? - He I over; - Have you got a bottle of gin, - As in that golden story? - ---(H. Hardy). - - XVI. Have you any bread and wine, - Bread and wine, bread and wine? - Have you any bread and wine? - Cam a teerie, arrie ma torry. - - Yes, we have some bread and wine, - Bread and wine, bread and wine; - Yes, we have some bread and wine, - Cam a teerie, arrie ma torry. - - We shall have one glass of it, &c. - - One glass of it you shall not get, &c. - - We are King George's loyal men, - Loyal men, loyal men; - We are King George's loyal men, - Cam a teerie, arrie ma torry. - - What care we for King George's men, - King George's men, King George's men; - What care we for King George's men, - Cam a teerie, arrie ma torry. - ---_People's Friend_, quoted in a review of "Arbroath: Past and Present," -by J. M. M'Bain. - - XVII. We shall have one glass of wine, - We are the robbers; - We shall have one glass of wine, - For we are the gallant soldiers. - - You shall have no glass of wine, - We are the robbers; - You shall have no glass of wine, - For we are the gallant soldiers. - - We shall have two glasses of it, &c. - - You shall have no glass of it, &c. - - We will break your tumblers, then, &c. - - We shall send for the policeman, &c. - - What care we for the policeman, &c. - - We shall send for the red coat men, &c. - - What care we for the red coat men, &c. - - We shall send for the blue coat men, &c. - - What care we for the blue coat men, &c. - - We shall send for the magistrate, &c. - - What care we for the magistrate, &c. - - We shall send for Cripple Dick, &c. - - What care we for Cripple Dick, &c. - - We shall have a battle then, &c. - - Yonder is a battle field, &c. - ---Laurieston School, Kirkcudbright (J. Lawson). - - XVIII. Here comes three dukes a-riding, a-riding, a-riding; - Here comes three dukes a-riding, a-riding, a-riding; - My fair ladies. - - Have you any bread and wine, bread and wine, bread and wine? - Have you any bread and wine, bread and wine, bread and wine, - My fair ladies? - - How do you sell your bread and wine, &c. - - I sell it by a gallon, sir, &c. - - A gallon is too much, fair ladies, &c. - - Sell it by a gallon, my fair ladies, &c. - - Then we'll have none at all, &c. - - Are you ready for a fight, &c. - - Yes, we are ready for a fight, &c. - My dear sirs. - ---Sporle, Norfolk (Miss Matthews). - -(_c_) The players divide into two sides of about equal numbers, and form -lines. The lines walk forwards and backwards in turn, each side singing -their respective verses alternately. When the last verse is sung both -lines prepare for a fight. - -This is the usual way of playing, and there is but little variation in -the methods of the different versions. In some versions (Enbourne, -Berks.; Maxey, Northants., and Bath) sleeves are tucked up previous to -the pretended fight, and in one or two places sticks and stones are -used; again in the Northamptonshire and Bath games, at "Present! Shoot! -Bang! Fire!!" imitations are given of firing of guns before the actual -fight takes place. In the Hants (H. S. May) and Lancashire (Mrs. Harley) -versions, when the last verse is reached the players all join hands, -form a ring, and dance round while they sing the last verse. In several -versions too, when they sing "We don't care for the magistrates," or -other persons of authority, the players all stamp their feet on the -ground. In the Hurstmonceux version the children double their fists -before preparing to fight. Some pretend to have swords to fight with, -but the greater number use their fists. In most of the versions the -players on both sides join in the refrain or chorus. - -(_d_) This game represents an attacking or invading party and the -defenders. It probably owes its origin to the border warfare which -prevailed for so long a period between Highlanders and Lowlanders of -Scotland, the Scotch and English of the northern border counties, and in -the country called the marches between Wales and England. Contests -between different nationalities living in one town or place, as at -Southampton and Nottingham, would also tend to produce this game. That -the game represents this kind of conflict rather than an ordinary battle -between independent countries is shown by several significant points. -These are, the dialogue between the opposing parties before the fight -begins, the mention of bread, ale, or other food, and more particularly -the threat to appeal to the civil authorities, called in the different -versions, magistrates, blue coat men, red coat men, highest men, -policemen, and Cripple Dick. Such an appeal is only applicable where the -opposing parties were, theoretically at all events, subordinate to a -superior authority. The derision, too, with which the threat is received -by the assailants is in strict accord with the facts of Border society. -Scott in _Waverley_ and the _Black Dwarf_ describes such a raid, and the -suggestion to appeal to the civil authority in lieu of a raid is met -with the cry of such an act being useless. The passage from the _Black -Dwarf_ is: "'We maun tak the law wi' us in thae days, Simon,' answered -the more prudent elder. 'And besides,' said another old man, 'I dinna -believe there's ane now living that kens the lawful mode of following a -fray across the Border. Tam o' Whittram kend a' about it; but he died in -the hard winter.' 'Hout,' exclaimed another of these discording -counsellors, 'there's nae great skill needed; just put a lighted peat on -the end of a spear, a hayfork, or siclike, and blaw a horn and cry the -gathering word, and then it's lawful to follow gear into England and -recover it by the strong hand, or to take gear frae some other -Englishmen, providing ye lift nae mair than's been lifted frae you. -That's the auld Border law made at Dundrennan in the days of the Black -Douglas.'" In _Waverley_ the hero suggests "to send to the nearest -garrison for a party of soldiers and a magistrate's warrant," but is -told that "he did not understand the state of the country and of the -political parties which divided it" (chap. xv.). The position of this -part of the country is best understood from the evidence of legal -records, showing how slowly the king's record ran in these parts. Thus -Mr. Clifford (_Hist. of Private Legislation_) quotes from Hodgson's -_Hist. of Northumberland_ (vol. iii. pt. 2, p. 171), a paper, in the -Cotton MS., on "The bounds and means of the 'batable land belonging to -England and Scotland." It was written in 1550 by Sir Robert Bowes, a -Northumbrian, at the request of the Marquis of Dorset, then Warden -General of the Marches, and gives a graphic picture of Border life at -that time. The writer describes Cassope bridge as "a common passage for -the thieves of Tyndalle, in England, and for the thieves of Liddesdalle, -in Scotland, with the stolen goods from one realm to the other." The -head of Tyndalle is a place "where few true men have list to lodge." -North Tyndall "is more plenished with wild and misdemeaned people" than -even South Tyndall. The people there "stand most by four surnames," the -Charltons, Robsons, Dodds, and Milbornes. "Of every surname there be -sundry families, or graves, as they call them, of every of which there -be certain headsmen that leadeth and answereth for all the rest. There -be some among them that have never stolen themselves, which they call -true men. And yet such will have rascals to steal either on horseback or -foot, whom they do reset, and will receive part of the stolen goods. -There be very few able men in all that country of North Tyndalle, but -either they have used to steal in England or Scotland. And if any true -man of England get knowledge of the theft or thieves that steal his -goods in Tyndalle or Ryddesdale, he had much rather take a part of his -goods again in composition than pursue the extremity by law against the -thief. For if the thief be of any great surname or kindred, and be -lawfully executed by order of justice, the rest of his kin or surname -bear as much malice, which they call deadly feade (feud), against such -as follow the law against their cousin the thief, as though he had -unlawfully killed him with a sword; and will by all means they can seek -revenge thereupon." At sundry times the dalesmen "have broken out of all -order, and have then, like rebels or outlaws, committed very great and -heinous attempts, as burning and spoiling of whole townships and -murdering of gentlemen and others whom they have had grief or malice -unto, so that for defence of them there have been great garrisons laid, -and raids and incourses both against them and by them, even as it were -between England and Scotland in time of war. And even at such times they -have done more harm than they have received." A number of the -Tyndaller's houses are set together, so that they may give each other -succour in frays, and they join together in any quarrel against a true -man, so that for dread of them "almost no man dare follow his goods -stolen or spoiled into that country." - -The sides in the game are under the different names or leadership of -Romans and English, King William's men, rovers and guardian soldiers, -Prince Charlie's men, King George's men, &c. These names have probably -been given in memory of some local rising, or from some well-known event -which stamped itself upon the recollection of the people. It is very -curious that in four or five versions a refrain, which may well be a -survival of some of the slogans or family "cries" (see "Three Dukes"), -should occur instead of the "Roman" and "English" soldiers, &c. These -refrains are, "My theerie and my thorie," "Metherie and metharie," -"Methory I methory," "Come a theeiry, come a thory," "Come a theory, -oary mathorie," "Cam a teerie, arrie ma torry," and the three which -apparently are still further degradations of these, "Ye o' the boatmen," -"Drunk and sober," "He I over." That "slogans" or "war cries" were used -in this species of tribal war there is little doubt. In the -Northumberland and Laurieston versions the name is "Cripple Dick," these -words, now considered as the name of a powerful and feared leader, may -also indicate the same origin. The versions with these refrains come -from Perthshire (three versions), Authencairn, and Northumberland; -Yorkshire has He I over; while the Romans and English, King George's -men, King William's men, guardian soldiers, rovers, &c., are found in -Shropshire, Staffordshire, Gloucester, Kent, Hants, Bath, Berks, -Northamptonshire, Sussex, some of which are Border counties to Wales, -and others have sea-coasts where at different times invasions have been -expected. In Sussex, Miss Chase says the game is said to date from the -alarm of Napoleon's threatened landing on the coast; this is also said -in Kent and Hampshire. Miss Burne considers the game in Shropshire to -have certainly originated from the old Border warfare. She also -considers that the bread and wine, barrels of ale, &c., are indications -of attempts made to bribe the beleaguered garrison and their willingness -to accept it; but I think it more probably refers to the fact that some -food, cattle, and goods were oftentime given to the raiders by the -owners of the lands as blackmail, to prevent the carrying off of all -their property, and to avoid fighting if possible. It will be noticed -that fighting ensues as the result of a sufficient quantity of food and -drink being refused. Scott alludes to the practice of blackmail, having -to be paid to a Highland leader in _Waverley_, in the raid upon the -cattle of the baron of Bradwardine (see chap. xv.). The farms were -scattered, and before the defenders could combine to offer resistance, -cattle and goods would be carried off, and the ground laid waste, if -resistance were offered. - -The tune of the Northants game (Rev. W. Sweeting) and Hants (H. S. May) -are so nearly like the Bath tune that it seemed unnecessary to print -them. The tune of the Surrey game is that of "Nuts in May." The words of -the Bath version collected by me are nearly identical with the -Shropshire, except that "We are the Romans" is said instead of "We are -the Rovers." They are not therefore printed here, but I have used this -version in my _Children's Singing Games_, series I., _illustrated_. The -tune of the Hants version (H. S. May) is similar to that of Wrotham, -Kent (Miss D. Kimball). - - -Weary - - Weary, weary, I'm waiting on you, - I can wait no longer on you; - Three times I've whistled on you-- - Lovey, are you coming out? - - I'll tell mamma when I go home, - The boys won't let my curls alone; - They tore my hair, and broke my comb-- - And that's the way all boys get on. - ---Aberdeen Training College (Rev. W. Gregor). - -The girls stand in a row, and one goes backwards and forwards singing -the first four lines. She then takes one out of the row, and they swing -round and round while they all sing the other four lines. - - -Weave the Diaper - - Weave the diaper tick-a-tick tick, - Weave the diaper tick; - Come this way, come that, - As close as a mat, - Athwart and across, up and down, round about, - And forwards and backwards and inside and out; - Weave the diaper thick-a-thick thick, - Weave the diaper thick. - ---Halliwell's _Nursery Rhymes_, p. 65. - -(_b_) This game should be accompanied by a kind of pantomimic dance, in -which the motions of the body and arms express the process of weaving, -the motion of the shuttle, &c. - -(_c_) Mr. Newell (_Games and Songs of American Children_, p. 80) -mentions a dance called "Virginia Reel," which he says is an imitation -of weaving. The first movement represents the shooting of the shuttle -from side to side and the passage of the woof over and under the threads -of the warp; the last movements indicate the tightening of the threads -and bringing together of the cloth. He also says that an acquaintance -told him that in New York the men and girls stand in rows by sevens, an -arrangement which may imitate the different colours of strands. Mr. -Newell does not say whether any words are sung during the dancing of the -reel. Halliwell gives another rhyme (p. 121), which may have belonged to -this weaving game. It is extremely probable that in these fragments -described by him we have remains of one of the old trade dances and -songs. - - -Weigh the Butter - -Two children stand back to back, with their arms locked. One stoops as -low as he can, supporting the other on his back, and says, "Weigh the -butter;" he rises, and the second stoops in his turn with "Weigh the -cheese." The first repeats with "Weigh the old woman;" and it ends by -the second with "Down to her knees."--_Folk-lore Journal_, v. 58. - -The players turn their backs to each other, and link their arms together -behind. One player then bends forward, and lifts the other off his [her] -feet. He rises up, and the other bends forward and lifts him up. Thus -the two go on bending and rising, and lifting each other alternately, -and keep repeating-- - - Weigh butter, weigh cheese, - Weigh a pun (pound) o' can'le grease. - ---Keith (Rev. W. Gregor). - -Mr. Northall (_English Folk Rhymes_) gives this game with the words as-- - - A bag o' malt, a bag o' salt, - Ten tens a hundred. - -This game is described as played in the same way in Antrim and Down -(Patterson's _Glossary_), and also by Jamieson in Roxburgh. - -See "Way-Zaltin." - - -When I was a Young Girl - -[Music] - ---Platt School, nr. Wrotham, Kent (Miss Burne). - -[Music] - ---Hanbury, Staffs. (Miss Edith Hollis). - -[Music] - ---Market Drayton, Salop (_Shropshire Folk-lore_). - -[Music] - ---Ogbourne, Wilts. (H. S. May). - - I. When I was a young girl, a young girl, a young girl, - When I was a young girl, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I had a sweetheart, a sweetheart, a sweetheart, - When I had a sweetheart, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I got married, got married, got married, - When I got married, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I had a baby, a baby, a baby, - When I had a baby, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When my baby died, died, died, - When my baby died, how sorry was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When my husband died, died, died, - When my husband died, how sorry was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I kept a donkey, a donkey, a donkey, - When I kept a donkey, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I was a washerwoman, a washerwoman, a washerwoman, - When I was a washerwoman, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I was a beggar, a beggar, a beggar, - When I was a beggar, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - ---Platt School, near Wrotham, Kent (Miss Burne). - - II. When I was a young girl, a young girl, a young girl, - When I was I young girl, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I was a school-girl, a school-girl, a school-girl, - When I was a school-girl, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I was a teacher, a teacher, a teacher, - When I was a teacher, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a sweetheart, a sweetheart, a sweetheart, - When I had a sweetheart, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a husband, a husband, a husband, - When I had a husband, oh! this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a baby, a baby, a baby, - When I had a baby, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my baby died, oh, died, oh, died, - When my baby died, how sorry was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I took in washing, oh, washing, oh, washing, - When I took in washing, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I went out scrubbing, oh, scrubbing, oh, scrubbing, - When I went out scrubbing, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my husband did beat me, did beat me, did beat me, - When my husband did beat me, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my husband died, oh, died, oh, died, - When my husband died, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - Hurrah! - ---Barnes, Surrey (A. B. Gomme). - - III. When I was a young gell, a young gell, a young gell, - When I was a young gell, i' this a way went I. - An' i' this a way, an' i' that a way, an' i' this a way - went I. - - When I wanted a sweetheart, a sweetheart, a sweetheart, - When I wanted a sweetheart, i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I went a-courting, a-courtin', a-courtin', - When I went a-courtin', i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I did get married, get married, get married, - When I did get married, i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I had a baby, &c. - - When I went to church, &c. - - My husband was a drunkard, &c. - - When I was a washerwoman, &c. - - When I did peggy, &c. - - My baby fell sick, &c. - - My baby did die, &c. - - My husband did die, &c. - ---Liphook, Wakefield (Miss Fowler). - - IV. When I wore my flounces, my flounces, my flounces, - When I wore my flounces, this a-way went I. - - When I was a lady, a lady, a lady, - When I was a lady, this a-way went I. - - When I was a gentleman, a gentleman, a gentleman, - When I was a gentleman, this a-way went I. - - When I was a washerwoman, &c. - - When I was a schoolgirl, &c. - - When I had a baby, &c. - - When I was a cobbler, &c. - - When I was a shoeblack, &c. - - When my husband beat me, &c. - - When my baby died, &c. - - When my husband died, &c. - - When I was a parson, &c. - ---Hanbury, Staffs. (Miss Edith Hollis). - - V. When I was a lady, a lady, a lady, - When I was a lady, a lady was I. - 'Twas this way and that way, and this way and that. - - When I was a gentleman, a gentleman, a gentleman, - When I was a gentleman, a gentleman was I. - 'Twas this way and that way, and this way and that. - - When I was a schoolgirl, a schoolgirl, a schoolgirl, - When I was a schoolgirl, a schoolgirl was I, &c. - - When I was a schoolboy, a schoolboy, a schoolboy, &c. - - When I was a schoolmaster, a schoolmaster, a schoolmaster, - &c. - - When I was a schoolmistress, a schoolmistress, a - schoolmistress, &c. - - When I was a donkey, a donkey, a donkey, &c. - - When I was a shoeblack, a shoeblack, a shoeblack, &c. - ---Ogbourne, Wilts. (H. S. May). - - VI. When I was a naughty girl, a naughty girl, a naughty girl, - When I was a naughty girl, a-this a-way went I! - And a-this a-way, and a-that a-way, - And a-this a-way, and a-that a-way, - And a-this a-way, and a-that a-way, - And a-this a-way went I! - - When I was a good girl, &c., a-this a-way went I! &c. - - When I was a naughty girl, &c. - - When I went courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When the baby cried, &c. - - When the baby died, &c. - ---Berrington (_Shropshire Folk-lore_, p. 514). - - VII. When I was a naughty girl, &c. [as above] - - When I went to school, &c. - - When I went a-courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When the baby fell sick, &c. - - When my baby did die, &c. - - When my husband fell sick, &c. - - When my husband did die, &c. - - When I was a widow, &c. - - Then I took in washing, &c. - - Then my age was a hundred and four, &c. - ---Market Drayton (_Shropshire Folk-lore_, p. 515). - - VIII. First I was a school-maid, a school-maid, how happy was I! - And a-this a-way, and a-that a-way went I! - - And then I got married, how happy was I! &c. - - And then I had a baby, how happy was I! &c. - - And then my husband died, how sorry was I! &c. - - And then I married a cobbler, how happy was I! &c. - - And then the baby died, how sorry was I! &c. - - And then I married a soldier, how happy was I! &c. - - And then he bought me a donkey, how happy was I! &c. - - And then the donkey throwed me, how sorry was I! &c. - - And then I was a washing-maid, how happy was I! &c. - - And then my life was ended, how sorry was I! - ---Chirbury (_Shropshire Folk-lore_, p. 515). - - IX. When first we went to school--to school--to school-- - How happy was I! - 'Twas this way and that way, - How happy was I! - - Next I went to service--to service--to service-- - How happy was I! - 'Twas this way, and that way, - How happy was I! &c. - - Next I had a sweetheart--a sweetheart--a sweetheart-- - How happy was I! &c. - - Next I got married--got married--got married-- - How happy was I! &c. - - Next I had a baby--a baby--a baby-- - How happy was I! &c. - - Next my husband died--he died--he died-- - How sorry was I! &c. - - Next my baby died--she died--she died-- - How sorry was I! &c. - ---Dorsetshire (_Folk-lore Journal_, vii. pp. 218-219). - - X. Oh! when I was a soldier, I did this way, this way. - - Oh! when I was a mower, I did this way, this way. - - Oh! when I was a hedge cutter, I did this way, this way. - - Oh! when I was a boot cleaner, I did this way, this way. - - Oh! when I was a teacher, I did this way, this way. - - Oh! when I was a governess, I did this way, this way. - - Oh! when I had a baby, I did this way, this way. - - Oh! when my baby died, I did this way, this way. - ---Fernham and Longcot Choir Girls, Berks. (Miss I. Barclay). - - XI. When I was a school-boy, a school-boy, a school-boy, - When I was a school-boy, this way went I. - - When I was a school-girl, &c. - - When I was a-courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When my baby died, &c. - - When my husband was ill, &c. - - When I was a shoe-black, &c. - - When I was a washerwoman, &c. - - When I was a soldier, &c. - - When I was a sailor, &c. - ---Frodingham and Nottinghamshire (Miss M. Peacock). - - XII. When I was a school girl, a school girl, a school girl, - When I was a school girl, a this way went I. - - When I was a teacher, a teacher, a teacher, - When I was a teacher, a this way went I. - -[Verses follow for courtin'-- - - married woman, - having a baby, - death of baby.] - ---Earls Heaton (H. Hardy). - - XIII. When I went a courting, I went just so. - When next I went a courting, I went just so; - When next I went a courting, I went just so; - When next I went a courting, I went just so. - ---Haxey, Lincolnshire (C. C. Bell). - -(_c_) The children join hands and form a ring. They all dance or walk -round singing the words of the first two lines of each verse. Then all -standing still, they unclasp hands, and continue singing the next two -lines, and while doing so each child performs some action which -illustrates the events, work, condition, or profession mentioned in the -first line of the verse they are singing; then rejoining hands they all -dance round in a circle again. The actions used to illustrate the -different events are: In the versions from Platt school, for "young -girl," each child holds out her dress and dances a step first to the -right, then to the left, two or three times, finishing by turning -herself quite round; for a "sweetheart," the children turn their heads -and kiss their hands to the child behind them; for "got married," they -all walk round in ring form, two by two, arm in arm; for having a baby, -they each "rock" and "hush" a pretended baby; when the baby dies, each -pretends to cry; when the husband dies, they throw their aprons or -handkerchiefs over their heads and faces; for "keeping a donkey," each -child pretends to beat and drive the child immediately in front of her; -for "washerwoman," each pretends to wash or wring clothes; for a -"beggar," each drops curtseys, and holds out her hand as if asking alms, -putting on an imploring countenance. The Barnes' version is played in -the same way, with the addition of holding the hands together to -represent a book, as if learning lessons, for "schoolgirl"; pretending -to hold a cane, and holding up fingers for silence, when a "teacher"; -when "my husband did beat me," each pretends to fight; and for "my -husband died," each child walks round joyfully, waving her handkerchief, -and all calling out Hurrah! at the end; the other verses being acted the -same as at Platt. The Liphook version is much the same: the children -beckon with their fingers when "wanting a sweetheart"; kneel down and -pretend to pray when "at church"; prod pretended "clothes" in a wash-tub -with a "dolly" stick when "I did peggy" is said; and mourn for the -"husband's" death. In the Hanbury game, the children dance round or -shake themselves for "flounces "; hold up dresses and walk nicely for -"lady"; bow to each other for "gentlemen"; pretend to mend shoes when -"cobblers"; brush shoes for "shoeblack"; clap hands when the "husband" -dies; and kneel when they are "parsons." In the Ogbourne game, the -children "hold up their dresses as ladies do" in the first verse; take -off their hats repeatedly when "gentlemen"; pretend to cry when -"schoolgirls"; walking round, swinging their arms, and looking as cocky -as possible, when "schoolboys"; patting each other's backs when -"schoolmasters"; clapping hands for "schoolmistresses"; stooping down -and walking on all fours for a "donkey"; and brushing shoes for -"shoeblack." In the Shropshire games at Berrington, each child "walks -demurely" for a good girl; puts finger on lip for "naughty girl"; walks -two and two, arm in arm, for "courting"; holds on to her dress for -"married"; whips the "baby," and cries when it dies. In the Market -Drayton game, each pretends to tear her clothes for "naughty girl"; -pretends to carry a bag for "schoolgirl"; walk in pairs side by side for -"courting"; the same, arm in arm, for "married"; "hushes" for a baby, -pretends to pat on the back for sick baby; covers her face with -handkerchief when baby dies; pats her chest when husband is sick, cries -and "makes dreadful work" when he dies; puts on handkerchief for a -widow's veil for a widow; hobbles along, and finally falls down when "a -hundred and four." In the Dorset game, when at "service," an imitation -of scrubbing and sweeping is given; walk in couples for sweethearts, and -married; the remaining verses the same as the Platt version. In the -Fernham game the children shoot out their arms alternately for a -soldier; for a mower, they stand sideways and pretend to cut grass; for -hedge-cutter, they pretend to cut with a downward movement, as with a -belt [_qy._ bill] hook, the other action similar to the Platt and Barnes -games. In the Frodingham game they stamp and pretend to drill for -"schoolboys," pretend to sew as "schoolgirls," kiss for "courting," put -on a ring for "getting married," run for a doctor when "husband" is ill, -punch and push each other for "soldiers," and haul ropes for "sailors." -In other versions, in which carpenters, blacksmiths, farmers, bakers -appear, actions showing something of those trades are performed. - -(_d_) It will be seen, from the description of the way this game is -played, that it consists of imitative actions of different events in -life, or of actions imitating trades and occupations. It was probably at -one time played by both girls and boys, young men and young women. It is -now but seldom played by boys, and therefore those verses containing -lines describing male occupations are not nearly so frequently met with -as those describing girls' or womens' life only. Young girl, sweetheart, -or going courtin', marriage, birth of children, loss of baby and -husband, widowhood, and the occupations of washing and cleaning, exactly -sum up the principal and important events in many working womens' -lives--comprising, in fact, the whole. This was truer many years ago -than now, and the mention in many versions of school girl, teacher, -governess, indicate in those versions the influence which education, -first in the shape of dame or village schools, Sunday schools, and -latterly Board schools, has had upon the minds and playtime of the -children. These lines may certainly be looked upon as introductions by -the children of comparatively modern times, and doubtless have taken the -place of some older custom or habit. This game is exactly one of those -to which additions and alterations of this kind can be made without -destroying or materially altering, or affecting, its sense. It can live -as a simple game in an almost complete state long after its original -wording has been lost or forgotten, and as long as occupations continue -and events occur which lend themselves to dumb action. The origin of the -game I consider to be those dances and songs performed in imitation of -the serious avocations of life, when such ceremonies were considered -necessary to their proper performance, and acceptable to the deities -presiding over such functions, arising from belief in sympathetic magic. - -At harvest homes it was customary for the men engaged in the work of the -farm to go through a series of performances depicting their various -occupations with song and dance, from their engagement as labourers -until the harvest was completed, and at some fairs the young men and -women of the village, in song and dance, would go through in pantomimic -representation, the several events of the year, such as courting, -marriage, &c., and their several occupations. - -Perhaps the most singular instance of imitative action being used in a -semi-religious purpose, is that recorded by Giraldus Cambrensis in the -twelfth century, who, speaking of the church of St. Almedha, near -Brecknock, says a solemn feast is held annually in the beginning of -August: "You may see men and girls, now in the church, now in the -churchyard, now in the dance, which is led round the churchyard with a -song, on a sudden falling on the ground as in a trance, then jumping up -as in a frenzy, and representing with their hands and feet before the -people whatever work they have unlawfully done on feast days; you may -see one man put his hands to the plough, and another, as it were, goad -on the oxen, one man imitating a shoemaker, another a tanner. Now you -may see a girl with a distaff drawing out the thread and winding it -again on the spindle; another walking and arranging the threads for the -spindle; another throwing the shuttle and seeming to weave" (_Itinerary -of Wales_, chap. ii.). - -For the significance of some of the pantomimic actions used, I may -mention that in Cheshire for a couple to walk "arm-in-arm" is -significant of a betrothed or engaged couple. - -Other versions have been sent me, but so similar to those given that it -is unnecessary to give them here. The tunes vary more. In some places -the game is sung to that of "Nuts in May." In Barnes the tune used was -sometimes that of "Isabella," vol. i. p. 247, and sometimes the first -one printed here. - -The game is mentioned by Newell (_Games_, p. 88). - - -Whiddy - - Whiddy, whiddy, way, - If you don't come, I won't play. - -The players, except one, stand in a den or home. One player clasps his -hands together, with the two forefingers extended, He sings out the -above, and the boys who are "home" then cry-- - - Warning once, warning twice, - Warning three times over; - When the cock crows out come I, - Whiddy, whiddy, wake-cock. Warning! - -This is called "Saying their prayers." The boy who begins must touch -another boy, keeping his hands clasped as above. These two then join -hands, and pursue the others; those whom they catch also joining hands, -till they form a long line. If the players who are in the home run out -before saying their prayers, the other boys have the right to pummel -them, or ride home on their backs.--London (J. P. Emslie, A. B. Gomme). - -See "Chickidy Hand," "Hunt the Staigie," "Stag," "Warney." - - -Whigmeleerie - -A game occasionally played in Angus. A pin was stuck in the centre of a -circle, from which there were as many radii as there were persons in the -company, with two names of each person at the radius opposite to him. -On the pin an index was placed, and moved round by every one in turn, -and at whatsoever person's radius it stopped, he was obliged to drink -off his glass.--Jamieson. - -A species of chance game, played apparently with a kind of totum. - - -Whip - -A boy's game, called in the South "Hoop or Hoop Hide." This is a curious -instance of corruption, for the name hoop is pronounced in the local -manner as hooip, whence whip.--Easther's _Almondbury Glossary_. - - -Whishin Dance - -An old-fashioned dance, in which a cushion is used to kneel -upon.--Dickinson's _Cumberland Glossary_. - -See "Cushion Dance." - - -Who goes round my Stone Wall - - I. Who's going round my stone wall? - Nobody, only little Jacky Lingo. - Pray don't steal none of my fat sheep, - Unless I take one by one, two by two, three by three, - Follow me. - Have you seen anything of my black sheep? - Yes! I gave them a lot of bread and butter and sent them up - there [pointing to left or right]. - Then what have you got behind you? - Only a few poor black sheep. - Well! let me see. - -[The child immediately behind Johnny Lingo shows its foot between her -feet, and on seeing it the centre child says] - - Here's my black sheep. - ---Winterton, Anderby, Nottinghamshire (Miss M. Peacock). - - II. Who's that going round my stony walk? - It's only Bobby Bingo. - Have you stolen any of my sheep? - Yes! I stole one last night and one the night before. - ---Enbourne School, Berks (Miss M. Kimber). - - III. Who goes round this stoney wa'? - Nane but Johnnie Lingo. - Tak care and no steal ony o' my fat sheep away! - Nane but ane. - ---Galloway (J. G. Carter). - - IV. Who goes round my pinfold wall? - Little Johnny Ringo. - Don't steal all my fat sheep! - No more I will, no more I may, - Until I've stol'n 'em all away, - Nip, Johnny Ringo. - ---Addy's _Sheffield Glossary_. - -[Illustration] - - V. Who's that walking round my sandy path? - Only Jack and Jingle. - Don't you steal none of my fat geese! - Yes, I will, or No, I won't. I'll take them one by one, and - two by two, and call them Jack and Jingle. - ---Barnes, Surrey (A. B. Gomme). - - VI. Who runs round my pen pound? - No one but old King Sailor. - Don't you steal all my sheep away, while I'm a wailer! - Steal them all away one by one, and leave none but old King - Sailor. - ---Raunds (_Northants Notes and Queries_, i. p. 232). - - VII. Who's that walking round my walk? - Only Jackie Jingle. - Don't you steal of my fat sheep; - The more I will, the more I won't, - Unless I take them one by one, - And that is Jackie Jingle. - ---Hersham, Surrey (_Folk-lore Record_, v. 85). - - VIII. Who's going round my sunny wall to night? - Only little Jacky Lingo. - Don't steal any of my fat chicks. - I stole one last night - And gave it a little hay, - There came a little blackbird, - And carried it away. - ---Bocking, Essex (_Folk-lore Record_, iii. 170). - - IX. Who's that round my stable door [or stony wall]? - Only little Jack and Jingo. - Don't you steal any of my fat pigs! - I stole one last night and the night before, - Chick, chick, come along with me. - ---Deptford, Kent (Miss Chase). - - X. Who's this walking round my stony gravel path? - Only little Jacky Jingle. - Last night he stole one of my sheep, - Put him in the fold, - Along came a blackbird, and pecked off his nose. - ---Hampshire (Miss Mendham). - - XI. Who is going round my fine stony house? - Only Daddy Dingo. - Don't take any of my fine chicks. - Only this one, O! - ---Ellesmere (Burne's _Shropshire Folk-lore_, p. 520). - - XII. Who is that walking round my stone-wall? - Only little Johnnie Nero. - Well, don't you steal any of my fat sheep! - I stole one last night and gave it a lock of hay, - Here come I to take another away. - ---Sporle, Norfolk (Miss Matthews). - - XIII. Who's that going round my pretty garden? - Only Jacky Jingo. - Don't you steal any of my fat sheep! - Oh, no I won't; oh, yes I will; and if I do I'll take them - one by one, so out comes Jacky Jingo. - ---Ogbourne, Wilts. (H. S. May). - - XIV. Who's going round my sheepfold? - Only poor Jack Lingo. - Don't steal any of my black sheep! - No, I won't, only buy one. - ---Roxton, St. Neots (Miss E. Lumley). - - XV. Who goes round my house this night? - None but Limping Tom. - Do you want any of my chickens this night? - None but this poor one. - ---Macduff (Rev. W. Gregor). - - XVI. Who goes round my house this night? - Who but Bloody Tom! - Who stole all my chickens away? - None but this poor one. - ---Chambers's _Pop. Rhymes_, 122. - - XVII. Who goes round the house at night? - None but Bloody Tom. - Tack care an' tack nane o' my chickens awa'! - None but this poor one. - ---Keith (Rev. W. Gregor). - - XVIII. Johnny, Johnny Ringo, - Don't steal all my faun sheep. - Nob but one by one, - Whaul they're all done. - ---Easther's _Almondbury Glossary_. - - XIX. Who's going round my stone wall? - Only an old witch. - Don't take any of my bad chickens! - No, only this one. - ---Hanbury, Staffs. (Miss E. Hollis). - -(_b_) The players stand in a circle, but they do not necessarily hold -hands, nor do they move round. One player kneels or stands in the -centre, and another walks round outside the circle. The child in the -centre asks the questions, and the child outside (Johnny Lingo) replies. -When the last answer is given, the outside player, or Johnny Lingo, -touches one of the circle on the back; this player, without speaking, -then follows Johnny Lingo and stands behind her holding her by her -dress, or round the waist. The dialogue is then repeated, and another -child taken. This is continued until all the circle are behind Johnny -Lingo. Then the child in the centre tries to catch one of them, and -Johnny Lingo tries to prevent it; as soon as one player is caught she -stands aside, and when all are caught the game is over. - -This is the usual way of playing. The variations are: in Galloway, -Enbourne, Keith, and Hanbury, the centre player shuts her eyes, or is -blindfolded. In the Almondbury version, when the centre child gets up to -look for his sheep, and finds them (they do not stand behind Johnny -Ringo, but hide), they run about "baaing;" when he catches them he -pretends to cut their heads off. In Chambers's description of the game, -all the players except two sit upon the ground in a circle (sitting or -lying down also obtains at Barnes), one of the two stands inside, and -the other personates "Bloody Tom." Bloody Tom tries to carry off a -player after the dialogue has been said, and the centre child tries to -prevent this one from being taken, and the rest of the circle "cower -more closely round him." In the Macduff version, when all the players -have been taken, the centre child runs about crying, "Where are all my -chickens?" Some of the "chickens," on hearing this, try to run away from -"Limping Tom" to her, and he tries to prevent them. He puts them all -behind him in single file, and the centre child then tries to catch -them; when she catches them all she becomes Limping Tom, and he the -shepherd or hen. Dr. Gregor says (Keith)--The game is generally played -by boys; the keeper kneels or sits in the middle of the circle; when all -the sheep are gone, and he gets no answers to his questions, he crawls -away still blindfolded, and searches for the lost sheep. The first -player he finds becomes keeper, and he becomes Bloody Tom. In the -Winterton version (No. I.) there is a further dialogue. The game is -played in the usual way at the beginning. When Jacko Lingo says, "Follow -me" (he had previously, when saying one by one and two by two, &c., -touched three children on their back in turn), the third one touched -leaves the ring, and stands behind him holding his clothes or waist. -This is done until all the children forming the circle are holding on -behind him. The child in the centre then asks the next question. When -she says, "Here's my black sheep," she tries to dodge behind Jacky -Lingo, and catch the child behind him. When she has done this she begins -again at "Have you seen anything of my black sheep," until she has -caught all the children behind Jacky Lingo. In two versions, Deptford -and Bocking, there is no mention of a player being in the centre, but -this is an obvious necessity unless the second player stands also -outside the circle. In the Raunds version the ring moves slowly round. -In the Hants version (Miss Mendham) the children sit in a line. The -thief takes one at a time and hides them, and the shepherd pulls them -out of their hiding-places. In the Shropshire game, the chickens crouch -down behind their mother, holding her gown, and the fox walks round -them. - -(_c_) This game appears to represent a village (by the players standing -still in circle form), and from the dialogue the children not only -represent the village, but sheep or chickens belonging to it. The other -two players are--one a watchman or shepherd, and the other a wolf, fox, -or other depredatory animal. The sheep may possibly be supposed to be in -the pound or fold; the thief comes over the boundaries from a -neighbouring village or forest to steal the sheep at night; the watchman -or shepherd, although at first apparently deceived by the wolf, -discovers the loss, and a fight ensues, in which the thief gets the -worse, and some of the animals, if not all, are supposed to be -recovered. The names used in the game,--pen pound, pinfold, fold, stone -wall, sunny wall, sandy path, gravel path, sheep fold, garden, house, -are all indications that a village and its surroundings is intended to -be represented, and this game differs in that respect from the ordinary -Fox and Geese and Hen and Chickens games, in which no mention is made of -these. - -Halliwell records two versions (_Nursery Rhymes_, pp. 61, 68). The words -and method of playing are the same as some of those recorded above. -There is also a version in _Suffolk County Folk-lore_, pp. 65, 66, which -beginning with "Who's going round my little stony wall?" after the sheep -are all stolen, continues with a dialogue, which forms a part of the -game of "Witch." The Rev. W. S. Sykes sends one from Settle, Yorkshire, -the words of which are the same as No. XIV., except that the last line -has "just one" instead of "buy one." Mr. Newell gives a version played -by American children. - - -Widow - - I. One poor widder all left alone, - Only one daughter to marry at home, - Chews [choose] for the worst, and chews for the best, - And chews the one that yew [you] love best. - - Now you're married, I wish ye good joy, - Ivery year a gal or a boy! - If one 'out dew, ye must hev tew, - So pray, young couple, kiss te'gither. - ---Swaffham, Norfolk (Miss Matthews). - - II. Here is a poor widow who is left alone, - And all her children married and gone; - Come choose the east, come choose the west, - Come choose the one you love the best. - - Now since you've got married, I wish you joy, - Every year a girl and boy; - Love one another like sister and brother, - I pray you couple come kiss together. - ---Perth (Rev. W. Gregor). - - III. One poor widow was left alone, - Daughter, daughter, marry at home; - Choose the worst, or choose the best, - Choose the young gentleman you love best. - - Now you are married, I wish you joy, - Father and mother, you must obey, - Love one another like sister and brother, - And now, young couple, come kiss together. - ---Bexley Heath (Miss Morris.) - - IV. One poor widow is left all alone, all alone, all alone, - Choose the worst, and choose the best, - And choose the one that you like best. - - Now she's married I wish her joy, - Her father and mother she must obey, - Love one another like sisters and brothers, - And now it's time to go away. - ---_Suffolk County Folk-lore_, p. 67. - - V. One poor widow was left alone, - She had but one daughter to marry alone; - Come choose the worst, come choose the best, - Come choose the young girl that you like best. - ---Maxey, Northants (Rev. W. D. Sweeting). - - VI. Here's a poor widow she's left alone, - She has got nothing to marry upon; - Come choose to the east, come choose to the west, - Come choose the one that you love best. - - Now they're married, we wish them joy, - Every year a girl and a boy; - Seven years old, seven years to come, - Now kiss the couple, and that's well done. - ---Auchterarder, N.B. (Miss E. S. Haldane). - -(_b_) The children form a ring by joining hands. One player stands in -the centre. The ring dance round singing the first verse; the widow then -chooses one player from the ring, who goes into the centre with her, and -the ring dances round singing the second part. The one first in the -centre then joins the ring, and the second player becomes the widow and -chooses in her turn. - -This belongs to the marriage group of Kiss in the Ring games. Northall -(_English Folk Rhymes_, p. 374), gives a version similar to the above. - -See "Kiss in the Ring," "Poor Widow," "Sally Water," "Silly Young Man." - - -Wiggle-Waggle - -The players sit round a table under the presidency of a "Buck." Each -person has his fingers clenched, and the thumb extended. Buck from time -to time calls out as suits his fancy: "Buck says, Thumbs up!" or, "Buck -says, Thumbs down!" or, "Wiggle-waggle!" If he says "Thumbs up!" he -places both hands on the table, with the thumbs sticking straight up. If -"Thumbs down!" he rests his thumbs on the table with his hands up. If -"Wiggle-waggle!" he places his hands as in "Thumbs up!" but wags his -thumbs nimbly. Everybody at the table has to follow the word of command -on the instant, and any who fail to do so are liable to a -forfeit.--Evan's _Leicestershire Words_. - -See "Horns." - - -Wild Boar - -"Shoeing the Wild Boar," a game in which the player sits cross-legged on -a beam or pole, each of the extremities of which is placed or swung in -the eyes of a rope suspended from the back tree of an outhouse. The -person uses a switch, as if in the act of whipping up a horse; when -being thus unsteadily mounted, he is most apt to lose his balance. If he -retains it, he is victor over those who fail.--Teviotdale (Jamieson). - - -Wild Birds - -"All the Wild Birds in the Air," the name of a game in which one acts -the dam of a number of birds, who gives distinct names of birds, such as -are generally known to all that are engaged in the sport. The person who -opposes tries to guess the name of each individual. When he errs he is -subject to a stroke on the back. When he guesses right he carries away -on his back that bird, which is subjected to a blow from each of the -rest. When he has discovered and carried off the whole, he has gained -the game.--Jamieson. Jamieson adds that this sport seems only to be -retained in Abernethy, Perthshire; and it is probable, from the -antiquity of the place, that it is very ancient. - -See "All the Birds in the Air," "Fool, Fool." - - -Willie, Willie Wastell - - Willie, Willie Wastell, - I am on your castle, - A' the dogs in the toun - Winna pu' Willie doun. - - Like Willie, Willie Wastel, - I am in my castel - A' the dogs in the toun - Dare not ding me doun. - ---Jamieson. - -A writer in the _Gentlemen's Magazine_ for 1822, Part I. p. 401, says -that the old distich-- - - "Willy, Willy Waeshale! - Keep off my castle," - -used in the North in the game of limbo, contains the true etymon of the -adjective "Willy." - -The same game as "Tom Tiddler's Ground." It is played in the same way. -Jamieson says the second rhyme given shows that the rhyme was formerly -repeated by the player holding the castle, and not, as now, by the -opposing players. - -See "King of the Castle," "Tom Tiddler's Ground." - - -Wind up the Bush Faggot - -[Music: _Andante_, with determined deliberation. - -Repeat from beginning till all are wound up.] - -[Music: _Allegro_, with unbounded vigour. - - _Note._--(1) The simplicity of time and no _dotted_ notes, also - _change_ of key for 2/4 music. - - (2) The game unites common and triple time very successfully. - - (3) Notwithstanding the injunction it is best _not_ to wind up - too _tight_.] - ---Essex (Miss Dendy). - -In the Essex game all the players join hands and form a long line. They -should stand in sizes, the tallest should be the first, and should -stand quite still. All the rest walk round this tallest one, singing-- - - Wind up the bush faggot, and wind it up tight, - Wind it all day and again at night, - -to the first part of the tune given--that in three-eight time. This is -to be repeated until all the players are wound round the centre or -tallest player, in a tight coil. Then they all sing-- - - Stir up the dumplings, the pot boils over, - -to the second part of the tune in 2-4 time. This is repeated, all -jumping simultaneously to the changed time, until there is a general -scrimmage, with shrieking and laughter, and a break up. The players -should look somewhat like a watch spring. [Illustration] As soon as the -last one is wound up, no matter in what part of the 3-8 time music they -may be, they leave off and begin to jump up and down, and sing to the -2-4 music.--Essex (Miss Dendy). - -This game is called "Wind up the Watch" in Wolstanton, North -Staffordshire Potteries, and is played in the same manner. The words are -only, "Wind up the Watch," and are said. When all the players are wound -up they begin to unwind, saying, "Unwind the Watch."--Miss Bush. Called -"Wind up Jack" in Shropshire. It is the closing game of any playtime, -and was played before "breaking-up" at a boys' school at Shrewsbury, -1850-56. The players form a line hand in hand, the tallest at one end, -who stands still; the rest walk round and round him or her, saying, -"Wind up Jack! Wind up Jack!" (or at Ellesmere, "Roll up the -tobacco-box"), till "Jack" is completely imprisoned. They then "jog up -and down," crying, "A bundle o' rags, a bundle o' rags!"--Berrington, -Ellesmere (_Shropshire Folk-lore_, p. 521). - -In Scotland the game is known as "Row-chow-Tobacco;" a long chain of -boys hold each other by the hands: they have one standing steadily -at one of the extremities, who is called the _Pin_. Round him the -rest coil like a watch chain round the cylinder, till the act of -winding is completed. A clamorous noise succeeds, in which the cry -Row-chow-Tobacco prevails; after giving and receiving the -_fraternal hug_, they disperse, and afterwards renew the process. -In West of Scotland, it is Rowity-chow-o'-Tobacco, pronounced, -_rowity-chowity-bacco_, and as the first syllable of each word is -shouted, another hug or squeeze is given. The game is not so common as -formerly. The same game is played in West Cornwall by Sunday-school -children at their out-of-door treats, and is called "Roll Tobacco." - -It is known as "The Old Oak Tree" in Lincoln, Kelsey, and Winterton, and -is played in the same manner. When coiling round, the children sing-- - - Round and round the old oak tree: - I love the girls and the girls love me. - -When they have twisted into a closely-packed crowd they dance up and -down, tumbling on each other, crying-- - - A bottle of rags, a bottle of rags. - -In the Anderby and Nottinghamshire version of the game the children -often sing-- - - The old oak tree grows thicker and thicker every Monday morning. - ---Miss M. Peacock. - -In Mid-Cornwall, in the second week in June, at St. Roche, and in one or -two adjacent parishes, a curious dance is performed at the annual -"feasts." It enjoys the rather undignified name of "Snails Creep," but -would be more properly called the "Serpent's Coil." The following is -scarcely a perfect description of it:--"The young people being all -assembled in a large meadow, the village band strikes up a simple but -lively air and marches forward, followed by the whole assemblage, -leading hand-in-hand (or more closely linked in case of engaged -couples), the whole keeping time to the tune with a lively step. The -band, or head of the serpent, keeps marching in an ever-narrowing -circle, whilst its train of dancing followers becomes coiled round it in -circle after circle. It is now that the most interesting part of the -dance commences, for the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter movement with almost military precision."--W. C. Wade (_Western -Antiquary_, April 1881). - -From this description of the "Snail Creep," it is not difficult to -arrive at an origin for the game. It has evidently arisen from a custom -of performing some religious observance, such as encircling sacred trees -or stones, accompanied by song and dance. "On May Day, in Ireland, all -the young men and maidens hold hands and dance in a circle round a tree -hung with ribbons and garlands, or round a bonfire, moving in curves -from right to left, as if imitating the windings of a serpent."--Wilde -(_Ancient Cures, Charms, and Usages of Ireland_, 106). - -It is easy to conjecture how the idea of "winding up a watch," or -"rolling tobacco," would come in, and be thought the origin of the game -from the similarity of action; but it is, I think, evident that this is -not the case, from the words "a bundle o' rags," the mention of trees, -and the "jogging" up and down, to say nothing of the existence of -customs in Ireland and Wales similar to that of "Snail Creep." It is -noticeable, too, that some of these games should be connected with -trees, and that, in the "Snail Creep" dance the young men should carry -branches of trees with them. - -See "Bulliheisle," "Eller Tree." - - -Wind, The - - I. The wind, the wind, the wind blows high, - The rain comes pouring from the sky; - Miss So-and-So says she'd die - For the sake of the old man's eye. - She is handsome, she is pretty, - She is the lass of the golden city; - She goes courting one, two, three, - Please to tell me who they be. - A. B. says he loves her, - All the boys are fighting for her, - Let the boys say what they will - A. B. has got her still. - ---Forest of Dean, Gloucestershire (Miss Matthews). - - II. The wind, wind blows, and the rain, rain goes, - And the clouds come gathering from the sky! - _Annie Dingley's_ very, very pretty, - She is a girl of a noble city; - She's the girl of one, two, three, - Pray come tell me whose she'll be. - - _Johnny Tildersley_ says he loves her, - All the boys are fighting for her, - All the girls think nothing of her. - Let the boys say what they will, - _Johnny Tildersley's_ got her still. - - He takes her by the lily-white hand - And leads her over the water, - Gives her kisses one, two, three, - Mrs. _Dingley's_ daughter! - ---Berrington, Eccleshall (_Shropshire Folk-lore_, p. 510). - - III. When the wind blows high, - When the wind blows high, - The rain comes peltering from the sky. - She is handsome, she is pretty, - She is the girl in all the city. - She [He?] comes courting one, two, three, - Pray you tell me who she be. - I love her, I love her, - All the boys are fighting for her. - Let them all say what they will, - I shall love her always still. - She pulled off her gloves to show me her ring, - To-morrow, to-morrow, the wedding bells ring. - ---Cowes, Isle of Wight (Miss E. Smith). - - IV. The wind, the wind, the wind blows high, - The rain comes falling from the sky. - She is handsome, she is pretty, - She is the girl of London city. - She goes a courting one, two, three, - Please will you tell me who is he? - [Boy's name] says he loves her. - All the boys are fighting for her. - Let the boys do what they will, - [Boy's name] has got her still. - He knocks at the knocker and he rings at the bell, - Please, Mrs. ----, is your daughter in? - She's neither ways in, she's neither ways out, - She's in the back parlour walking about. - Out she came as white as snow, - With a rose in her breast as soft as silk. - Please, my dear, will you have a drop of this? - No, my dear, I'd rather have a kiss. - ---Settle, Yorks. (Rev. W. G. Sykes). - - V. The wind, the wind, the wind blows high, - The rain comes sparkling from the sky, - [A girl's name] says she'll die - For a lad with a rolling eye. - She is handsome, she is pretty, - She is the flower of the golden city. - She's got lovers one, two, three. - Come, pray, and tell me who they be. - [A boy's name] says he'll have her, - Some one else is waiting for her. - Lash the whip and away we go - To see Newcastle races, oh. - ---Tyrie (Rev. W. Gregor). - -[Another version after-- - - ---- says he'll have her, - -is-- - - In his bosom he will clap her.] - -[Another one after-- - - She has got lovers one, two, three, - -continues-- - - Wait till [a boy's name] grows some bigger, - He will ride her in his giggie. - Lash your whip and away you go - To see Newcastle races, O!] - ---Pittulie (Rev. W. Gregor). - -[And another version gives-- - - ---- says she'll die - For the want of the golden eye.] - ---Fochabers (Rev. W. Gregor). - - VI. The wind blows high, and the wind blows low, - The snow comes scattering down below. - Is not ---- very very pretty? - She is the flower of one, two, three. - Please to tell me who is he. - ---- says he loves her, - All the boys are fighting for her. - Let the boys say what they will, - ---- loves her still. - ---Perth (Rev. W. Gregor). - -A ring is formed by the children joining hands, one player standing in -the centre. When asked, "Please tell me who they be," the girl in the -middle gives the name or initials of a boy in the ring (or _vice -versa_). The ring then sings the rest of the words, and the boy who was -named goes into the centre. This is the Forest of Dean way of playing. -In the Shropshire game, at the end of the first verse the girl in the -centre beckons one from the ring, or one volunteers to go into the -centre; the ring continues singing, and at the end the two children -kiss; the first one joins the ring, and the other chooses in his turn. -The other versions are played in the same way. - -Northall (_English Folk-Rhymes_, p. 380) gives a version from -Warwickshire very similar. - - -Wink-egg - -Elworthy (_West Somerset Words_) says--When a nest is found boys shout, -"Let's play 'Wink-egg.'" An egg is placed on the ground, and a boy goes -back three paces from it, holding a stick in his hand; he then shuts his -eyes, and takes two paces towards the egg and strikes a blow on the -ground with the stick--the object being to break the egg. If he misses, -another tries, and so on until all the eggs are smashed. In Cornwall it -is called "Winky-eye," and is played in the spring. An egg taken from a -bird's nest is placed on the ground, at some distance off--the number of -paces having been previously fixed. Blindfolded, one after the other, -the players attempt with a stick to hit and break it.--_Folk-lore -Journal_, v. 61. - -See "Blind Man's Stan." - - -Witch, The - -This game is played by nine children. One is chosen as Mother, seven are -chosen for her children, and the other is a Witch. The Mother and Witch -stand opposite the seven children. The _Mother_ advances and names the -children by the days of the week, saying-- - - Sunday, take care of Monday, - Monday, take care of Tuesday, - Tuesday, take care of Wednesday, - Wednesday, take care of Thursday, - Thursday, take care of Friday, - Friday, take care of Saturday. - Take care the Old Witch does not catch you, and I'll bring you - something nice. - -The Mother then goes away, and the Witch advances saying-- - -Sunday, your mother sent me for your best bonnet, she wants to get one -like it for Monday. It is up in the top long drawer, fetch it quick. - -Sunday goes away, and the Witch then seizes Saturday and runs off with -her. - -The Mother re-enters, and names the children again, Sunday, Monday, -Tuesday, Wednesday, Thursday, Friday, misses Saturday, and says-- - - Where's Saturday? - -The children all cry and say-- - - The Old Witch has got her. - -This part is then repeated until the Witch has taken all the children -and put them in a corner one by one, and stands in front to guard them. -The Mother sets out to find the children, she sees the Old Witch, and -says to her-- - -Have you seen my children? - -_Witch._ Yes, I saw them walking down High Street. - -_Mother_ then goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ Yes, I saw them going to school. - -_Mother_ then goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ Yes, they are gone to church. - -_Mother_ again goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ They are having dinner--you can't see them. - -_Mother_ again goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ They are in bed. - -_M._ Can't I go up and see them? - -_W._ Your shoes are too dirty. - -_M._ Can't I take them off? - -_W._ Your stockings are too dirty. - -_M._ Can't I take them off? - -_W._ Your feet are too dirty. - -_M._ Can't I cut them off? - -_W._ The blood would run on the floor. - -_M._ Can't I wrap them up in a blanket? - -_W._ The fleas would hop out. - -_M._ Can't I wrap them up in a sheet? - -_W._ The sheet is too white. - -_M._ Can't I ride up in a carriage? - -_W._ You would break the stairs down. - -The children then burst out from behind the Witch and they and the -Mother run after her, crying out, "Burn the Old Witch." They continue -chasing the Witch till she is caught, and the child who succeeds in -catching her, takes the part of the Witch in the next game.--Dartmouth -(Miss Kimber). - -The children choose from their party an Old Witch (who is supposed to -hide herself) and a Mother. The other players are the daughters, and are -called by the names of the week. The Mother says that she is going to -market, and will bring home for each the thing that she most wishes for. -Upon this they all name something. Then, after telling them upon no -account to allow any one to come into the house, she gives her children -in charge of her eldest daughter, Sunday, and goes away. In a moment, -the Witch makes her appearance, and asks to borrow some trifle. - -Sunday at first refuses, but, after a short parley, goes into the next -room to fetch the required article. In her absence the Witch steals the -youngest of the children (Saturday), and runs off with her. Sunday, on -her return, seeing that the Witch has left, thinks there must be -something wrong, and counts the children, saying, "Monday, Tuesday," -&c., until she comes to Saturday, who is missing. She then pretends to -cry, wrings her hands, and sobs out--"Mother will beat me when she comes -home." - -On the Mother's return, she, too, counts the children, and finding -Saturday gone, asks Sunday where she is. Sunday answers, "Oh, mother! an -Old Witch called, and asked to borrow ----, and, whilst I was fetching -it, she ran off with Saturday." The Mother scolds and beats her, tells -her to be more careful in the future, and again sets off for the market. -This is repeated until all the children but Sunday have been stolen. -Then the Mother and Sunday, hand in hand, go off to search for them. -They meet the Old Witch, who has them all crouching down in a line -behind her. - -_Mother._ Have you seen my children? - -_Old Witch._ Yes! I think by Eastgate. - -The Mother and Sunday retire, as if to go there, but, not finding them, -again return to the Witch, who this time sends them to Westgate, then to -Southgate and Northgate. At last one of the children pops her head up -over the Witch's shoulder, and cries out, "Here we are, Mother." Then -follows this dialogue:-- - -_M._ I see my children, may I go in? - -_O. W._ No! your boots are too dirty. - -_M._ I will take them off. - -_O. W._ Your stockings are too dirty. - -_M._ I will take them off. - -_O. W._ Your feet are too dirty. - -_M._ I will cut them off. - -_O. W._ Then the blood will stream over the floor. - -The Mother at this loses patience, and pushes her way in, the Witch -trying in vain to keep her out. She, with all her children, then chase -the Witch until they catch her; when they pretend to bind her hand and -foot, put her on a pile, and burn her, the children fanning the -imaginary flames with their pinafores. Sometimes the dialogue after -"Here we are, mother," is omitted, and the Witch is at once -chased.--Cornwall (_Folk-lore Journal_, v. 53-54). - -One child represents an old woman who is blind, and has eight children. -She says she is going to market, and bids her eldest daughter let no one -into the house in her absence. The eldest daughter promises. Then a -second old woman knocks, and bribes the daughter, by the promise of a -gay ribbon, to give her a light. Whilst the daughter is getting the -light, the Witch steals a child and carries it off. - -The daughter comes back, and makes all the other children promise not to -tell their Mother. The Mother returns and says: "Are all the children -safe?" - -The daughter says, "Yes." "Then let me count them." The children stand -in a row, and the Mother counts by placing her hands alternately on -their heads. The eldest daughter runs round to the bottom of the row, -and so is counted twice. - -This is repeated until all the children are gone. At the end the eldest -daughter runs away, and the Mother finds all her children gone. Then the -Witch asks the old woman to dinner, and the children, who have covered -their faces, are served up as beef, mutton, lamb, &c. Finally they throw -off their coverings and a general scrimmage takes place.--London (Miss -Dendy). - -At Deptford the game is played in the same way, and the dialogue is -similar to the Cornish version, then follows-- - - I'll ride in a pan. - That will do. - -The Mother gets inside to her children and says to them in turn, "Poke -out your tongue, you're one of mine," then they run away home.--Deptford -(Miss Chase). - -In another Deptford version the children are named for days of the week, -the Mother goes out, and the Witch calls and asks-- - - Please you, give me a match. - -The minder goes upstairs, and the Witch carries a child off. The Mother -comes home, misses child, and asks-- - - Where's Monday? - She's gone to her grandma. - -Mother pretends to look for her, and says-- - - She ain't there. - She's gone to her aunt's. - -Children own at last-- - - The bonny Old Witch has took her! - -The Mother beats the Daughter who has been so careless, goes to Witch, -and says-- - - Have you any blocks of wood? - No. - Can I come in and see? - No, your boots are too dirty, &c. - [Same as previous versions.] - -A number of girls stand in a line. Three girls out of the number -represent Mother, Jack, and Daughter. The Mother leaves her children in -charge of her Daughter, counts them, and says the following:-- - - I am going into the garden to gather some rue, - And mind old Jack-daw don't get you, - Especially you my daughter Sue, - I'll beat you till you're black and blue. - -While the Mother is gone Jack comes and asks for a match; he takes a -child and hides her up. The Mother comes back, counts her children, and -finds one missing. Then she asks where she is, and the Daughter says -that Jack has got her. The Mother beats the Daughter, and leaves them -again, saying the same words as before, until all the children have -gone.--Ipswich (_Suffolk Folk-lore_, p. 62). - - I'll charge my children every one - To keep good house till I come home, - Especially you my daughter Sue, - Or else I'll beat you black and blue. - ---Hersham, Surrey (_Folk-lore Record_, v. 88). - -Halliwell gives a version of this which he calls the game of the -"Gipsy." He gives no dialogue, but his game begins by the Mother saying -some lines to the eldest daughter, which are almost identical with those -given from Hersham, Surrey. Mr. Newell gives some interesting American -versions. - -This game appears in the versions given above to be a child-stealing -game, and it may originate from this being a common practice some years -ago, but it will be found on comparison to be so much like "Mother, -mother, the pot boils over" (vol. i. p. 396) that it is more probable -that this is the same game, having lost the important element of the -"giving of fire," or a "light from the fire" out of the house, so soon -as the idea that doing this put the inhabitants of the house into the -power of the receiver or some evil spirit had become lost as a popular -belief. "Matches" being asked for and a "light" confirms this. It will -be seen that a Witch or evilly-disposed person is dreaded by the Mother, -the eldest Daughter being specially charged to keep a good look-out. The -naming of the children after the days of the week, the counting of them -by the Mother, and the artifice of the eldest Daughter, in the London -version, who gets counted twice, are archaic points. The discovery by -tasting of the children by their Mother, and their suggested revival; -the catching and "burning" of the Witch in the Dartmouth and Cornish -games, are incidents familiar to us from nursery tales and from the -trials of people condemned for witchcraft. Of the Cornish version it is -said that "it has descended from generation to generation." - -Mr. Newell's versions tend, I think, to strengthen my suggestion in -"Mother, the pot boils over," that the "fire" custom alluded to is the -origin of that game and this. The fire incident has been forgotten, and -the game therefore developed into a child-stealing or gipsy game. - -See "Mother, Mother." - - -Witte-Witte-Way - -A game among boys, which I do not remember in the South.--Brockett's -_North Country Words_. Probably the same as "Whiddy," which see. - - -Wolf - - I. Sheep, sheep, come home! - We dare not. - What are you frightened of? - The wolf. - The wolf has gone home for seven days, - Sheep, sheep, come home. - ---Settle, Yorks. (Rev. W. S. Sykes). - - II. Sheep, sheep, come home! - I'm afraid. - What of? - The wolf. - The wolf's gone into Derbyshire, - And won't be back till six o'clock. - Sheep, sheep, come home. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - III. Sheep, sheep, go out! - I'm afraid. - What you're 'fraid of? - Wolf. - Wolf has gone to Devonshire; - Won't be back for seven year. - Sheep, sheep, go out! - ---Hurstmonceux, Sussex, as played about forty years ago (Miss E. Chase). - - IV. Sheep, sheep, come home! - I'm afraid. - What of? - The wolf. - The wolf's gone to Devonshire, - And won't be back for seven year. - Sheep, sheep, come home. - ---Anderby (Miss M. Peacock), Barnes (A. B. Gomme). - - V., VI. Won't be back for eleven year. - ---Nottinghamshire (Miss M. Peacock). - ---Marlborough, Wilts (H. S. May). - -(_b_) One player acts as Shepherd, and stands at one side of the -playground or field; another acts as Wolf. He crouches in one corner, or -behind a post or tree. The other players are sheep, and stand close -together on the opposite side of the ground to the Shepherd. The -Shepherd advances and calls the sheep. At the end of the dialogue the -sheep run across to the Shepherd and the Wolf pounces out, chases, and -tries to catch them. Whoever he catches has to stand aside until all are -caught. The game is played in this way in all versions sent me except -Hurstmonceux, where there is the following addition:--The Wolf chases -until he has caught all the sheep, and put them in his den. He then -pretends to taste them, and sets them aside as needing more salt. The -Shepherd or Mother comes after them, and the sheep cover their heads -with their aprons. The Mother guesses the name of each child, saying, -"This is my daughter ----. Run away home!" until she has freed them all. - -Versions of this game, almost identical with the Anderby version, have -been collected from Sporle, Norfolk (Miss Matthews); Crockham Hill, Kent -(Miss E. Chase); Hersham, Surrey (_Folk-lore Record_, v. p. 88); -Marlborough, Wilts (H. S. May); Ash and Barnes, Surrey (A. B. Gomme). In -Nottinghamshire, Derbyshire is the place the wolf is said to have gone -to. Mr. M. L. Rouse sends the following fuller description of the game -as played at Woolpit, near Haughley, Suffolk, which gives, I think, the -clue to the earlier idea of the game:-- - -The game was played out of doors in a meadow. Two long parallel lines -were drawn about fifty yards apart, forming bases behind them. Two boys -stood some distance apart between the bases, and the rest of the players -all stood within one base. One of the two boys in the centre acting as -decoy cried "Sheep, sheep, come home!" The sheep represented by the boys -in the base cried back, "We can't, we're afraid of the Wolf." The decoy -then said-- - - The wolf's gone to Devonshire, - And won't be back for seven year. - Sheep, sheep, come home. - -The sheep then made rushes from different points, and tried to get -across to the other base. The other player in the centre tried to catch -the sheep as they ran. Those caught joined the side of the wolf, and -caught others in their turn. - -It appears clear that the "Decoy" is the correct character in this game -instead of a "shepherd" or "master," as now given. The decoy is -evidently assuming the character and voice of the shepherd, or -shepherd's dog, to induce the sheep to leave the fold where they are -protected, in order to pounce upon them as they endeavour to go in the -direction the voice calls them. The game owes its origin to times and -places, when wolves were prowling about at night, and sheep were penned -and protected against them by shepherds and watch-dogs. - - -Wolf and the Lamb, The - -Two are chosen--one to represent the wolf and the other the lamb. The -other players join hands and form a circle round the lamb. The wolf -tries to break through the circle, and carry off the lamb. Those in the -circle do all they can to prevent the wolf from entering within the -circle. If he manages to enter the circle and seize the lamb, then other -two are chosen, and the same process is gone through till all have got a -chance of being the lamb and wolf. This game evidently represents a lamb -enclosed in a fold, and the attempts of a wolf to break through and -carry it off. - ---Fraserburgh, Aberdeen, _April 14, 1892_ (Rev. W. Gregor). - - -Would you know how doth the Peasant - -[Music] - ---Monton, Lancashire (Miss Dendy). - - I. Would you know how doth the peasant? - Would you know how doth the peasant? - Would you know how doth the peasant - Sow his barley and wheat! - - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - And it's so, so, doth the peasant - Sow his barley and wheat! - - Would you know how doth the peasant, &c., - Reap his barley and wheat? - - It is so, so, doth the peasant, &c., - Reap his barley and wheat! - - Would you know how doth the peasant, &c., - Thresh his barley and wheat? - - It is so, so, doth the peasant, &c., - Thresh his barley and wheat! - - Would you know how doth the peasant, &c., - When the seed time is o'er? - - It is so, so, doth the peasant, &c., - When the seed time is o'er! - - Would you know how doth the peasant, &c., - When his labour is done? - - It is so, so, doth the peasant, &c., - When his labour is done! - - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - When his labour is o'er. - ---Monton, Lancashire (Miss Dendy). - - II. It is so, so, does the peasant [or, farmer], - It is so, so, does the peasant, - It is so, so, does the peasant, - When sowing times come. - - It is so, so, does the peasant, &c., - When reaping time comes. - - It is so, so does the peasant, &c., - When his threshing times comes. - - It is so, so, does the peasant, &c., - When the hunting's begun. - - It is so, so does the peasant, &c., - When the day's work is done. - ---Frodingham, Lincoln and Notts (Miss M. Peacock). - -(_c_) The leader of this game stands in the middle, the players stand in -a ring round him; when there are a sufficient number of players, several -rings are formed one within the other, the smallest children in the -inner ring. The different rings move in alternate directions when -dancing round. All the children sing the words of each verse and dance -round. They unclasp hands at the end of each alternate verse, and suit -their actions to the words sung. At the end of the first verse they -stand still, crook their arms as if holding a basket, and imitate action -of sowing while they sing the second verse; they then all dance round -while they sing the third, then stand still again and imitate reaping -while they sing the fourth time. Then again dance and sing, stand still -and imitate "thrashing" of barley and wheat; after "seed time is o'er," -they drop on one knee and lift one hand as if in prayer, again dancing -round and singing. Then they kneel on one knee, put their hands -together, lay their left cheek on them, and close their eyes as if -asleep; while singing, "when his labour is o'er," at the last verse, -they all march round, clapping hands in time. - -This is the Monton game. The Frodingham game is played in the same way, -except that the children walk round in a circle, one behind another, -when they sing and imitate the actions they mention. "When the hunting's -begun" they all run about as if on horseback; "when the day's work is -done," they all kneel on one knee and rest their heads on their hands. - -This game is evidently a survival of the custom of dancing, and of -imitating the actions necessary for the sowing and reaping of grain -which were customary at one time. Miss Dendy says--"It is an undoubtedly -old Lancashire game. It is sometimes played by as many as a hundred -players, and is then very pretty. The method of playing varies slightly, -but it is generally as described above." The fact that this game was -played by such a large number of young people together, points -conclusively to a time when it was a customary thing for all the people -in one village to play this game as a kind of religious observance, to -bring a blessing on the work of the season, believing that by doing so, -they caused the crops to grow better and produce grain in abundance. - -See "Oats and Beans and Barley." - - - - -ADDENDA - - -A' the Birdies. [See "All the Birds," vol. i. p. 2; "Oranges and -Lemons," vol. ii. pp. 25-35.] - - A' the birdies i' the air - Tick tae to my tail. - -A contest game of the oranges and lemons class. Two players, who hold -hands and form the arch, call out the formula, and the other players, -who are running about indifferently, go one by one to them and decide, -when asked, which side they will favour, and stand behind one or the -other. - -After the tug the side which has lost is called "Rotten eggs, rotten -eggs."--Aberdeen (Rev. Dr. Gregor). - - -All the Boys. [Vol. i. pp. 2-6.] - -Two versions of this game, one from Howth and another from St. Andrews, -sent me by Miss H. E. Harvey, do not differ sufficiently from the -versions i. and ii. printed as above to be given here in full. - -The St. Andrews game, after the line, - - "I love you, and you love me" - -(as printed in vol. i. version ii.), continues-- - - When we get married, I hope you will agree, - I'll buy the chest of drawers, you'll buy the cradle. - Rock, rock, bubbly-jock, - Send her upstairs, lay her in her bed, - Send for the doctor before she is dead. - In comes the doctor and out goes the clerk, - In comes the mannie with the sugarally hat. - Oh, says the doctor, what's the matter here? - Oh, says Johnny, I'm like to lose my dear. - Oh, says the doctor, nae fear o' that. - - -American Post. - -One player of a party acts as post and leaves the room. When he is -outside he knocks at the door. Another player, who is the doorkeeper -(inside), calls out, "Who's there?" The reply is, "American post." "What -with?" "A letter." "For whom?" The name of one of the players in the -room is given by the post. The one named then must go outside, and kiss -the post, and in turn becomes post.--Fraserburgh (Rev. Dr. Gregor). - -This, sometimes called "Postman," is now more generally played as a -penalty when forfeits are being performed. The player whose penalty it -is, is the first one to be "post." Postage is demanded, the amount being -paid by kisses. - - -As I was Walking. - -The players, usually girls, stand in line up to a wall. One in front -sings, going backwards and forwards. - - As I was walking down a hill, down a hill, down a hill, - As I was walking down a hill, - Upon a frosty morning. - Who do you think I met coming down, coming down, &c., - Who do you think I met, &c. - -She then chooses one from the line and both sing:-- - - I met my true love coming down, &c. - He gave me kisses, one, two, three (clap hands), - Upon a frosty morning.--Cullen (Rev. Dr. Gregor). - - -Auld Grannie. [A version of "Hen and Chickens," vol. i. pp. 201, 202.] - -Here a variation of dialogue occurs. The game is played as previous Hen -and Chicken games. The Hen says-- - - What are ye scrapin' for? - -Auld grannie says-- - - A darning needle? - - What are ye going to do with the darning needle? - - Mak a poke. - - What to do with the poke? - - To gang to the peat moss to get some peats. - - What for? - - To make a fire, to make some tea, to pour over your wee chickens. - -Auld grannie rushes at them, and pretends to throw the water over them. -When she has caught some players, and the sides are about equal in -strength, the game ends in a tug of war.--Dalry, Galloway (J. G. -Carter.) - -Another, called "Grannie's Needle," has a slightly different parley. - - What are you looking for, granny? - - My granny's needle. - - What are you going to do with the needle, granny? - - To make a bag. - - And what are you going to do with the bag, granny? - - To gather sand. - - What are you going to do with the sand, granny? - - To sharpen knives. - - And what are you going to do with the knives, granny? - - To cut off your chickens' heads. - ---Belfast (W. H. Patterson). - - -Ball. [Pots, vol. ii. p. 64.] - -1. Throw the ball up against a wall three times and catch it. - -2. Throw it up and clap hands three times before catching it. - -3. Throw it up and put your hands round in a circle. - -4. Throw it up and clap your hands before and behind. - -5. Throw it up and clap and touch your shoulder. - -6. Throw it up and clap and touch your other shoulder. - -7. Throw it up three times with your right hand and catch it with your -right. - -8. Throw it up with your left and catch it with your left. - -9. Throw it up with your right and catch it with your right, dog snack -fashion (_i.e._ as a dog snacks, knuckles up). - -10. Throw it up with your left and catch it with your left (dog snack). - -11. Throw it up and clap and touch your knee. - -12. Throw it up and clap and touch your other knee. - -13. Throw it up and turn round. - -These actions should each be performed three times.--Laurieston School, -Kircudbrightshire (J. Lawson). - -This is a more complete version of "Pots." - -Another game is-- - -One girl takes a ball, strikes it on the ground, and keeps pushing it -down with her hand. While she is doing this, the other players stand -beside her, and keeping unison with the ball, repeat-- - - Game, game, ba' ba', - Twenty lasses in a raw, - Nae a lad amon them a' - Bits game, game, ba', ba'. - -If the girl keeps the ball dancing up and down--"stottin'" during the -time the words are being repeated, it counts one game gained. She goes -on "stottin'" the ball, and the others go on repeating the words till -she allows the ball to escape from her control.--Fraserburgh (Rev. Dr. -Gregor); Dalry, Galloway (J. G. Carter). - -Another rhyme for a ball game is-- - - Little wee laddie, foo's yer daidie? - New come oot o' a basket shadie. - A basket shadie's ower full, - New come oot o' a roarin' bull. - A roarin bull's ower fat, - New come oot o' a gentleman's hat. - A gentleman's hat's ower fine, - New come oot o' a bottle o' wine. - A bottle o' wine is ower reid, - New come oot o' a crust o' breid. - A crust o' breid is ower broon, - New come oot o' a half-a-croon. - A half-a-croon is ower little, - New come oot o' a weaver's shuttle. - A weaver's shuttle's ower holey, - New come oot o' a paint pottie, - Game, game, game, game, game! - ---Rev. Dr. Gregor. - - -Bannockburn. [See Fool, Fool, come to school, vol. i. p. 132.] - -Played as "Fool" with these differences. The namer cries to the fool in -the same formula as the Sussex version (vol. i. p. 133). The fool, -called here "Bannockburn," says, "Are ye it?" to each player pointing to -them in turn. When she points at the correct one that player runs off. -Bannockburn runs after and tries to catch her. If the first runner can -get back into the row untouched she gets renamed, if caught she has to -take Bannockburn's place. - -During the naming, Bannockburn tries to overhear the names given. But -when noticed coming near, those being named, cry "Bannockburn away dune -the sea."--Dalry, Galloway (J. G. Carter). - - -Black Doggie. - -[see Drop Handkerchief, vol. i. 109-112.] - -A form of Drop Handkerchief differing from those versions previously -given. - -The players join hands, form a circle and stretch out as far as each -one's arms will allow. One player is outside the ring. When she sees -they can stretch no further she cries out "Break," when they all loose -hands and stand as far apart as possible. The player outside then goes -round the ring singing, "I have a black doggie, but it winna' bite you, -nor you, nor you," until she comes to one whom she chooses; she then -throws the handkerchief down on the ground behind this one quietly. If -this player does not notice the handkerchief, not one in the circle must -tell her, or they are "out." The player who dropped the handkerchief -walks round until she comes again to the one behind whom she dropped it. -She picks it up and tells her she is "burnt." Then this player has to -stoop down on her knees and is out of the game. Should the selected -player notice the handkerchief, she picks it up and pursues the other -round and through the ring, following wherever the first one leads until -she catches her; they then change places; should she not follow the -exact way the first player went, she too is out and must go down on her -knees.--Rosehearty (Rev. Dr. Gregor). - -Another version from Fraserburgh says that the players may either join -hands in a ring or sit upon the ground on their knees. The outside -player goes round the circle three times, first saying "Black Doggie -winna tack you, nor you." Then she goes round again and drops the -handkerchief behind any one she pleases. She then runs and is pursued -until caught, the other child following Black Doggie in and out wherever -she goes. - - -Bonnet Ridgie. - -["Scots and English," vol. ii. pp. 183-184.] - -Players are chosen alternately by two chiefs. The line is drawn between -the two sides, and the caps of each side are placed on the ground at -each of the ends. When the two sides are ranged, the players try to -catch and pull each other across the line. If one is pulled across he is -called a "slink," and must stand till he is set at liberty by one of his -own side crossing the line and touching him. If this one manages to -touch him before he is crowned, _i.e._, has the crown of his head -touched by one of his opponents, and if he is able to regain his own -side before the same operation takes place, both are free. Each player -watches an opportunity to gather up the caps of the opposing side. If -one is clever and swift enough to reach the caps and gather them all -before he is crowned, his side wins.--Dyke School (Rev. Dr. Gregor.) - - -Button, The. - -["Diamond Ring," vol. i. p. 96; "Forfeits," p. 137; "Wads and the -Wears," vol. ii. pp. 327-8.] - -Played as "Diamond Ring," except that all sit round the fire, one man -takes a button, puts it between his two hands, and goes round to each of -the other players, who have their two hands held out, palms together, -saying, "Don't tell what you got," and quietly dropping the button into -one player's hands. He then asks the first man, saying, "Who has the -button?" One player is named. The master of the game says then "What -forfeit will you give me that he has it?" The player gives a forfeit. So -on all round, every one guessing and giving a forfeit (including he who -holds the button, who, of course, keeps his secret). When all the -forfeits are in the master says, "Button, button, show, and let all -fools know;" then those who have guessed right receive back their -forfeits. The holder of the button then kneels down to deliver sentences -on the others. The master takes a forfeit and holds it over the -kneeler's head, saying, "Fine, fine, superfine, what's the owner of this -fine thing of [gentleman's or lady's] wear to do?" The man kneeling -gives a sentence, such as--to take the broom, ride it three times round -the room, and each time kiss the crook hanging in the chimney--and so -on. - -If a man refuses to perform his sentence he is made to kneel down, and -everything that can be got hold of is piled on his back.--Kiltubbrid, -Co. Leitrim (L. L. Duncan). - - -Canlie. - -[See "Tom Tiddler's Ground," vol. ii. p. 298.] - -Name for "Friar's Ground," in Co. Cork. "Canlie" is the Friar. The game -is played as at Chirbury.--Co. Cork (Mrs. B. B. Greene). - - -Carry my Lady to London. - -[Vol. i. p. 59.] - - Carry a lady to London town, - London town, London town; - London town's a bonny place, - It's a' covered o'er in gold and lace. - -Or-- - - Carry a lady to London town, - London town, London town; - Carry a lady to London town - Upon a summer's day. - -Another rhyme for "Carry my Lady to London," and played in the same -way.--Galloway, N. B. (J. G. Carter). - - -Cat and Dog Hole. - -[Vol. i. p. 63; "Tip-cat," vol. ii. p. 294.] - -Two versions of this, differing somewhat from those given previously. - -(1.) Played by two players. A hole is dug in the ground, and one player -with a "catch-brod" stands in a stooping attitude in front of it, about -a foot and a-half away, placing one end of the "catch-brod" on the -ground. The other player goes to a distance of some yards, to a fixed -point called "the stance." From here he throws a ball, intending to -land it in the hole. The other player's object is to prevent this by -hitting it away with his "catch-brod." If the bowler succeeds they -change places. - -(2.) This also is played by two players, and in the same way, except -that a stone is substituted for the hole, and the bowler's object is to -strike the stone with the ball. Sometimes it is played with three -players, then running is allowed. When the ball is hit the batter tries -to run to the "stance" and back, the bowler or the third player then -tries to hit the "stance" with the ball while the batter is away making -the run. If the third player can catch the ball before it touches the -ground he tries to hit the stone with it, thus sending the batter -out.--Keith (Rev. Dr. Gregor). - - -Catch the Salmond. - -Two boys take each the end of a piece of rope, and give chase to a third -till they contrive to get the rope round him. They then pull him hither -and thither in all directions. - ---Banchory (Rev. Dr. Gregor). - -Evidently an imitation of net-fishing. - - -Chicken come Clock. [See "Fox and Goose," "Hen and Chicken," vol. i. pp. -139-141, 201; vol. ii. p. 404.] - -The children, boys and girls, squat down and take hold of hands, going -round, and saying-- - - Chicken come clock around the rock, - Looram, lorram, lumber lock. - Five mile and one o'clock, - Now the thief is coming. - In comes Tod with his long rod, - And vanishes all from victim vad. - It is, it was, it must be done, - Tiddlum, toddlum, twenty-one. - Johnny, my dear, will you give me the loan of your spear, - Till I fight for one of those Kildares, - With a hickety, pickety pie. - -At these words one lad, who has been hiding behind a tree, runs in to -catch one of the chickens. As the rhyme is finished, they all run, and -the fox tries to catch one, another player, the old hen, trying to stop -him, the chickens all taking hold of her by the tail. - -The fox has to keep on his hands and feet, and the old hen has to keep -"clocking" on her "hunkers." - -Some of the children substitute these words for the latter part of the -above:-- - - The crow's awake, the kite's asleep, - It's time for my poor chickens - To get a bit of something to eat-- - What time is it, old granny? - ---Kiltubbrid, Co. Leitrim (L. L. Duncan). - -Mr. Duncan says this game has almost died out, and the people were -rather hazy about the words they used to say. - - -Chippings, or Cheapings. - -[See "Tops," vol. ii. pp. 299-303.] - -A game with peg tops played by two or more boys. A large button, from -which the shank has been removed, or a round piece of lead about the -size of a penny, is placed on the ground between two agreed goals. The -players divide into sides, each side tries to send the button to -different goals, the tops are spun in the usual way, and then taken up -on the hand while spinning, and allowed to revolve once round the palm -of the hand, and then thrown on the ground on the button in such a way -that the button is projected some distance along the ground. Then a boy -on the opposite side spins his top and tries to hit the button in the -opposite direction. This is continued alternately until one or other -side succeeds in getting the button to the goal.--London Streets (A. B. -Gomme). - - -Chucks. - -[Vol. i. p. 69; also "Five-stones," pp. 122-129, "Huckle-bones," pp. -239-240.] - -A rhyme repeated while playing at "Chucks" with five small stones, -lifting one each time. - - Sweep the floor, lift a chair, - Sweep below it, and lay it down. - Cream the milk, cream the milk, - Quick, quick, quick, - Spread a piece and butter on it thick, thick, thick. - ---Perth (Rev. Dr. Gregor). - - -Churning. - - Churn the butter-milk, quick, quick, quick, - I owe my mother a pint of milk. - -This game used to be played on the shore, just as the tide went out, -when the feet sank easily into the sand. The children turned half-way -round as they repeated the words.--Isle of Man (A. W. Moore). - - -Codham, or Cobhams. - -["Tip it," vol. ii. p. 292.] - -A game resembling "Tip it," and a better form of the game. The parties -are decided by a toss up. The object is passed from hand to hand under -the table, until the leader of the opposite side calls out "up" or -"rise." When all the closed hands are on the table, the leader orders -any hands off which he thinks do not contain the object. If the last -hand left on the table contains the object the sides change places, if -not the same sides repeat, twelve successful guesses making "game," each -failure counting one to the opposite side. The game is called "Up -Jenkins" in the North of Scotland. The words have to be called out when -the hands are called to show. Another name is "Cudlums;" this word was -called out when the leader pointed to the hand which he believed held -the object.--Bedford (Mrs. A. C. Haddon). - - -Colley Ball. - -["Monday," vol. i. p. 389.] - -The same game as "Monday," with this difference. The player who first -throws the ball against the wall calls out the name of the child he -wishes to catch it, saying "A---- B----, no rakes, no better ball." If -the ball goes on the ground the one called has to snatch the ball up and -throw it at one of the retreating children.--Hemsby, Norfolk (Mrs. A. C. -Haddon). - -Also sent me from Isle of Man (A. W. Moore), where it is called -"Hommer-the-let." - - -Dan'l my Man. - -["Jack's Alive," vol. i. p. 257.] - -A little slip of wood or straw is lit and blown out, and while it is red -it is passed round from one to another, each man repeating as fast as he -can-- - - Dan'l, my man, - If ye die in my han', - The straddle and mat is sure to go on. - -The man in whose hand the spark dies has to go down on his knees. A -chair, or some other article, is held over him, and he has to guess what -it is, the others crying out-- - - Trum,[15] trum, what's over your head? - -If he is wrong it is left on him and another article brought, and so -on.--Kiltubbrid, Co. Leitrim (L. L. Duncan). - - [15] "Trum" is for the Irish "trom," = heavy. - - -Deil amo' the Dishes, The. - -["Ghost at the Well," vol. i. p. 149.] - -One player acts as mother, and sends off one of the other players (her -daughters) to take a message. She comes back, pretends to be frightened, -and says she can't go, as there's something "chap, chap, chappin'." The -mother sends another daughter with her this time, telling them "It's -only your father's breeks, drap, drap, drappin'." These two return in -the same way, saying again "There's something chap, chap, chappin'." -Another daughter is now sent with the other two, the mother saying "Its -only the ducks, quack, quack, quackin'." They all come back again more -frightened saying the same thing. Then the mother and all the others go -together to see what the matter is. They come upon another player who -has been sitting apart making a noise with a stone. They all cry out -"The deil's amo' the dishes," and there is a great chase.--Aberdeen -(Rev. Dr. Gregor). - - -Dig for Silver. - - Dig for silver, dig for gold, - Dig for the land that I was told. - As I went down by the water side - I met my lad with a tartan plaid. - My wee lad is a jolly sailor, - And shall be for evermore. - (Name of boy) took the notion - To go and sail on the ocean. - He took poor (name of girl) on his knee, - And sailed across Kilmarnock sea. - Stop your weeping, my dear ----, - He'll come back and marry you. - He will buy you beads and earrings, - He will buy you a diamond stone, - He will buy a horse to ride on, - When your true love is dead and gone. - What care I for the beads and earrings, - What care I for the diamond stone, - What care I for the horse to ride on, - When my true love is dead and gone. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -Another version is-- - - Billy Johnston took a notion - For to go and sail the sea; - He has left his own true love - Weeping on the Greenock quay. - I will buy you beads and earrings, - I will buy you diamonds three, - I will buy you beads and earrings, - Bonny lassie, if you marry me. - What care I for beads and earrings, - What care I for diamonds three, - What care I for beads and earrings, - When my own true love is far from me. - ---Perth (Rev. Dr. Gregor). - -Compare with this "Keys of Heaven," p. 437, and "Paper of Pins," p. 450. - - -Dilsee Dollsie Dee. - -[See "Here's a Soldier," vol. i. p. 206, and "Three Dukes," vol. ii. pp. -233-255]. - -A ring is formed, one child standing in the middle, all sing the words-- - - Which of us all do you love best, do you love best, do you love - best, - Which of us all do you love best, my dilsee dollsie dee. - Which of us all do you love best, my dilsee dollsie dofficer. - -The child in the centre says-- - - You're all too black and ugly (three times), my dilsee dollsie dee, - You're all too black and ugly, my dilsee dollsie dofficer. - -The first verse is repeated, and the child in the centre points to one -in the ring and says-- - - This is the one that I love best, that I love best, that I love - best, - This is the one that I love best, my dilsee dollsie dee. - This is the one I love the best, my dilsee dollsie dofficer. - -The centre child takes the one selected by the hand, and they stand -together in the centre, while the ring dances round and sings-- - - Open the gates to let the bride out, to let the bride out, to let - the bride out, - Open the gates to let the bride out, my dilsee dollsie dee. - Open the gates to let the bride out, my dilsee dollsie dofficer. - -The children then unclasp hands, and the two children walk out. Another -child goes in the centre and the game is begun again, and continued -until the ring is too small for dancing round. Sometimes, instead of -this, the two children return to the ring singing, "Open the gates and -let the bride in," and then they take places in the circle, while -another goes in the centre.--(Dr. A. C. Haddon.) - - -Doagan. - -An extraordinary game, which was played by Manx children sixty years -ago. A rude wooden representation of the human form was fastened on a -cross, and sticks were thrown at it, just after the fashion of the -modern "Aunt Sally." But it is quite possible that this game, taken in -connection with the following very curious words which the children -repeated when throwing the sticks, is a survival of a more serious -function-- - - Shoh dhyt y Doagan. - "This to thee, the Doagan." - Cre dooyrt y Doagan? - "What says the Doagan?" - Dar y chrosh, dar y chron, - "Upon the cross, upon the block," - Dar y maidjey beg, jeeragh ny cam, - "Upon the little staff, straight or crooked," - Ayns y cheylley veg shid hoal, - "In the little wood over yonder." - My verrys oo yn kione jeh'n Doagan, - "If thou wilt give the head of the Doagan," - Verym y kione jeeds er y hon.[16] - "I will give thy head for it." - -Mr. Moore writes that Kelly, who gives these words in his Dictionary, -says that Doagan was a play, and that it refers to the head of Dagon -being broken off. Does he mean the Philistine god of that name? As he is -capable of seeing a reference to the god, Baal, in the Manx word for -May-day, Boaldyv, it is quite possible that his imagination may lead him -so far!--Isle of Man (A. W. Moore). - - [16] Manx Society, vol. xiii. p. 63. - - -Down in Yonder Meadow. - -[Vol. i. p. 99; ii. p. 323; "All the Boys," i. 2-6.] - - Down in yonder meadow where the green grass grows, - Where (name of girl) she bleaches her clothes; - She sang, she sang, she sang so sweet, - She sang (name of boy) across the street. - He kissed her, he kissed her, he bought her a gown, - He bought her a gown and a guinea gold ring, - A guinea, a guinea, a guinea gold ring, - A feather for the church and a pea-brown hat. - Up the streets and down the streets the windows made of glass, - Oh, isn't (name of girl) a braw young lass. - But isn't (name of boy) as nice as she, - And when they get married I hope they will agree. - Agree, agree, I hope they will agree, - And when they get married I hope they will agree. - ---Laurieston School, Kirkcudbrightshire (J. Lawson). - - Down in yonder meadow where the green grass grows, - Where so and so (a girl's name) she bleaches her clothes; - She sang, and she sang, and she sang so sweet, - Come over (a boy's name), come over, come over the street. - So and so (same girl's Christian name) made a pudding so nice and - sweet, - So and so (same boy's Christian name) took a knife and tasted it. - Taste, love; taste, love; don't say no, - For the next Sabbath morning to church we must go. - Clean sheets and pillowslips, and blankets an' a', - A little baby on your knee, and that's the best of a'. - Heepie tarrie, heepie barrie, bo barrie grounds, - Bo barrie ground and a guinea gold ring, - A guinea gold ring and a peacock hat, - A cherry for the church and a feather at the back. - She paints her cheeks and she curls her hair, - And she kisses (boy's name) at the foot o' the stair. - ---Fraserburgh (Rev. Dr. Gregor). - -The above are played in the same way as previously described. - -Another version, from Perth, says, after the line, "She sang, and she -sang" (as above). - - Come over the water, come over the street, - She baked him a dumpling, she baked it so sweet - That bonny (Billie Sanders) was fain for to eat, &c. - - Down in the meadows where the green grass grows, - There's where my Nannie she sound her horn; - She sound, she sound, she sound so sweet; - - . . . . . - - Nannie made the puddin' so nice and so sweet, - Johnny took a knife and he taste a bit; - Love, taste; love, taste, and don't say nay, - For next Sunday mornin' is our weddin'-day. - Off wid the thimble and on wid the ring; - A weddin', a weddin', is goin' to begin. - O Nannie, O Nannie, O Nannie my joy, - Never be ashamed for to marry a boy! - For I am but a boy, and I'll soon be a man, - And I'll earn for my Nannie as soon as I can. - And every evenin' when he comes home, - He takes her for a walk on the Circular Road. - And every little girl that he sees passin' by, - He thinks 'tis his Nannie he has in his eye. - ---Howth, Dublin (Miss H. G. Harvey). - - -Draw a Pail of Water. - -[Vol. i. pp. 100-107]. - - A lump of sugar, - Grind your mother's flour, - Three sacks an hour, - One in a rush, two in a crush, - Pray, old lady, creep under the bush (all jump round). - ---Girton village, Cambridgeshire (Dr. A. C. Haddon). - - -Drop Handkerchief. - -[Vol. i. pp. 109-112; "Black Doggie," vol. ii. p. 407.] - -As played at Fochabers the game varies slightly in the way it is played -from those previously described. The words are-- - - "I dropt it, I dropt it, a king's copper next, - I sent a letter to my love, and on the way I dropt it." - -The players forming the ring are forbidden to look round. The one having -the handkerchief endeavours to drop it at some one's back without his or -her knowledge, and then to get _three_ times round the ring without -being struck by the handkerchief. If the player does not manage this she -has to sit in the centre of the ring as "old maid;" the object in this -version evidently is not to let the player upon whom the handkerchief is -dropped be aware of it.--Fochabers, N.E. Scotland (Rev. Dr. Gregor). - - -Dumb Crambo. - -[See "Hiss and Clap," vol. i. p. 215.] - -The players divide into two sides: one side goes outside the room, the -other remains in the room, and decides on some verb to be guessed and -acted by the other. The outside party is told that the chosen verb -"rhymes with ----." The outside party decide on some verb, and come in -and act this word in dumb show, whilst the inside party sit and look on, -hissing if the guess is wrong, and clapping if the acting shows the -right word is chosen. No word must pass on either side.--Bedford, and -generally known (Mrs. A. C. Haddon). - - -Dump. - -[Vol. i. p. 117.] - -A version of this game played by three children. The three sit close -together, close their hands and place them over each other, the first -one on the knee of one of them. One then asks, "Faht's that cockin' up -there?" "Cock a pistol; cock it aff," replies another. The same process -is gone through till only one hand is left on the knee. Then the one -whose hand was uppermost at the beginning of the game says-- - - Faht's in there? - Gold and money (is the answer). - Fahr's my share o't? - The moosie ran awa' wi't. - Fahr's the moosie? - In her hoosie. - Fahr's her hoosie? - In the wood. - Fahr's the wood? - The fire brunt it. - Fahr's the fire? - The water quencht it. - Fahr's the water? - The broon bull drank it. - Fahr's the broon bull? - At the back a (of) Burnie's hill - Fahr's the back a Burnie's hill? - A' claid wi' snaw. - Fahr's the snaw? - The sun meltit it. - Fahr's the sun? - Heigh, heigh up i' the air. - -He who speaks first, or laughs first, or lats (lets) their teeth be -seen, gets nine nips, nine nobs, an' nine double douncornes, an' a gueed -blow on the back o' the head.--Corgarff (Rev. Dr. Gregor). - - -Eendy, Beendy. - - Eendy, Beendy, baniba, roe, - Caught a chicken by the toe; - To the east, to the west, - To the old crow's nest, - Hopping in the garden, swimming in the sea, - If you want a pretty girl, please take me. - ---N. Scotland, locality forgotten (Rev. Dr. Gregor). - -One girl dances forward from a line of children singing the words. -Another from a line opposite responds, and they dance together. They -look first to the east and then to the west by turning their heads in -those directions alternately. - - -Farmer's Den, The. - -All players but one form a ring, this one stands in the centre. The ring -dances round singing the words-- - - The farmer in his den, the farmer in his den, - For it's oh, my dearie, the farmer's in his den. - For the farmer takes a wife, - For the farmer takes a wife; - For it's oh, my dearie, the farmer takes a wife. - -The child in centre then chooses one from the circle, who goes in the -middle, and the ring dances round again singing-- - - For the wife takes a child, &c. (as above). - -And choosing another child from the ring, then-- - - For the child takes a nurse, &c. (as above). - - For the nurse takes a dog, &c. (as above). - -Then all the players join in singing-- - - For we all clap the dog, - For we all clap the dog. - For it's oh! my dearie, we all clap the dog. - -While singing this all the players pat the one who was chosen as "dog" -on his or her back.--Auchencairn, N.B. (Mary Haddon). - - -Fire on the Mountains. - -[See "Round Tag," vol. ii. pp. 144-145.] - -The players arrange themselves into a double circle with a space between -each pair. The one at the back stands and the inside players kneel. -Another player stands in the centre and cries out, "Fire on the -mountain; run, boys, run!" Those players who are standing in the outer -circle begin to run round, those kneeling remaining in that position. -They continue running until the centre player cries "Stop!" They all -then (including the centre player) make a rush to get a stand behind one -of the kneeling players, the one who is left out going into the -centre.--Auchterarder, N.B. (Miss E. S. Haldane). - -This game may possibly suggest an origin for "Round tag," although the -incident of "catching" or "touching" a runner does not appear, and the -inner circle of players apparently are always stationary. - - -Fool, Fool, come to School. - -[Vol. i. p. 132.] - -Played in the usual way with the following difference in the formula. -The leader says, "Fool, foolie, come to your schoolie." When the fool -comes, the leader says, "What have you been doing to-day?" Fool says, -"Cursin' and swearin'." Fool is then chased off, recalled, and again -questioned. Fool answers, "Suppin' my porridge and readin' my Bible." -She is then welcome, and asked in the usual way to point out one from -the school.--Aberdeen (Rev. Dr. Gregor). - -Another formula sent me by Mr. C. C. Bell is to say, when the fool is -sent back, "Fool, fool, go back to school, and learn more wit." - - -French Jackie, - -name for "Round Tag" and "Two and Threes," in Tyrie (Rev. Dr. Gregor). - - -Galloping. - - Galloping, galloping to the fair, - Courting the girls with the _red_ petticoats; - Galloping, galloping all day long, - Courting the girls with the _speckled_ petticoats. - -Girls sing this resting one knee on the ground, striking the other knee -with their right hand as they say each word. The length of the song -depends upon the ingenuity of the players in finding new colours for the -petticoats each time.--Isle of Man (A. W. Moore). - -The game is not known now. - - -Gallant Ship. - -[See "Round and Round the Gallant Ship," vol. ii. p. 143.] - - Up spoke a boy of our gallant ship, - And a well-spoken boy was he-- - I have a mother in London town, - This night she'll be looking for me. - - She may look, she may sigh, with the tear in her eye, - She may look to the bottom of the sea. - Three times round went our gallant ship, - And three times round went she! - And three times round went our gallant ship, - Till she came to the bottom of the sea! - -The players form a ring and dance round, getting quicker as they sing -"Three times round," &c. When the last line is sung they let go hands -and sink to the ground. The player who sinks down first is taken away by -the others and asked whom he or she loves best. The ring is then -reformed, and the child who has given her sweetheart's name is placed in -the centre. The ring then dances round singing out the name of the -sweetheart. - - Mrs. Brown is new comed hame, - A coach and four to carry hame. - ---Galloway (J. G. Carter). - - -Galley, Galley Ship. - -[See "Merry-ma-tansa," vol. i. pp. 369-376; ii. p. 443.] - - Three times round goes the galley, galley ship, - And three times round goes she; - Three times round goes the galley, galley ship, - And she sank to the bottom of the sea. - - Choose your neighbours one or two, - One or two, one or two; - Choose your neighbours one or two, - Around about Mary Matanzie. - - A treacle scone to tell her name, - To tell her name, to tell her name; - A treacle scone to tell her name, - Around about Mary Matanzie. - - A guinea gold watch to tell his name, - To tell his name, to tell his name; - A guinea gold watch to tell his name, - Around about Mary Matanzie. - - (Name of boy) is his name, - Is his name, is his name, - ---- is his name, - Around about Mary Matanzie. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -A version of "Merry-ma-tansa," incomplete. [See vol. i. p. 375.] - -Another is-- - - Three times around goes our gallant ship, - And three times around goes she, she, she; - And three times around goes our gallant ship, - And she sinks to the bottom of the sea. - -Played in ring form with one child in centre. All sink down on the -ground when the above lines are sung, and the last to rise must tell the -name of her sweetheart. Then the circle forms around her, and all sing-- - - Here's the bride just new come in, - Just new come in, just new come in; - Here's the bride just new come in, - Around the merry guid tanzy. - - Guess wha's her guid lad, - Her guid lad, her guid lad; - Guess wha's her guid lad, - Around the merry guid tanzy. - - (Willie Broon) is his name, - Is his name, is his name, - (Willie Broon) is his name, - Around the merry guid tanzy. - ---St. Andrews and Howth (Miss H. E. Harvey). - -Miss Harvey writes: I believe "tanzy" is the name of a kind of dance. - - -Glasgow Ships. - - Glasgow ships come sailing in, - Come sailing in, come sailing in; - Glasgow ships come sailing in, - On a fine summer morning. - - You daurna set your foot upon, - Your foot upon, your foot upon; - You daurna set your foot upon, - Or gentle George will kiss you. - - Three times kiss you, four times bless you, - Five times butter and bread - Upon a silver salver. - - Who shall we send it to, - Send it to, send it to? - Who shall we send it to? - To Mrs. ----'s daughter. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses, one, two, three. - She is the favourite daughter. - ---Perth (Rev. Dr. Gregor). - - Glasgow ships come sailing in, &c. (three times) - Three times bless you, three times kiss you, - Three times butter and bread upon a silver saucer. - Whom shall I send it to, I send it to, I send it to? - To Captain Gordon's daughter. - ---Rosehearty (Rev. Dr. Gregor). - - The Glasgow ships come sailing in, &c. (as first version). - Three times down and then we fall, then we fall, then we fall, - Three times down and then we fall, in a fine summer morning. - Three times butter and bread, butter and bread, butter and bread, - Three times butter and bread upon a silver saucer. - Come, choose you east, come choose you west, - Come, choose you east, come choose you west, - To the very one that you love best. - ---Nairn (Rev. Dr. Gregor). - - Glasgow ships come sailing in, &c. (as first version) - She daurna set a foot upon, &c. - Or gentle John will kiss her. - Three times round the ring, three times bless her, - I sent a slice of bread and butter upon a silver saucer. - Whom shall we send it to? &c. - To Captain ----'s daughter. - Her love's dead and gone, dead and gone, dead and gone, - She turns her back to the wa's again. - She washes her face, she combs her hair, - She leaves her love at the foot of the stair, - She wears on her finger a guinea gold ring, - And turns her back to the wa's again. - -All join hands and form a ring. At the end of verses the girl named -turns her back, and the game is resumed.--Fochabers (Rev. Dr. Gregor); -Port William School, Wigtonshire. - -In a version from Auchterarder, N. B., sent by Miss E. S. Haldane, the -words are very similar to these. After all the children have turned -their backs to the inside they have what is called the "pigs' race," -which is running swiftly round in this position. See "Uncle John," vol. -ii. pp. 321-322. - - -Granny's Needle. - -[See "Auld Grannie."] - - -Green Gravel. - -[Vol. i. pp. 170-183.] - - Round apples, round apples, by night and by day, - There stands a valley in yonder haze; - There stands poor Lizzie with a knife in her hand, - There's no one dare touch her, or she'll go mad; - Her cheeks were like roses, and now they're like snow, - Poor Lizzie! poor Lizzie! you're dying, I know, - We'll wash you with milk, and we'll dry [or roll] you with silk, - And we'll write down your name with a gold pen and ink. - ---New Galloway (Rev. Dr. Gregor). - -Boys and girls take hands and go round saying-- - - Round the green gravel - Grass grows green, - Many's the lady fit to be seen, - Washed in milk and dried in silk. - The last pops down! - -The last boy or girl to pop down has to tell who he (or she) is -courting.--Kiltubbrid, Co. Leitrim (L. L. Duncan). - - -Green Grass. - -[Vol. i. pp. 153-169.] - -All the girls arrange themselves in a line, and one stands in front. The -one in front sings-- - - Dis-a-dis-a green grass, - Dis-a-dis-a-dis; - Come all ye pretty fair maids, - And walk along wi' us. - Will ye have a duck, my dear (pointing to one of the girls in the - line), - Or will ye have a drake, - Or will ye have a young man - To answer for your sake? - -The girl pointed to answers-- - - I'll neither have a duck, my dear, - Nor will I have a drake; - But I will have a young man - To answer for my sake. - -She now leaves the line and takes her stand beside the one that stands -in front, and all begin to clap their hands and sing-- - - The bells will ring, - And the psalms will sing, - And we'll all claps hands together. - -The two in front then begin to sing what the one first sang, and the -same goes on till all are chosen.--Peterhead; St. Andrews (Mrs. Stewart, -when a girl). - - Here we go in a merry band, - Round about the berry buss; - Come all ye pretty fair maids, - And dance along with us; - We shall have a duck and drake, - We shall have a dragon, - We shall have a young man, - The prince of the Saigen. - The young man dies, - And leaves the girl a widow. - The birds shall sing, the bells shall ring, - And we will all clap hands together. - Here we go a roving, - A roving in a band; - I will take my pretty Mary, - I will take her by the hand. - ---Perth (Rev. Dr. Gregor). - -Another version, very similar to that given in vol. i. pp. 161-162 from -Congleton Workhouse School, and sent me by Mr. J. Lawson, Laurieston -School, Kirkcudbrightshire, begins, "Will you take silver and gold?" - -Another Scottish version of this game is given in _Notes and Queries_, -3rd ser., v. 393, as follows:-- - - A duss, a duss of green grass, - A duss, a duss, a duss; - Come all you pretty maidens, - And dance along with us; - You shall have a duck, my dear, - And you shall have a dragon, - And you shall have a young gudeman, - To dance ere you're forsaken. - The bells shall ring, - The birds shall sing, - And we'll all clap hands together. - - -Green Grass. - -[A game so called by Dr. Gregor, but apparently not belonging to the one -usually known under that name.] - -The girls stand in a line, and one stands in front. All sing-- - - Green grass suits us, - As my boots are lined with silver; - E. I. O, E. I. O, my ain bonnie (a girl's Christian name). - -The girl in front then chooses the girl named, and both girls join hands -and wheel round, whilst all sing-- - - I kissed her once, I kissed her twice, - I kissed her three times over. - Hop, hop, the butcher's shop, - I cannot stay any longer. - If I stay my mother will say - I played with the boys up yonder. - ---Tyrie (Rev. Dr. Gregor). - -Another version is-- - - Green grass set her fair, a bunch of gold and silver, - A white rosette upon her breast, a gold ring on her finger, - A I O, my Jessie O; I wish I had my Jessie O. - I kissed her once, &c., as above. - - -Heap the Cairn. - -[See "More Sacks to the Mill," vol. i. p. 390.] - -One boy is thrown flat on the ground, then another is thrown over him, -and then another and another, and the bigger boys dash the smaller ones -on those that are down, while all keep shouting-- - - Heap the cyarn-- - Dirt and sharn. - ---Keith (Rev. Dr. Gregor). - -Hear all! Let me at her. - - Hear all! let me at her; - Hear all! let me go; - Hear all! let me at her, - When my mammy will or no. - - ---- has ta'en a notion - For to go and sail the sea; - There he's left his own dear ----, - Weeping on the Greenland sea. - - Hold your tongue, my own dear ----, - Take your baby on your knee. - Drink his health, my jolly sailors, - I'll come back and marry thee. - - I will buy thee beads and ear-rings, - I will buy thee diamond stones, - I will buy thee silken ribbons, - When thy baby's dead and gone. - - ---- says she'll wear the ribbons, - ---- says she'll wear them a'-- - ---- says she'll wear the ribbons - When her baby's dead and gone. - -A ring is formed, one player in the centre. When the verses are sung the -girl in the middle chooses another to take her place.--Fochabers (Rev. -Dr. Gregor.) - - -Hen and Chickens. - -[See "Auld Grannie," p. 404.] - - -High Windows. - -[See "Drop Handkerchief," vol. i. pp. 109-112; "Black Doggie," vol. ii. -pp. 407-408.] - -Boys hold hands and go round in ring form. - -One player stands in the middle and strikes one of those in the ring -with a bit of grass; both players then run out of the ring, and the boy -who was in the midst must catch the other before he goes round three -times. At the third time the boys all cry "High Windows," raising their -hands at the same time to let the two inside the circle.--Kiltubbrid, -Co. Leitrim (L. L. Duncan). - - -Hot Cockles. - -[Vol. i. p. 229.] - -A version of this game, in which a dell or goal is appointed. The -players stand together, one player places his head between the knees of -another, who bends down, and slaps him on the back, keeping time to the -following rhyme, saying-- - - Skip, skip, sko, - Where shall this young man go? - To the east, or the west? - Or the young crow's nest? - -The kneeling boy shouts out the name of the dell, and the other players -all rush off shouting out its name. The one who gets there first wins -the game.--Meiklefolla, Aberdeenshire (Rev. Dr. Gregor). - - -Hulla-balloo-ballee. - -[See "Lubin," vol. i. pp. 352-361.] - -One version of Lubin Loo, from Forfar, Linlithgow, and Argyllshire, is -the same as those given in vol. i. A Nairnshire version is called -"Hullabaloo-ballee." - - Hulla-balloo, ballee, - Hulla-balloo, ballight; - Hulla-balloo, ballee, - All on a winter's night, - Put your right foot in, &c. - Turn round about. - -At "turn round about," they reverse the direction, and dance round the -other way, and so on.--Rev. Dr. Gregor; and Mrs Jamieson. - -Another version is-- - - Old Simon, the king, young Simon, the squire, - Old Simon, the king, sat round a nice warm fire; - Keep your right hand in, shove your right hand out, - Shake it a little, a little, and turn yourself about! - Keep your right foot in, shove your left foot out, - Shake it a little, a little, and turn yourself about. - Hally gallee, gallee, gallee; - Hally gallo, gallo, gallo; - Hally gallee, gallee, gallee, - Upon a Saturday night. - Keep your right hand in, &c. - ---Galloway (J. G. Carter). - -Several versions of this game are given by Mr. E. W. B. Nicholson in his -interesting little book "Goldspie," pp. 176-184. He considers -"Hilli-ballu," "Hulla-baloo," and similar words to be the original of -the English forms "Here we dance Looby Loo," or Lubin, and all of these -to be derived from hunting cries, such as ha, l bas! loup! uttered by -huntsmen to definite musical notes, possibly introduced into songs and -afterwards adapted as lullabies because of their resemblance to the -lulling-cries ba (= bye) and lulli. - - -Isabella. - -[Vol. i. pp. 247-256.] - -Two or three versions which vary slightly in method of playing may be -given. The first is played in the usual way until the last line is said, -when the player turns her back to the circle facing outwards as in -Wall-flowers. - - Isabella, Isabella, Isabella, farewell; - There is my hand, love, there is my hand, love, farewell! - Over the mountains, over the mountains, over the mountains, - farewell! - Her love's dead and gone, dead and gone, dead and gone! - Her love's dead and gone, turn your back behind her. - ---Perth (Rev. Dr. Gregor). - -Another version is-- - - Isabella, fare ye wella; Isabella, fare ye wella; Isabella, - farewell! - -One player then leaves the ring singing-- - - "I'm off to the Indies," &c. - -The ring all sing-- - -"Over the mountains" (as above) six times, ending with-- - - "Isabella, Isabella, farewell" (as above). - -The player who had previously left the ring returns singing, "I'm come -back from the Indies," &c. - -A ring is formed, one player kneels in the centre, the players in the -ring fix their eyes steadily on the kneeling girl all the -time.--Fochabers, N.E. Scotland (Rev. Dr. Gregor). - -In the next version the words of each verse are:-- - - Isabella, farewella, &c. - Back from London, &c. - Go to London, &c. - Pull the brooch off my bosom, &c. - Pull the ring off my finger, &c. - ---Laurieston School, Kircudbrightshire (J. Lawson). - - -Jenny Jones. - -[Vol. i. pp. 260-283.] - -The versions printed here vary, it will be seen, from those printed in -vol. i., principally in the words used towards the end of the game, the -earlier portions being very similar. The first one is an exceedingly -interesting variant, the funeral details being fuller, and the idea of -the spirit of the dead or Ghost surviving also. - -The first lines of each verse are as follows:-- - - I've come to see Jenny Jones, - How does she do? - She is washing, &c., you can't see her now. - I've come to see Jenny Jones, &c. - She is scrubbing, &c., you can't see her now. - I've come to see, &c. - She is ill, &c. - I've come to see, &c. - She's very ill, &c. - I've come to see, &c. - She's dying, &c. - I've come to see. - She's dead. - We'll come in blue, blue, blue. Will that suit? - Blue is for sailors, &c. That won't suit. - We'll come in red, &c. - Red is for soldiers, &c. - We'll come in white, &c. - White is for weddings, &c. - We'll come in black, &c. - Black is for mourning, &c. That will suit. - -They then take up Jenny Jones, and carry her to a little distance off, -lay her on the ground, and all stand round. One child stands over the -grave, and while sprinkling Jenny with dust, says-- - - Ashes to ashes, dust to dust. - If God won't have you, the devil must. - -Then Jenny jumps up and runs after the other children, who try to -escape. The one she catches is "Jenny" next time.--Barrington (Dr. A. C. -Haddon). - -In another version called "Georgina" one player selected to act as -Georgina kneels down against a wall, and the others stand round to -conceal her. Two go apart to act as callers, while another stands near -the group as mother. The callers come forward and say-- - - We came to see Georgina, &c. - And how is she to-day? - She's upstairs washing, &c., - And you can't see her to-day. - Farewell, ladies. - -They then retire, but return in a little while, and put the question as -before. She is then "starching," said as above; and next time she is -"ironing," the fourth time the mother's answer is, "She fell downstairs -and broke her arm, and you can't see her to-day;" the fifth time, "Two -doctors are at her;" the sixth, she is "worse;" and the seventh, she is -"dead." The two callers remain when this reply is given. At this point -Georgina makes a noise by rapping two stones together. The two at once -exclaim, "Oh! mother, mother, what's that knocking?" and she answers, -"The coach going by." The knocking is repeated, and the question, and -she says, "The wall falling down." On the knocking being heard a third -time, she tells them to "take a candle and look." They pretend to do so, -and "Georgina" starts up to chase them. They all run off shouting, "The -Ghost."--Strichen and Fochabers (Rev. Dr. Gregor). - - I came to see Georgina, Georgina, Georgina, - I came to see Georgina, and how is she to-day? - She's upstairs ironing. - I came to see Georgina, &c. (as above). - She fell downstairs and broke her muckle toe. - I'm very sorry to hear that, &c. - She's dead. - Bad news, bad news, bad news to-day. - What shall we dress her in? &c. - Dress her in red. - Red is for the soldier, and that won't do, &c. - What shall we dress her in? &c. - Dress her in blue. - Blue is for the sailor, &c. - What shall we dress her in? &c. - Dress her in white. - White is for the angels, that will do, &c. - Mother, mother, what's that? &c. - A gig running past. - Mother, mother, what's that? &c. - The boys playing at marbles. - Mother, mother, what's that? what's that? what's that? - Mother, mother, what's that? - Georgina's ghost!! - -Ending with a general stampede. - ---Nairnshire (Mrs. Jamieson). - - We've come to see poor Janet, - And how is she to-day? - She's up the stairs washing, - She can't come down to-day. - Very well, we'll call another day. - We've come to see poor Janet, - And how is she to-day? - She's up the stairs ironing, &c. - Well, we'll call, &c. - We've come to see poor Janet, &c. - She's fallen downstairs and broken her horn toes, &c. - Poor Janet, we'll call, &c. - We've come, &c. - She's dead, &c. - What's she to be dressed in? - Red. - That's for soldiers; that won't do. - Blue. - That's for sailors; that won't do. - White. - That will do. - ---Rosehearty (Rev. Dr. Gregor). - -Played in usual way until the end. Janet is then carried off and laid -down on the ground, but she starts up and chases them. - -Many other versions have been sent me, but none with different features. -The best is one from Mr. J. G. Carter, Dalry, Galloway, called "Jenny -Jo," but presenting no fresh details, and where white is used for the -burial. Four children stand on one side with Jenny at their back, the -other players on the opposite. She is buried with great mourning. In a -version from Hemsby (Mrs. Haddon) the words are the same, except: "White -is the colour for weddings," and black is for funerals. Then Jenny is -carried to the grave, the other children walking behind two by two; they -kneel round Jenny, and have a good cry over her. Another version from -Laurieston School (Mr. J. Lawson), called "Jerico," very similar to -above, gives two additional verses. The first lines are, "Carry a poor -soldier to the grave," and "Now the poor mother's weeping at the grave." -In one version, after Jenny has been carried to her grave, the children -stand round and sprinkle earth over her, and say, "Dust and dust, dust -and dust," and then pretend to strew flowers. This I got in London. -Another version from North Scotland begins, "I come to see _Geneva_" -continues in usual way until "she is lying" instead of "ill"; then -"she's dying," followed by "she's dead"; then the funeral. In another -version Dr. Haddon sent me, the game is only a fragment. After "Jenny -Jo's dead and gone, all the day long," they continue, "Pipes and tobacco -for Jenny Jo" (repeat twice), "Pipes and tobacco for Jenny Jo, all the -day long." - - -Jockie Rover. - -[See "Stag," vol. ii. pp. 212, 374.] - -One is chosen to be Rover, and a place is marked off called "The Den," -from which he starts, and to which he and the others caught can run for -protection. He has to clasp his hands and set off in pursuit of one of -the players, whom he must crown without unclasping his hands. Before he -leaves the den he calls out-- - - Jockie Rover, - Three times over, - If you do not look out, - I'll gie you a blover. - -When he catches one he unclasps his hands, and makes for the den along -with the one caught. The players close in upon them, and beat them with -their caps. The two now join hands, and before leaving the den repeat -the same words, and give chase to catch another. When another is caught, -the three run to the den, followed by the others pelting them. - -During the time they are running to catch another player, every attempt -is made by the others to break the band by rushing on two outstretched -arms, either from before or from behind. Every time one is taken or the -band broken, all already taken rush to the den, beaten by those not -taken.--Dyke (Rev. Dr. Gregor). - -A form of "Warney," "Whiddy." - - -Jolly Lads, Bold. - -[Vol. i. pp. 294-296.] - - Here come two bold, jolly lads, - Just new come from the shore: - We'll spend our time in drinking wine, - As we have done before. - -Then the ring dances round, singing-- - - We will have a round, and a round, - We will have a pretty, pretty girl, - For to dance upon the ground. - Her shoes are made of morocco, - Her stockings lined with silk, - Her teeth are white as anything, - And her skin as white as milk. - We shall have a round, and a round, &c. - ---Auchterarder, N. B. (Miss E. S. Haldane). - -A ring is formed by players joining hands. Two other players dance round -the ring in opposite directions, singing the first four lines while the -ring stands still. Then the ring dances round singing the rest of the -lines. The two outside then each take a player from the ring and begin -again. - -The words of the dance game, "Here we go around," vol. i. p. 205, are -practically the same as the latter part of this, and suggests that this -or a similar round is its original. - - -Jolly Miller. [Vol. i. pp. 289-293.] - -This is played with the usual double ring, boys on the outside, girls -inside, one child in centre. At the last a rush is made to obtain a -vacant place. - - He was a jolly miller, - He lived by himself. - As the wheel went round, he made his wealth, - One hand in his pocket, the other at his back, - As the mill went round, he made his wealth. - -The girls being in the inside, turn and go the opposite way; and, while -doing so, sing-- - - A hunting we will go, - A hunting we will go, - We'll catch a little fox, and we'll put him in a box, - And a hunting we will go. - ---Auchterarder, N. B. (Miss E. S. Haldane). - -In this version the "grab" appears to be lost, and the "hunting" put in -before the rush for the vacant place is made. - - -Keys of Heaven. - - I will give you a golden ring, - And jewels to hang and birds to sing, - If you'll be my true lover, - And true love of mine. - - I will give you the keys of the chest, - And gold enough to dress you in church, - If you'll be my true lover, - And true love of mine. - - I will give you the keys of even [heaven], - And angels to wait upon you six and seven, - If you'll be my true lover, - And true love of mine. - ---Marylebone (A. B. Gomme). - -Children form a ring by joining hands; they dance round. One stands in -centre. She chooses another from the ring after singing the words, and -the two dance round together. - -This game is evidently but a fragment, the proper way of playing being -forgotten. It would originally have been played in line form instead of -a circle, and answers of "No" or "Yes," or other verses implying -negative and then affirmative, given by the chosen or selected girl. -These lines, and those given _post_ (p. 450), as "Paper of pins," are -interesting fragments probably of one and the same game. - - -Kick the Block. - -[See vol. i. p. 401.] - -A small circle is made, and the stone or block is put in it. A boy -stands with his foot on the stone and his eyes shut until all the other -players are hid. He then tries to find them, and keep his block in its -place. If one should come out when he is away from his block it is -kicked out, and all the boys that were found hide again.--Laurieston -School, Kirkcudbrightshire (J. Lawson). - -Another version of the same game, sent me by Mr. William P. Merrick, -Shepperton, Middlesex, is called "Fly Whip." - -The same game as "Mount the Tin," played somewhat differently. - - -Lady of the Land. - -[Vol. i. pp. 313-319.] - -A number of girls stand in a line. One of them represents the widow and -the other the children. Another stands in front. All sing-- - - There came a poor widow from Sunderland, - With all her children in her hand, - One can bake, and one can sew, - And one can do the hilygoloo. - Please take one out. - -The player who is standing alone in front of the other players chooses -one from the line. The two then join right and left hands and wheel -round in front, all singing-- - - Oh there's poor (girl's name chosen), - She has gone without a farthing in her hand, - Nothing but a guinea gold ring, - Good-bye (girl's name), - Good-bye, good-bye. - -The mother shakes hands with the one chosen. - ---Fraserburgh (Rev. Dr. Gregor). - -Another version-- - - There is a poor widow from Sankelone, - With all her children in her hand, - One can knit, and one sew, - And one can play the liligolor. - -The widow then says-- - - Please take one in, - Please take one in. - -The one in front picks out one and places her at her back, and she lays -hold of her dress, then all sing-- - - Now for poor (girl's name who has been chosen), she is gone, - Without her father (? farthing) in her hand, - She has lost her guinea gold ring, - Good-bye, good-bye, - Good-bye, good-bye. - -The widow shakes hands with the girl. This is repeated till all are -taken out and the widow is left by herself. She cries, and tries to take -back her daughters. All run off. - ---Cullen (Rev. Dr. Gregor). - -Another Isle of Man version varies slightly, beginning, "We're three -young mothers from Babylon," and continuing in a similar way to the one -in vol. i. p. 315-- - - One can wash, and one can sew, - Another can sit by the fire and spin, - The other can make a fine bed for the king, - Please, ma'am, to take one in. - -The queen then says-- - - Come, my dearest... and give me your hand, - And you shall have the nicest things in all this pleasant land. - -The girls are thus gradually chosen. - ---Isle of Man (A. W. Moore). - - Here's a poor widow from Babylon, - Six poor children left alone, - One can bake, and one can brew, - And one can shape, and one can sew. - One can sit by the fire and spin, - And one can make a bed for a king; - Come Tuesday east, come Tuesday west, - Come choose the one that you love best. - ---Galloway, N. B. (J. G. Carter). - - -Leap-Frog. - -[Vol. i. pp. 133, 327, 328.] - -The chief rules of this game, obtaining in N.E. Scotland in Dr. Gregor's -boyhood, were:--The boy that stooped his back was called "the bull," -pronounced "bill." The bull was not to "horn," _i.e._, throw up his back -when the player placed his hands on it to leap over, or to bend his back -down, and that the player was to lay his hands on the bull's back quite -flat, and not to "knockle," _i.e._, drive the knuckles into it. The best -way to play was:--A line was drawn beside the bull, over which the heel -of the player must not pass. All the players, the one after the other in -succession, leaped over the bull. The one last over called out, "Fit -it," _i.e._, foot it, which meant that the bull had to measure from the -line a breadth and a length of his foot. This done he stooped, and all -the players went over as before, and another breadth and length of foot -were added. This went on as long as the players thought they were able -to leap over the bull. When they thought they could not do so, the last -player called out, "Hip it," _i.e._, take a hop. This done, the bull put -himself into position, and each player now took a hop from the line to -the bull, and then went over him. Here the same process of footing was -gone through as before, as long as the players were able to go clear -over the bull. Then came a step with as much footing as was considered -safe, and then came a jump with so much footing. It was now with the -players "hip, step, an' jump," and over the bull. Then more "fitin'," -and perhaps another "hip," and so on--two hips, two steps, two jumps, -and a flying leap over the bull. It was not often the game reached this -point. Some one of the players had failed to pass right over the bull -and caused him to fall, or had overstepped the line. When any player did -either the one or the other, he had to become bull.--Keith (Rev. Dr. -Gregor). - -This is a fuller and more complete description than that of "Foot and -Over" (vol. i. p. 133). - -Another mode of playing leap-frog is: the players stand with their backs -to the leapers, and only bend the head and the leaper's hands are placed -between the shoulders. Instead of running a few yards in front, each -player advances only a few feet, leaving just as much room as to allow -the player scope to fall and spring again. This mode requires -considerable agility and practice. The higher the leap, so much the -greater the fun.--Keith (Rev. Dr. Gregor.) - - -London Bridge. - -[Vol. i. pp. 333-350.] - -In the following versions of the game only the first lines of each verse -are given, as said by each side. Descriptions of method of playing were -not in all cases sent me. They are probably the same as those given -under this game in vol. i., which is for two players to form an arch by -holding up their joined hands, and the other players running under it. - - (1.) London Bridge is falling down, &c, my fair lady. - What will it take to build it up? &c. - Needles and pins will build it up, &c. - Needles and pins will not hold, &c. - Bricks and mortar will build it up, &c. - Bricks and mortar will wash away, &c. - Silver and gold will build it up, &c. - Silver and gold will be stolen away, &c. - We will set a watchman to watch all night, &c. - What if the watchman falls asleep, &c. - We will set a dog to bark, &c. - See the robbers passing by, &c. - What have the robbers done to you? &c. - They have broke my locks and stole my gold, &c. - Off to prison they must go, &c. - What will you take to set them free? &c. - ---Perth (Rev. Dr. Gregor). - - (2.) London Bridge is broken down, - Build it up with lime and stone; - Lime and stone will build and break; - Set an old man to watch all night. - Perhaps this man will run away, - Ten times the wedding day. - ---Tyrie (Rev. Dr. Gregor). - - (3.) Broken bridges falling down, falling down, falling down, my - fair lady. - What will you give to mend it up? &c. - -Those running under the arch say-- - - A guinea gold ring will mend it up, &c. - -The two players say no. - - A pin I'll give to mend it up. - No! - A thousand pounds to mend it up; - This will waste away, my fair lady; - We'll mend it up with golden pins, my fair lady, - For golden pins will never rust, never rust, my fair lady. - ---Fochabers, N.E. Scotland (Rev. Dr. Gregor). - - (4.) The broken bridge is falling down, falling down, falling - down, - The broken bridge is falling down, my fair lady; - Stones and bricks will build it up, &c. - ---Nairnshire (Rev. Dr. Gregor). - - (5.) Broken bridges falling down, - My fair lady, which will you have? - Open the door for the king's soldiers. - What king are you? - I am true to the very last one. - ---Isle of Man (A. W. Moore). - -Versions of this game from Scotland have been sent me, which show great -similarity to those previously printed, but the game is more or less in -a state of decadence. The best version is that from Perth. One from St. -Andrews, Peterhead, though only consisting of the first verse, has -preserved the refrains, "Dance o'er the Lady Lee" and "With a gay lady" -of Halliwell's version. The others commence "broken bridges." The Isle -of Man version is still more incomplete. A version sent me by Dr. Haddon -from Barrington is similar to the one given, vol. i. p. 338-9, from -Enborne School, and is not therefore printed here. - - -Magician. - -A mirror is covered with a cover, and a girl or boy is taken into the -room. She or he is then asked what animal or thing they would like to -see. As soon as the wish is stated, the cover is raised, and the child -sees his or herself.--London (A. B. Gomme). - - -Mannie on the Pavement. - -One player has charge of the pavement. It is his duty to keep the others -off. The others try how often they can touch the wall, and when the -"mannie" catches one, that one becomes "mannie."--Aberdeen (Rev. Dr. -Gregor). - - -Merry-ma-Tansa. - -[Vol. i. pp. 369-376; ii. 422-424.] - - Here we go round by jingo ring, by jingo ring, by jingo ring, - Here we go round by jingo ring, in a cold and frosty morning. - Twice about and then we fall, and then we fall, and then we fall, - Twice about and then we fall, in a cold and frosty morning. - -All bend down. The one who rises up last goes into the centre of the -circle, and those in the circle sing-- - - Choose your maidens all around, all around, all around, - Choose your maidens all around, on a cold and frosty morning. - -The one in the centre chooses two from the ring, and retires with them a -short distance away, when the name of a boy is selected as the lover. -During the time the three are standing apart, those in the ring let go -each other's hands, and take hold of the sides of their dresses, and -make as if they were sweeping a house, singing the while-- - - Swype the hoose till the bride comes hame, the bride comes hame, the - bride comes hame, - Swype the hoose till the bride comes hame, on a cold and frosty - morning. - -When the three come back, the one that was in the centre takes up the -same position, and the two she picked out join those in the circle. Then -all wheel round and sing-- - - A golden pin to tell her name, tell her name, tell her name, - A golden pin to tell her name, in a cold and frosty morning. - -The answer is-- - - ---- (girl's name is given) is her name, is her name, is her name, - ---- is her name, in a cold and frosty morning. - -Then comes the lover's name-- - - A golden watch to tell his name, tell his name, tell his name, - A golden watch to tell his name, in a cold and frosty morning. - -The answer is-- - - So-and-so is his name, is his name, is his name, - So-and-so is his name, in a cold and frosty morning. - -The one in the middle is then blindfolded, and all wheel round and -sing-- - - Blindfolded dinna catch me, dinna catch me, dinna catch me, - Blindfolded dinna catch me, on a cold and frosty morning. - -The blindfolded tries to catch one in the ring. The ring should not -break, but it is often broken by the one that is on the eve of being -caught. The one caught takes her stand in the centre, and the game -begins anew from that point.--Dyke (Rev. Dr. Gregor). - -This is a most interesting variant of this game--blindfolding the -bridegroom in order that he must first catch his bride, and her attempts -to elude his caresses, are significant of early custom. - - Here we go round by jing-ga-ring, - Jing-ga-ring, jing-ga-ring; - Here we go round by jing-ga-ring, - Around the merry-ma-tansy. - - Three times round, and then we fall, - Then we fall, then we fall; - - Three times round, and then we fall, - Around the merry-ma-tansy. - - Choose your maidens all around, - All around, &c.; - - High gates till the bride comes in, - The bride comes in, &c. - - A golden pin to tell her name, - To tell her name, &c. - - (Mary Anderson) is her name, - Is her name, &c. - - Blindfold you all around, - All around, &c. - -A ring with one child in centre, who chooses one from the circle, at the -end of third verse, after whispering the bride's name together _outside_ -the circle, they are admitted at "high gates," when all the girls hold -up their hands in arches as they dance round. All players in the ring -are then blindfolded, and have to catch the child in the -centre.--Nairnshire (Rev. Dr. Gregor). - -Another version is-- - - Here we go round by jingo-ring, - By jingo-ring, by jingo-ring, - Here we go round by jingo-ring, - And round by merry matansy. - Twice about, and then we fall, - And then we fall, and then we fall. - Twice about, and then we fall, - And round by merry matansy. - ---Fochabers (Rev. Dr. Gregor). - -In another version from St. Andrews and Peterhead, with same words, the -players all flop down, then rise again and dance round. - -Another form of words is-- - - Here we go round by jingo-ring, - Jingo-ring, jingo-ring. - Here we go round by jingo-ring - In a cold and frosty morning. - - Three times round, and then we fall, - Then we fall, then we fall, - Three times round, and then we fall, - In a cold and frosty morning. - ---Nairn (Rev. Dr. Gregor). - -Another similar version from N. Scotland, locality not known. - - Round about the jingo-ring, &c. - Round about the jingo-ring, &c. - First time is catching time, &c, round, &c. - A fine gold ring to tell her name, &c. - (---- ----) is her name, &c. - Third time is kissing time, &c., round, &c. - ---London (A. B. Gomme), from Scotch source. - - -Milking Pails. - -[Vol. i. pp. 376-388.] - -A version sent me by Mr. M. L. Rouse, Blackheath, is similar to those -previously printed, varying only at the end. After the "wash in the -river," and "the stream will carry the clothes away," the children say, -"Men, you may run after them." Hereupon they all run off, but the mother -does not chase them. They return, and a dialogue ensues similar to a -part of "Mother, may I go out to play," follows between the mother and -children:-- - -"Where have you been all day?" - -"Working for Jack, or aunt." - -"What did he give you?" - -"A piece of plum-pudding as big as a flea, or a piece of bread as big as -a house, and a piece of cheese as big as a mouse." - -The children then run off again, come quickly back with the news that -they had seen a large bull in the meadow. - -"Where's the butcher?" - -"Behind the stable door cracking nuts, and you may have the shells." The -mother then chases the children, beating all she can catch. - - -My Delight's in Tansies. [See "Sunday Night," vol. ii. p. 221.] - -All the girls stand in a line except one who stands in front of the -others. This one walks or dances backwards and forwards. All sing the -words-- - - My delight's in tansies, O! - My delight's in bransies, O! - My delight's in a red, red rose; - The colour o' my ---- - -the name of one in the line chosen by the one in front is said. The two -in front join right and left hands, and all sing-- - - Hey ho, my ----, O! - My bonnie, bonnie ----, O! - A' the warld wid I gie, - For a kiss o' ----, O. - My delight's in Nancy, O! - My delight's in tancy, O! - My delight's in a red, red rose, - [She chooses out a girl] - Call her, oh! my (a girl's name), O! - Hey, ho, my ----, O! - My bonnie, bonnie ----, O! - A' the warld wad I gie - For a kiss o' ----, O! - ---Fraserburgh (Rev. Dr. Gregor). - - -Namer and Guesser. - -[Vol. i. p. 409.] - -Another version of this game. It is begun in the same way. As each -player gets his name, he or she turns their back to the namer. When all -are named, and are standing with their backs to the namer, the namer -calls out, "Baker, baker, your bread is burnin'," or "Bakerie, bakerie, -your bread is burnin'." The guesser answers, "Will you give a corner of -it to me?" or "Give me a corner of it," and takes a stand beside the -namer. The namer then says-- - - Come, cheese me east, - Come, cheese me west, - Come, cheese me to "Rose." - -The guesser points to one of the players. If the guess is right, the -player goes to the guesser's side; if wrong, to the namer's side, when -all the players except one are chosen. This one gets two names, say -"Needles" and "Preens." The namer then says to the guesser, "Needles" -or "Preens"? A guess is made. This is done three times, and each time -the names are changed. If the last guess is made correctly, then the -player goes to the guesser, if not, to the namer. Sometimes it is -decided by "the best o' three." Then comes the "tug of war." The gaining -side calls out "Rotten eggs, rotten eggs!"--Fraserburgh (Rev. Dr. -Gregor). - - -Needle Cases. - - Needle cases, needle cases, in a silver saucer. - Who shall I direct it to but Captain ----'s daughter. - What will you give to tell her name, tell her name, tell her name? - A hundred pounds and a glass of wine. - (The girl's name is given, and she then asks)-- - What will you give to tell his name? - (The others answer)-- - Two hundred pounds and a glass of wine. - (Boy's name given by girl). - As I gaed down to borrow a pan, - I saw her sitting kissing her man; - She off with the glove and on with the ring. - To-morrow, to-morrow the wedding begins. - Clean the brass candlesticks, clean the fireside, - Draw up the curtains and let's see the bride. - -All the players but one stand in a circle--this one goes round with a -handkerchief, singing the first lines. When the girl's name is mentioned -she tells her sweetheart's name to the girl with the handkerchief, sits -down in the centre, and covers her face with her hands. The one with the -handkerchief goes round again, asking, "What will you give?" and the -ring answers. Her name is then given, and the girl with the handkerchief -again asks, "What will you give to tell _his_ name?" The ring answers -again, and the sweetheart's name is then given. The girl with the -handkerchief goes round again and sings the last lines, the ring singing -with her. Then the one in the centre joins the ring, and the game begins -again.--Aberdeen (Rev. Dr. Gregor). - - -Nuts in May. - -[Vol. i. pp. 424-433.] - -Many versions of this have been sent me, but none differ materially from -those printed previously. - - -Odd Man. - -A game played by two or three hundred persons who form a circle; every -one places his stick in the ground before him, by way of barrier. A -person called the odd man stands in the middle and delivers his bonnet -to any one in the ring. This is nimbly handed round, and the owner is to -recover it; and on succeeding, takes the place of the person whom he -took it from, and that person takes the middle place.--Pennant's "Voyage -to the Hebrides," p. 231. - - -Old Cranny Crow. - -[Vol. i. p. 201; ii. pp. 404-405.] - -This game resembles "Hen and Chickens," but though of that class of game -it is not, it will be seen, the usual form of "Hen and Chickens" at its -conclusion. The earlier part of the game and dialogue, if any, may, -however, have been similar. Mr. Rouse says: "I cannot recollect more of -Old Cranny Crow than that she entices children one by one out for a -walk, and steals them from their supposed mother. The mother is then -invited to dine by Old Cranny Crow, and has a pie (one of her children) -set before her, with pepper and salt, which she pretends to eat, and -when doing so discovers it to be just like her Tommy (or other child's -name). Then Cranny Crow puts another pie before her; this she discovers -to be just like her Katy. She finds out all her children one by one, and -they come to life again and run home."--M. L. Rouse, Blackheath. [See -"Mother, mother, pot boils over," "Witch."] - - -Old Johanny Hairy, Crap in! - -All players sit round the fire and put out their right feet. The Master -of the game repeats-- - - Onery, twoery, dickery dary, - Wispy, spindey, spoke of the lindey, - Old Johanny Hairy - Crap in![17] - -Each word is repeated to a man; and when the leader comes to "Crap in," -the man specified draws in his foot. When all have drawn in their feet -but one, this one must then kneel down, and his eyes being blindfolded, -the master of the game puts his elbow on his back and strikes him with -his elbow or fist, saying-- - - Hurley, burley, trump the trace, - The cow ran through the market-place. - Simon Alley hunt the buck, - How many horns stand up? - -At the same time holding up several fingers. The man kneeling down has -to guess the number. If he guesses correctly, the master of the game -takes his place. If he fails to guess he is kept down, and another man -goes and strikes his back, and so on.--Kiltubbrid, Co. Leitrim (L. L. -Duncan.) - -A version of "Hot Cockles," with interesting variations. - -Mr. Duncan, when sending me the games he collected, said--"It is very -possible that the people may have brought some of the games from England -when returning from harvesting. This, however, does not apply to 'Old -Johanny Hairy, crap in,' as it is now called in English. Crap isteach is -the Irish for 'draw in,' as in Mr. O'Faharty's 'Sports of the Winter' -there is a Gaelic version. This, I should imagine, makes it certain -that, although well known elsewhere, the game also obtained in the West -of Ireland." - - [17] Crap--draw. - - -Paper of Pins. - - Paper of pins to you I bring; - Say is my love worth anything? - - Gold and silver to you I bring; - Say is my love worth anything? - - No, I'll not have anything; - -or, - - Yes, I will have what you bring. - -A ring is formed, and one player walks round outside saying the first -four lines, stopping at any child she chooses who answers "Yes" or "No." -If "Yes," the two go into the ring and kiss.--Marylebone, London (A. B. -Gomme). - -This is interesting, as a possible fragment of the old Keys of -Canterbury [Halliwell's "Nursery Rhymes," No. cccclxvi.] and of the -Paper of Pins, described so fully by Mr. Newell in "Games and Songs of -American Children," pp. 51-55. - -See "Keys of Heaven," _ante_, p. 437. - - -Pickie. A form of Hopscotch. - -[See "Hopscotch," vol. i. pp. 223-227.] - -[Illustration] - -One player commences first by winning the toss. The pick (a small flat -stone) is pitched into No. 1 bed. It is then moved out of this first -place, backward across the front line, and not otherwise by touching or -forcing it with one foot, the other foot being kept up; that is, the -player must hop and use the foot on the ground to strike "pick." No line -must be touched. If this happens, or if the pick, when being driven -towards the pitching line, gets away otherwise than across the front -line, the player is "out," and the next boy goes in. All the beds are -done likewise, and all must be then done in a reverse way, beginning -with No. 10. The first player who completes the game wins.--Waterville, -Co. Kerry (Mrs. B. B. Green). - - -Poor Widow. - -[Vol. ii. pp. 62, 63.] - - Here's a poor widow from Babylon, - All her sons and daughters are gone. - Come choose to the east, come choose to the west, - Come choose you the very one that you like best. - Now they are married I wish them joy, - Every year a girl and boy. - Loving each other like sister and brother, - A happy new couple may kiss together. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -A circle is formed, two children in the centre, one of whom kneels, the -other walks round singing-- - - I am a poor widow go walking around, - Go walking around, go walking around, my own. - And all of my children are married but one, - Are married but one, are married but one, my own. - - I put on a nightcap to keep her head warm, - To keep her head warm, to keep her head warm, my own. - Then rise up my daughter and choose whom you please, - And choose whom you please, and choose whom you please, my own. - -The mother then joins the circle, and the daughter becomes poor widow. -On the mention of the nightcap a white handkerchief is spread over the -head, the circle walking around slowly, and chanting the words slowly -and dismally. - ---Penzance (Miss Courtney). - -See "Widow," _ante_, p. 381. - - -Rashes. - -A game played by children with rushes in Derbyshire, which is a relic of -the old custom of rush-bearing. In the warm days of May and June the -village children proceed in parties to the sedges and banks of dyke and -brook, there to gather the finest and best rushes. These are brought -with childish ceremony to some favourite spot, and then woven into -various articles, such as baskets, parasols, and umbrellas. Small -arbours are made of green bushes and strewn with rushes, inside which -the children sit and sing and play at "keeping house" with much lordly -ceremony. At these times they play at a game which consists in joining -hands in a circle, and going round a heap of rushes singing or saying-- - - Mary Green and Bessy Bell, - They were two bonny lasses; - They built a house in yonder hill, - And covered it with rashes. - Rashes, rashes, rashes! - -At each repetition of the word "rashes" (rushes) they loosen hands, and -each picking up a lot of rushes, throw them into the air, so that they -may fall on every one in the descent. Many of the articles made with -rushes are hung over the chimney-piece in houses, and in children's -bedrooms, as ornaments or samples of skill, and there remain until the -next season, or until the general cleaning at Christmas.--Thomas. -Radcliffe, in "Long Ago," vol. i. p. 49 (1873). - - -Queen Anne. - -[Vol. ii. pp. 90-102.] - - Lady Queen Anne, she sits in her pan, - As fair as a lilly, as white as a lamb; - Come tittle, come tattle, come tell me this tale, - Which of these ladies doth carry the ball? - My father sent me three letters, please deliver the ball. - -If a correct guess is made by the opposite side, the queen and the child -who had the ball say-- - - The ball is mine, it is not yours, - You may go to the garden and pick more flowers. - ---Isle of Man (A. W. Moore). - - -Sally Water. - -[Vol. ii. pp. 150-179.] - - Sally, Sally, Walker, sprinkling in a pan, - Rye, Sally; rye, Sally, for a young man, - Come, choose to the east, come, choose to the west, - And come choose to the very one that you love best. - -The choice is made here, and the two stand in the centre as usual. - - Now there's a couple married in joy, - First a girl and then a boy. - ---- made a pudding nice and sweet, - ---- took a knife and tasted it. - Taste, love; taste, love, don't say no, - Next Monday morning is our marriage day. - Seven years after, seven years to come, - This young man shall be kissed and be done. - ---Fochabers, N. E. Scotland (Rev. Dr. Gregor). - - Sally, Sally, Water, sprinkled in a pan, - Rise, Sally; rise, Sally, for a young man. - Choose the best, leave the worst, - Choose the prettiest you can. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after son and daughter, - Kiss before you go over the water. - ---London (Dr. A. C. Haddon, from Miss E. A. Passmore). - -Played in usual way. - - -Shuffle the Brogue. - -[See "Hunt the Slipper," vol. i. pp. 241, 242.] - -The boys sat on their haunches in a circle. One of the players takes a -small object, and hands it from one to another under the legs from -behind. The players as they pass the brogue repeat the words-- - - Shuffle the brogue once, - Shuffle the brogue twice, - Shuffle the brogue thrice. - -The object has always to be passed along in the same direction. One -player who is blindfolded has to catch it as it is passing along. The -one in whose hand it is found becomes the catcher. --Crossmichael, -Kirkcudbrightshire (Rev. Dr. Gregor). - - -Soldiers, Soldiers. - - Soldiers, soldiers, march away, - Monday morning's here again; - The drums shall rattle, the pipes shall play - "Over the hills and far away." - Now you're married I wish you joy, - First a girl and then a boy; - If one don't kiss, the other must, - So kiss, kiss, kiss. - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - -A circle is formed, and the children sing the first four lines. One -chooses a partner, and they dance round in the ring. - - -Three Dukes. - -[Vol. ii. pp. 233-255.] - -In a version of the Three Dukes, collected by Dr. A. C. Haddon, the -first lines are-- - - Here comes one duke a riding by, a riding by, - A riding by (repeat). - Rasima, Tasima, Tisima tay; - Pray what is your will, sir? - My will is to get married. - Will any of my fair daughters do? - They're all as stiff as pokers. - We can bend as well as you, sir. - -The duke goes round, chooses one, and sings-- - - I go to the kitchen, I go to the hall, - I pick the fairest one of all (as previous versions). - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - - -Three Knights from Spain. [Vol. ii. pp. 257-279.] - -A version of this game called "Gipsies," varies slightly from those -previously printed. - - Here comes one gipsy come from Spain, - To call upon your daughter Jane; - - Our daughter Jane is far too young, - To be controlled by flattering tongue. - - Oh, very well, I must away; - I'll call again some other day. - - Come back, come back, - Your tails are flag, - And choose the fairest one you see. - -The gipsy then chooses a girl from the line of players, and asks her to -come. The girl asked replies, "No." Then the gipsy turns round and -dances, saying, "Naughty girl, she won't come out (repeat), to help me -in my dancing." Again the gipsy asks the girl, when she replies, "Yes," -and goes to the gipsy, who says, "Now we have got the flower of May, -the flower of May, &c., to help us with our dancing."--Auchencairn, N. -B. (Mary Haddon). - - -Tug-of-War Game. - - Apples and oranges, two for a penny, - Come all ye good scholars, buy ever so many. - Come choose the east, come choose the west, - Come choose the one you love the best. - -Played like "Oranges and Lemons." One child is "Apple," and another -"Orange."--Ross-shire (Rev. Dr. Gregor). - -Played in the same way is-- - - Pancakes and flitters is the wax of cantailers,[18] - I owe you two farthings, I'll pay you to-morrow; - Here comes a candle to light you to bed, - Here comes a hatchet to chop off your head. - ---Isle of Man (A. W. Moore). - - [18] Mr. Moore says he does not know the meaning of this word. - - -We are the Rovers. - -[Vol. ii. pp. 343-360]. - -In a version sent me by Dr. Haddon, there is a slight variation. The -first lines of each verse are-- - - Have you any bread and wine? - We are the Romans. - Have you, &c. - - Yes, we have some bread and wine, - We are the English. - Yes, we have, &c. - - Will you give us some of it, &c. - No; we'll give you none of it, &c. - We will tell our magistrates, &c. - We don't care for your magistrates, &c. - We will tell our new-born prince, &c. - We don't care for your new-born prince, &c. - Are you ready for a fight? - Yes, we're ready for a fight. - Tuck up sleeves and have a fight. - -General scrimmage follows.--Girton Village, Cambridgeshire (Dr. A. C. -Haddon). - - -When I was a Young Girl. - -[Vol. ii. pp. 362-374.] - -The first lines are-- - - When I was a naughty girl, &c., and this way went I (shrugging - shoulders), - When I was a good girl, &c. (folding arms, walking soberly), - When I was a teacher (beating time or whacking, optional), - When I went a-courting (walking arm in arm), - When I had a baby (nursing apron as baby), - When my baby died (crying), - When my father beat me (hitting one another), - When my father died, - How I did laugh! (laughing). - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - - - - -MEMOIR ON THE STUDY OF CHILDREN'S GAMES - - -Children's games have not hitherto been studied in the same way as -customs and superstitions and folk-tales have been studied, namely, as a -definite branch of folk-lore. It is well however, to bear in mind that -they form a branch by themselves, and that, as such, they contribute to -the results which folk-lore is daily producing towards elucidating many -unrecorded facts in the early history of civilised man. - -Although games have been used by Dr. Tylor and others as anthropological -evidence, these authorities have mostly confined themselves to those -games of skill or chance which happen to have parallels in savage life; -and the particular point of their conclusions rests rather upon the -parallels, than upon the substantive evidence of the games themselves. - -I will first point out the nature of the material for the study. It will -be seen that the greater number of games printed in these two volumes -have been collected by myself and many kind correspondents, from -children in the present day--games that these children have learned from -other children or from their parents, and in no case, so far as I am -aware, have they been learned from a printed source. To this collection -I have added all printed versions of the traditional game, that is, -versions of games written down by the collector of folk-lore and -dialect--in some cases unconscious collectors of folk custom--from any -available source. A distinctive feature of the collection is, therefore, -that I have printed all versions of each game known to me which show -differences of words or methods of play. The importance of having all -the principal variants from different parts of the country will be -obvious when definite conclusions as to the origin and significance of -traditional games are being considered. - -Strutt mentions many games played by boys in his day, but his remarks -are confined principally to games of skill with marbles, tops, &c., and -games like "Prisoner's Base," "Scots and English," "Hot Cockles," &c. He -records none of those interesting dialogue games which we know now as -singing games. It may be that these games were in his day, as now, the -property more of girls than of boys, and he may not have looked for or -thought of recording them, for it can hardly be imagined that he was -unaware of their existence. He records swinging and ball and shuttlecock -playing as girls' amusements, but very little else, and it cannot even -be suggested that the singing game and dialogue game have arisen since -his time. Indeed, an examination of the games will, I hope, prove for -them a very remote origin, showing traces of early beliefs and customs -which children could not have invented, and would not have made the -subjects of their play unless those beliefs and customs were as familiar -to them as cabs, omnibuses, motor cars, and railways, are to the -children of to-day, who use these things as factors in games which they -make up. - -I do not pretend to have made a complete collection of all versions of -games to be found in the United Kingdom and Ireland. It will be seen -from my list that some counties are entirely unrepresented; but I think -examples enough have been brought together from a sufficient number of -different places to show that, even could I obtain the games of every -county, I could not reasonably hope to obtain any that would be -completely different from those appearing here. Versions differing, more -or less, in words from these would, doubtless, appear, but I do not -think an entirely different game, or any variants that would materially -alter my conclusions, will now be found. All those sent me during the -progress of the volumes through the press--and these are a considerable -number--show no appreciable differences. - -A detailed examination of each game has led me to draw certain -conclusions as to the origin of many of the games. These conclusions -differ materially from those advanced by Halliwell, Strutt, or the -earlier writers, when they have attempted to suggest the origin of a -game. I also differ from Mr. Newell in many of the conclusions advanced -in his admirable collection of American children's games, although I -fully recognise the importance of his method of research. I believe, -too, that hitherto no attention has been paid to the manner or method in -which the game is played. It is to the "method" or "form" of play, when -taken together with the words, that I wish to draw particular attention, -believing it to be most important to the history of the games. - -I do not, of course, claim that all the games recorded in these two -volumes are traditional in their present form, or have had independent -origins; many of these now known under different names have a common -origin. There is, probably, not one game in the same condition, -especially as regards words, as it was fifty or a hundred years ago; but -I consider the "form" or "method" would remain practically the same even -if the words get materially altered. - -All games seem primarily to fall into one of two sections: the first, -dramatic games; the second, games of skill and chance. Now the game -proper, according to the general idea, must contain the element of -winning or losing. Thus, the games of skill and chance are played either -for the express purpose of winning property of some sort from a less -fortunate or skilful player, or to attain individual distinction. Games -of this kind are usually called boys' games, and are played principally -by them; but beyond these generally recognised games is the important -section of dramatic games, which are regarded as the property of the -girls, and played principally by them. - -These two sections are generally considered as the peculiar - -and particular property of each sex. Although this idea is borne out by -a study of the traditional game, it will be found that the boys have -dramatic games of their own, and the girls have special games of skill -and chance. It has so happened, however, that the development in the -case of the boys' dramatic games has been in the direction of -increasing the rules or laws of a game, introducing thereby so much -variety that it is difficult to recognise them as descendants of the -dramatic originals. This has probably been the result of their use in -school playgrounds, while the girls' dramatic games, not being utilised -as a means of exercise, have been left alone, and are dying a natural -death. - -It will be convenient if, at this point, the games are classified as I -shall use them in discussing the question of origin. The first necessary -classification will relate to the incidents which show the customs and -rites from which the games have descended; the second classification -will relate to the dramatic force of the games, as it is from this that -I hope to construct the ladder by which the game can be shown to have -descended from a long past stage of culture. - -The classification, according to incident, is as follows, the name of -each game referring to the title-name in the dictionary:-- - - -MARRIAGE GAMES. - - All the Boys. - Babbity Bowster. - Cushion Dance. - Down in the Valley. - Galley, Galley, Ship. - Glasgow Ships. - Hear all! let me at her. - Here comes a Virgin. - Here's a Soldier left alone. - Here stands a Young Man. - Isabella. - Jolly Miller. - King William. - Kiss in the Ring. - Mary mixed a Pudding. - Merry-ma-tanza. - Nuts in May. - Oats and Beans. - Oliver, Oliver, follow the King. - Pretty little Girl of Mine. - Queen Anne. - Rosy Apple. - Round and round the Village. - Sally Water. - Silly Old Man, he walks alone. - Three Dukes. - Three Knights. - Three Sailors. - Widow. - - -COURTSHIP AND LOVEMAKING GAMES. - - Curly Locks. - Dig for Silver. - Gallant Ship. - Here comes a Lusty Wooer. - Here I sit on a Cold Green Bank. - Hey Wullie Wine. - Jolly Hooper. - Jolly Sailors. - Knocked at the Rapper. - Lady on the Mountain. - Paper of Pins. - Pray, pretty Miss. - Queen Mary. - Ring me Rary. - Salmon Fishers. - Shame Reel. - Soldier. - Sun Shines. - Three Old Bachelors. - Wind, The. - - -FORTRESS GAMES. - - Barbarie, King of the. - Canlie (Addenda). - How many Miles to Babylon. - King of the Castle. - London Bridge. - Tower of London. - Willie Wastell. - - -FUNERAL GAMES. - - Booman. - Green Grass. - Green Gravel. - Jenny Jones. - Old Roger. - Wallflowers. - - -HARVEST GAMES. - - Oats and Beans and Barley. - Would you know how doth the Peasant? - - -TRADE GAMES. - - Dumb Motions. - Trades. - - -GHOST GAMES. - - Deil amo' the Dishes. - Ghost at the Well. - Mouse and Cobbler. - - -WELL WORSHIP GAME. - - Draw a Pail of Water. - - -RUSH-BEARING GAME. - - Rashes. - - -TREE WORSHIP GAME. - - Eller Tree. - - -WINDING UP GAMES. - - Bulliheisle. - Port the Helm. - Snail Creep. - Tuilzie Wap. - Wind up the Bush Faggot. - - -TABU GAME. - - Old Soldier. - - -DIVINATION GAMES. - - Dan'l my Man. - Hot Cockles. - Jack's Alive. - Keppy Ball. - 'Ot millo. - Priest Cat. - Ragman. - Ringie Red Belt. - Shuttlefeather. - Swinging. - - -VICTIMISING OR PENALTY GAMES. - -(_Forms of Torture._) - - Block, Hammer, and Nail. - Bonnety. - Carrying the Queen a Letter. - Cat Beds. - Cobbin Match. - Cry Notchil. - Dump. - Ezzeka. - Father's Fiddle. - Heap the Cairn. - Hecklebirnie. - Hewley Puley. - Hickety Bickety. - Hiry Hag. - Hot Cockles. - Jack's Alive. - Magic Whistle. - More Sacks to the Mill. - Namers and Guessers. - Priest of the Parish. - Pun o' mair Weight. - Ronin the Bee. - Sacks. - Salt Eel. - Shoe the Auld Mare. - Wild Birds. - - -CHARM GAMES. - - Cockeldy Bread. - Thun'er Spell. - - -EFFIGY GAME. - - Drawing Dun out of the Mire. - - -IMITATION OF SPORT GAMES. - - All a Row. - Cock-fight. - Hare and Hounds. - Hunting. - Knights. - Puff in the Dart. - - -IMITATION OF SPORTS (WITH ANIMAL) GAMES. - - Badger the Bear. - Bull in the Park. - Call the Guse. - Cockertie-hooie. - Cock-fight. - Cock's-heading. - Doncaster Cherries. - Fox. - Fox in the Fold. - Fox in the Hole. - Frog in the Middle. - Garden Gate. - Hare and Hounds. - Shue-Gled-Wylie. - Wolf. - - -WEIGHING GAMES. - - Bag o' Malt. - Honey Pots. - Rockety Row. - Way Zaltin'. - Weigh the Butter. - - -WITCH OR CHILD STEALING GAMES. - - Gipsy. - Keeling the Pot. - Mother, Mother, the Pot boils over. - Old Cranny Crow. - Steal the Pigs. - Three Jolly Welshmen. - Witch. - - -ANIMAL CONTEST GAMES. - - Chickens, come clock. - Fox and Geese. - Gled-Wylie. - Hen and Chickens. - Letting the Buck out. - Old Dame. - Shepherds and Sheep. - Who goes round my Stone Wall? - Wolf. - Wolf and Lamb. - - -FISHING GAME. - - Catch the Salmond. - - -CHURNING GAME. - - Churning. - - -CONUNDRUM GAMES. - - Cross Questions. - Thing done. - Three Flowers. - - -GUESSING GAMES. - - All the Birds in the Air. - Bannockburn. - Bird Apprentice. - Birds, Beasts, and Fishes. - Brother Ebenezer. - Buck, Buck. - Buff. - Dumb Crambo. - Fool, Fool, come to School. - Handy Croopen. - Handy Dandy. - Hiss and Clap. - Hot Cockles. - King Plaster Palacey. - Little Dog I call you. - Namers and Guessers. - Old Johnny Hairy. - Priest-Cat (2). - Religious Church. - Thimble Ring. - Trades. - - -CONTEST GAMES. - - -_To take Prisoners._ - - Bedlams. - Blackthorn. - Buckey-how. - Canlie. - Chickidy Hand. - Click. - Cock. - Flowers. - Hornie. - Hunt the Staigie. - Johnny Rover. - King Csar. - King Come-a-lay. - King of Cantland. - Lamploo. - Over Clover. - Prisoner's Base. - Range the Bus. - Rax. - Relievo. - Rin-im-over. - Save all. - Shepherds. - Stacks. - Stag. - Stag Warning. - Warney. - - -_Prisoners and Possession of Ground._ - - Barley Break. - French and English. - How many Miles to Babylon (2). - Pi-cow. - Prisoner's Base. - Range the Bus. - Rigs. - Scots and English. - - -_Catching and Touching for "he" or "it."_ - - Black Doggie. - Blackman's Tig. - Boggle about the Stacks. - Canlie. - Cross Tig. - Cutters and Trucklers. - Drop Handkerchief. - Fire on the Mountains. - Hand in and Hand out. - High Windows. - Jinkie. - King o' the Castle. - Letting the Buck out. - Long Terrace. - Mannie on the Pavement. - One Catch all. - Push in the Wash Tub. - Puss in the Corner. - Rakes and Roans. - Round Tag. - Ticky Touchwood. - Tig. - Time. - Tom Tiddler's Ground. - Touch. - Tres-acre. - Twos and Threes. - - -_Tug of War._ - - A' the Birdies. - Namers and Guessers. - Oranges and Lemons. - Sun and Moon. - Three Day's Holidays. - Through the Needle 'ee. - - -DANCE GAMES. - -(_With words and singing._) - - All the Soldiers in the Town. - Alligoshee. - Auntie loomie. - As I was walking. - Ball of Primrose. - Basket. - Bell-Horses. - Betsy Bungay. - Bingo. - Bold Jolly Lads. - Boys and Girls. - Carry my Lady to London. - Chicamy. - Click, Clock, Cluck. - Contrary, Rules of. - Dinah. - Duck Dance. - Duck under the Water. - Farmer's Den. - Frincy-francy. - Galloping. - Green Grass (Addenda). - Green grow the Leaves (2). - Green grow the Leaves. - Here we go Around. - Jenny Mac. - Jingo Ring. - Leap Candle. - Leaves are Green. - Long Duck. - Lubin. - My delight's in Tansies. - Ph[oe]be. - Pop goes the Weasel. - Pray, pretty Miss. - Pretty Miss Pink. - Push the Business on. - Queen Mary. - Ring by Ring. - Ring o' Roses. - Round and Round went the Gallant - Ship. - Sailor Lad. - Sally go round. - Sunday Night. - Three Little Ships. - Town Lovers. - Trip and Go. - Turn Cheeses. - Turn the Ship. - Turvey Turvey. - Uncle John. - Up the Streets. - Weary. - Weave the Diaper. - - -DANCE AND SEE-SAW GAMES. - - Cobble. - Cobbler's Hornpipe. - Curcuddie. - Cutch-a-Cutchoo. - Harie Hutcheon. - Hirtschin Hairy. - Huckie Buckie down the Brae. - See-saw. - Skiver the Guse. - - -HIDE AND SEEK GAMES. - - -(1.) PERSONS-- - - Bicky. - Cuckoo. - Gilty Galty. - Hide and Seek (1). - Howly. - Kick the Block. - King by your Leave. - Mount the Tin. - Salt Eel. - Spy Arm. - Strike-a-licht. - - -(2). OBJECTS-- - - Codham. - Find the Ring. - Gigg. - Hide and Seek (2). - Kittlie-cout. - Odd-man. - Peesie Weet. - Priest Cat (2). - Shuffle the Brogue. - Smuggle the Gig. - Thimble Ring. - Tip it. - - -LEAP-FROG AND HOPPING GAMES. - - Accroshay. - Bung the Bucket. - Cat Gallows. - Foot and Over. - Half Hammer. - Hop Frog. - Hopscotch. - Leap-frog. - Loup the Bullocks. - Saddle the Nag. - Ships. - Skin the Goatie. - - -CARRYING GAMES. - - Betsy Bungay. - Carry my Lady to London. - King's Chair. - Knapsack. - Knights. - - -BLINDFOLD GAMES. - - Blind Bell. - Blindman's Buff. - Blindman's Stan. - Buff. - Cock Stride. - Dinah. - French Blindman's Buff. - Giddy. - Hot Cockles. - Kick the Block. - Muffin Man. - Old Johnny Hairy, Crap in! - 'Ot millo. - Pillie Winkie. - Pointing out a Point. - Queen of Sheba. - - -FOLLOW MY LEADER GAMES. - - Follow my Gable. - Follow my Leader. - Jock and Jock's Man. - Quaker. - Quaker's Wedding. - Religious Church. - Solomon. - The Drummer Man. - - -FORFEIT GAMES. - - American Post. - Button. - Cross Questions. - Diamond Ring. - Fire, Air, Water. - Follow my Gable. - Forfeits. - Genteel Lady. - Jack's Alive. - Malaga Raisins. - Mineral, Animal, Vegetable. - Minister's Cat. - Mr. Barnes. - Old Soldier. - Turn the Trencher. - Twelve Days of Christmas. - Wads and the Wears. - - -BALL, HAND. - - Ball. - Ball in the Decker. - Balloon. - Balls and Bonnets. - Burly Whush. - Caiche. - Colley Ball. - Cuck-ball. - Cuckoo. - Han'-and-Hail. - Hats in Holes. - Keppy Ball. - Monday, Tuesday. - Pat-Ball. - Pize Ball. - Pots. - Stones. - Teesty-Tosty. - Trip-Trout. - Tut-ball. - - -BALL, FOOT. - - Camp. - Football. - Hood. - - -BALL GAMES. - -(_With bats and sticks played by rival parties._) - - Bad. - Baddin. - Bandy-ball. - Bandy-cad. - Bandy-hoshoe. - Bandy-wicket. - Bittle-battle. - Buzz and Bandy. - Cat and Dog. - Cat and Dog Hole. - Catchers. - Cat i' the Hole. - Chinnup. - Chow. - Church and Mice. - Codlings. - Common. - Crab-sowl. - Crooky. - Cuck-ball. - Cudgel. - Dab-an-Thricker. - Doddart. - Hawkey. - Hockey. - Hornie Holes. - Hummie. - Hurling. - Jowls. - Kibel and Nerspel. - Kirk the Gussie. - Kit-Cat. - Lobber. - Munshets. - Nur and Spel. - Peg and Stick. - Rounders. - Scrush. - Shinney. - Sow-in-the-Kirk. - Stones. - Stool-ball. - Tip-cat. - Trap-bat and ball. - Tribet. - Trippet and coit. - Troap. - Trounce hole. - Trunket. - Waggles. - - -GAMES OF SKILL AND CHANCE. - -AIM--_Throwing sticks or stones to hit particular object._ - - All in the Well. - Cockly Jock. - Cogs. - Doagan. - Duck at the Table. - Duckstone. - Loggats. - Mag. - Nacks. - Paip. - Pay Swad. - Peg-fiched. - Penny Cast. - Penny Prick. - Roly Poly. - - -BUTTONS. - - Banger. - Buttons. - Cots and Twisses. - Hard Buttons. - Pitch and Toss. - Skyte the Bob. - - -CHANCE, or GAMBLING. - - Chuck Farthing. - Cross and Pile. - Dab. - Davie Drap. - Hairry my Bossie. - Headicks and Pinticks. - Heads and Tails. - Hustle Cap. - Jingle-the-Bonnet. - Lang Larence. - Neivie-nick-nack. - Odd-man. - Odd or Even. - Pednameny. - Pick and Hotch. - Pinch. - - -CHERRY STONES. - - Cherry Odds. - Cherry-pit. - Paip. - - -EGGS. - - Blindman's Stan. - Cogger. - Jauping Paste-eggs. - Pillie Winkie. - Wink-egg. - - -MARBLES. - - Boss-out. - Bridgeboard. - Bun-hole. - Capie-hole. - Castles. - Chock or Chock-hole. - Cob. - Crates. - Dumps. - Ho-go. - Hoilakes. - Holy Bang. - Hundreds. - Hynny-pynny. - Lab. - Lag. - Long-Tawl. - Marbles. - Nine holes. - Pig-ring. - Pit-Counter. - Pits. - Plum pudding. - Pyramids. - Ring-taw. - Ship-sail. - Shuvvy-Hawle. - Span-counter. - Spangle. - Spannims. - Splints. - Stroke. - Three Holes. - - -NUTS ON STRING. - - Cob-nut. - Cock-battler. - Cogger. - Conkers. - Conquerors. - Jud. - Peggy nut. - - -ON DIAGRAM OR PLAN. - - Corsicrown. - Fipenny Morell. - Fox and Geese (2). - Hap-the-beds. - Hickety-Hackety. - Hopscotch. - Kit-cat-cannio. - London. - Nine Men's Morris. - Noughts and Crosses. - Pickie. - Tip-tap-toe. - Tit-tat-toe. - Tods-and-lambs. - Tray Trip. - Troy Town. - - -PENCE. - - Chuck Farthing. - Chuck Hole. - - -PINS. - - Hattie. - Pinny-Show. - Pins. - Pop-the-Bonnet. - Push-pin. - - -SHUTTLECOCK. - -Shuttlefeather. - - -STONES AND DICE. - - Chance Bone. - Checkstones. - Chucks. - Dalies. - Dibbs. - Ducks and Drakes. - Gobs. - Huckle-Bones. - Jackysteauns. - - -TOPS. - - Chippings. - Gully. - Hoatie. - Hoges. - Peg-in-the-Ring. - Peg Top. - Scop-peril. - Scurran-Meggy. - Tops. - Totum. - Whigmeleerie. - - -WITH FINGERS AND STRING. - - Cat's-Cradle. - -This leaves over a few games which do not come under either of these -chief heads, and appear now to be only forms of pure amusement. These -are:-- - - Blow-point. - Bob Cherry. - Bummers. - Chinny-mumps. - Cuddy among the Powks. - Dish-a-loof. - Dust Point. - Handy Dandy. - Level Coil. - Lug and a Bite. - Lugs. - Magician. - Malaga Raisins. - Musical Chairs. - Neighbour, I torment thee. - Obadiah. - Penny Hop. - Pigeon Walk. - Pinny Show. - Pins. - Pirly Peaseweep. - Pon Cake. - Poor and Rich. - Prick at the Loop. - Robbing the Parson's Hen Roost. - Scat. - She Said, and She Said. - Stagging. - Sticky-stack. - Stroke Bias. - Sweer Tree. - Thing Done. - Troco. - Troule-in-Madame. - Truncher. - Turn Spit Jack. - Wiggle Waggle. - Wild Boar. - -In order to show the importance of this classification, let me first -refer to the games of skill. These are (1) where one individual plays -with some articles belonging to himself against several other players -who play with corresponding articles belonging to them; (2) where one -player attempts to gain articles deposited beforehand by all the players -as stakes or objects to be played for. These games are played with -buttons, marbles, cherry-stones, nuts, pins, and pence. In the second -group, each player stakes one or more of these articles before beginning -play, which stakes become the property of the winner of the game. The -object of some of the games in the first group is the destruction of the -article with which the opponent plays. This is the case with the games -of "conkers" played with nuts on a string, and peg-top; the nuts and top -are broken, if possible, by the players, to prevent their being used -again, the peg of the top being retained by the winner as a trophy. The -successful nut or top has the merit and glory of having destroyed -previously successful nuts or tops. The victories of the one destroyed -are tacked on and appropriated by each victor in succession. So we see a -nut or a top which has destroyed another having a record of, say, -twenty-five victories, taking these twenty-five victories of its -opponent and adding them to its own score. In like manner the pegs of -the tops slain in peg-top are preserved and shown as trophies. That the -destruction of the implements of the game, although not adding to the -immediate wealth of the winner, does materially increase his importance, -is manifest, especially in the days when these articles were -comparatively much more expensive than now, or when it meant, as at one -time it must have done, the making of another implement. - -These games are of interest to the folk-lorist, as showing connection -with early custom. We know that playing at games for stakes involving -life or death to the winner, or the possession of the loser's magical or -valuable property or knowledge, is not only found in another branch of -folk-lore, namely, folk-tales, but there is plenty of evidence of the -early belief that the possession of a weapon which had, in the hands of -a skilful chief, done great execution, would give additional skill and -power to the person who succeeded in obtaining it. When I hear of a -successful "conker" or top being preserved and handed down from father -to son,[19] and exhibited with tales of its former victories, I believe -we have survivals of the form of transmission of virtues from one person -to another through the means of an acquired object. I do not think that -the cumulative reckoning and its accompanying ideas would occur to -modern boys, unless they had inherited the conception of the virtue of a -conquered enemy's weapon being transferred to the conqueror's. - - [19] I know of one nut which was preserved and shown to admiring boys - as a conqueror of 1000. - -Other games of skill are those played by two or more players on diagrams -or plans. Many of these diagrams and plans are found scratched or carved -on the stone flooring or walls of old churches, cathedrals, and monastic -buildings, showing that the boys and men of the Middle Ages played them -as a regular amusement--probably monks were not averse to this kind of -diversion in the intervals of religious exercise; plans were also made -on the ground, and the games played regularly by shepherds and other -people of outdoor occupation. We know this was so with the well-known -"Nine Men's Morris" in Shakespeare's time, and there is no reason why -this should not be the case with others, although "Nine Men's Morris" -appears to have been the favourite. These diagram games are primitive in -idea, and simple in form. They consist primarily of two players trying -to form a row of three stones in three consecutive places on the plan; -the one who first accomplishes this, wins. This is the case with -"Kit-Cat-Cannio" (better known as "Noughts and Crosses") "Corsicrown" -and "Nine Men's Morris." - -Now, in "Noughts and Crosses" the simplest form of making a "row of -three," where only two players play, and in another diagram game called -"Tit-Tat-Toe," it is possible for neither player to win, and in this -case the result is marked or scored to an unknown or invisible third -player, who is called "Old Nick," "Old Tom," or "Old Harry." In some -versions this third player is allowed to keep all the marks he -registers, and to win the game if possible; in others, the next -successful player takes "Old Nick's" score and adds it to his own. Here -we have an element which needs explanation, and it is interesting to -remind oneself of the primitive custom of assigning a certain proportion -of the crops or pieces of land to the devil, or other earth spirit, -which assignment was made by lot. It seems to me that a game in which an -invisible player takes part must come from an era in which unknown -spirits were believed to take part in people's lives, the interpretation -of such part being obtained by means of divination. - -Again, in the games played with ball (hand) are remains of divination, -and the ball games played by two opposite parties with bats and sticks, -the origin of our modern cricket and football, have been developed from -those early contests which have played such an important part in parish -and town politics. Even in the simple game of "Touch" or "Tig" a -primitive element can be found. In this game, as in many others, it is -one of the fundamental rules, now unfortunately being disregarded, that -the player who is "he" or "it" must be chosen by lot; one of the -"counting out" rhymes is said until all the players but one are counted -out--this one is then "he." This "he" is apparently a "tabooed" person; -he remains "he" until he succeeds in touching another, who becomes -"tabooed" in turn, and the first is then restored to his own -personality. There would be no necessity for this deciding by lot unless -something of an ignominious or "evil" character had been originally -associated with the "unnamed" or "tabooed" player. In some games the -player who is counted out is the victim of the rough play or punishment, -which is the motive of the game. It is possible that the game of "Touch" -has developed from the practice of choosing a victim by lot, or from -tabooing people suffering from certain diseases or subjected to some -special punishment. - -The "counting out" rhymes of children are in themselves an interesting -and curious study. They contain the remains in distorted form of some of -the early numerals. The fact of a counting-out rhyme being used in the -games is of itself evidence of antiquity and old usage. For those -interested in this branch of study I can refer to the valuable book on -this subject by Mr. H. Carrington Bolton, which contains hundreds of -these rhymes collected from various sources. - -I mention these instances of possible connection between the games of -skill and ancient belief and custom, to show that the anthropological -significance of traditional games is not absent from what might perhaps -be considered quite modern games. This is important to my argument, -because when I turn to the dramatic section of children's games there is -so much evidence of the survival of ancient custom and belief, that I am -supported in the arguments which I shall advance by the fact that the -whole province of children's play, and not particular departments, -contribute to this evidence. It will be seen from the classification -that many customs are dramatised or represented in a more or less -imperfect form in a large number of games, and that these customs have -been those which obtained a firm hold on the people, and formed an -integral part of their daily life. Courtship, love, and marriage form -the largest number; then the contest games for the taking of prisoners -and of territory are the next in point of numbers. Funerals appear as -the next most widely spread, then harvest customs, while the practice of -divination, the belief in ghosts and charms, well-worship, tree-worship, -and rush-bearing, witches, and child-stealing, are fully represented. -Next come imitations of sports (animal), and contest games between -animals, and then a number of games in which "guessing" is a principal -feature, and a large number dealing with penalties or punishments -inflicted for breach of rules. - -A survey of the classification scheme of traditional games introduces -the important fact that games contain customs; in other words, that -games of skill and chance have come down from a time when practices were -in vogue which had nothing originally to do with games, and that -dramatic games have come down from times when the action they dramatise -was the contemporary action of the people. It becomes important, -therefore, to work more closely into the details of these games, to -ascertain if we can what customs are preserved, to what people or period -of culture they might have belonged. In many instances enough is said -under each game to show the significance of the conclusions, but when -brought together and compared one with another these conclusions become -more significant. The fact that marriage custom is preserved in a given -form becomes of immense value when it is found to have been preserved in -many games. I shall not go further into the games of skill and chance, -but confine myself to the important class of dramatic games. - -By the dramatic game I mean a play or amusement which consists of words -sung or said by the players, accompanied by certain pantomimic actions -which accord with the words used, or, as I prefer to put it, of certain -definite and settled actions performed by the players to indicate -certain meanings, of which the words are only a further illustration. - -To take the method of play first, I have found five distinct and -different methods:-- - -(1) The line form of game, played by the children being divided into two -sides of about an equal number on each side, with a space of ground of -about eight or ten feet between the two lines. Each line joins hands, -and advances and retires in turn while singing or saying their parts. - -(2) The circle form, played by the children joining hands and forming a -circle, and all walking or dancing round together when singing the -words. - -(3) The individual form, where the children take separate characters and -act a little play. - -(4) The arch form, in which two children clasp each other's hands, hold -their arms high, and so form a kind of arch, beneath which all the other -players run in single file. - -(5) Winding-up form, in which the players, clasping hands, wind round -another player until all are wedged closely together, and then unwind -again, generally assuming a serpentine form in so doing. - -It will be well, in the first place, to arrange the games played under -each of these methods:-- - - -GAMES PLAYED IN LINE FORM (_with singing and action_). - - Babbity Bowster. - Green Grass. - Hark the Robbers (_one form_). - Here comes a Lusty Wooer. - Here comes one Virgin on her Knee. - Jenny Jones (_one form_). - Jolly Hooper (_only one line advance_). - Lady of the Land. - London Bridge (_one form_). - Mary Brown (_one form_). - Milking Pails. - Nuts in May. - Pray, pretty Miss (_one form_). - Queen Anne. - Three Dukes. - Three Knights. - Three Sailors. - We are the Rovers. - - -CIRCLE FORM (_singing and action subdivided into three methods_). - - (1) Green Gravel. - Jolly Miller. - London Bridge (_some versions_). - Lubin. - Mulberry Bush. - Nettles. - Oats and Beans and Barley. - Ring a Ring o' Roses. - Rushes. - Wallflowers. - When I was a Young Girl. - Would You know how doth the Peasant? - - (2) All the boys. - Down in the Valley. - Glasgow Ships. - Here stands a Young Man. - Isabella. - Jolly Fisherman. - Jolly Sailors. - King William. - Kiss in the Ring. - Knocked at the Rapper. - Lady on the Mountain. - Mary Brown. - Mary mixed a Pudding. - Merry-ma-tanza. - Needle Cases. - Old Widow. - Oliver, Oliver, follow the King. - Poor Mary sits a-weeping. - Poor Widow. - Pretty little Girl of Mine. - Punch Bowl. - Queen Mary. - Rosy Apple, Lemon, and Pear. - Round and Round the Gallant Ship. - Sally Water. - Silly Old Man. - Uncle John. - Wind. - - (3) Booman. - Old Roger. - Round and Round the Village. - Who goes round my Stone Wall? - - -INDIVIDUAL FORM (_dialogue game_). - - Auld Grannie. - Baste the Bear. - Fox and Goose. - Ghost at the Well. - Gipsey. - Gled-wylie. - Hen and Chickens. - Honey Pots. - Jack, Jack, the Bread's a-burnin'. - Keeling the Pot. - King of the Barbarie. - Lady on yonder Hill. - Lend Me your Key. - Mother, may I go out? - Mother Mop. - Mother, Mother, the Pot boils over. - Mouse and Cobbler. - Old Granny Crow. - Old Woman. - Shepherds and Sheep. - Steal the Pigs. - Three Jolly Welshmen. - Witch. - -The arch form of game, or tug-of-war as it is usually called, subdivide -into two methods:-- - - -ARCH FORM. - - (1) Draw a Pail of Water. - Hark the Robbers (_some versions_). - How many Miles to Babylon. - London Bridge. - Long Duck. - Thread the Needle. - Through the Needle Eye. - - (2) Fool, Fool, come to School. - Hark the Robbers (_some versions_). - Little Dog, I call you. - Namers and Guessers. - Oranges and Lemons. - Three Days' Holidays. - Tug of War. - - -WINDING UP, OR SERPENT'S COIL FORM. - - Bulliheisle. - Eller Tree. - Port the Helm. - Snail Creep. - Tuilzie Wap. - Winding up the Bush Faggot. - -The first or line form of games is characterised by no one player being -distinguished above his fellows; there are no distinct or separate -characters to be played. All the players on one line say the same words -and perform the same actions; all advance together and retire together. -Each line stands still while the other line advances, retires, and has -its "say." In this way questions are asked and answers are given. -Questions and answers form an essential part of the line form of game. -The one line of players imply action of a party composed of several -persons who are of the same opinion, and the line on the opposite side -is a party who hold different opinions, and express these in words and -by actions; so that in no game played in line form do we get unanimous -action of all the players, but half and half. - -These line games represent in the main a contest, and there are contests -of different kinds; that is, war between the people of two different -locations, between parishes or border countries of different -nationalities, and contests for wives, of a more or less friendly -nature. That the lines or sides indicate people who come from one -country or district to another country or district is shown, I think, by -the fact that a line is drawn in the middle of the ground, which line -separates the territory of the two sides. Players can go as far as the -line on their own side, but one step over lands them in the enemy's -territory. In a marriage game of the line form, the girl when unwilling -is pulled across the line, and when willing she walks across to the -opposite side. It is also clear that in the marriage games the party on -one side represents young men, and on the other side young women. - -In the second group, the circle form, all the players join hands to form -a circle. They all perform the same actions and say the same words. This -circle form is used in three ways. - -In the first or simplest class all the players perform the same actions, -sing the same words all together. There is no division into parties, and -no individual action or predominance. This method is adopted when a -certain recurring custom is celebrated or a special event is -commemorated. The event is described in pantomimic action, and -accompanied with dance and song. - -In the second class the circle is formed, the players all clasp hands, -dance round together, and sing the same words; but the action is -confined to first one and then two players, who are taken by "choice" -from those forming the circle. This class principally consists of -courtship, love-making, and marriage games. The two principal parties -concerned usually have no words to say, though in some "love" games the -centre player does express his or her own feelings in verse. The fact -that this form is used for love and marriage games accounts for the much -larger number of games in this class and their greater variety. - -In the third class of the circle game the players form the circle to act -the part of "chorus" to the story. There are also two, three, or four -players, as required, who act parts in dumb show suitable to the -character personified. In this class the circle personate both animate -and inanimate objects. The circle is stationary--at least the players -forming it do not dance or walk round. They sometimes represent houses; -a village, and animals are usually represented rather than people. - -The circle games I consider to be survivals of dramatic representations -of customs performed by people of one village or of one town or -tribe--representations of social customs of one place or people, as -distinct from the "line" form of games, which represent a custom -obtaining between two rival villages or tribes. Thus I am inclined to -consider the joining of hands in a circle as a sign of amity, alliance, -and kinship. In the case of the line games hands are clasped by all -players on each side, who are thus in alliance against those on the -opposite side. When hands are joined all round so that a circle is -formed, all are concerned in the performance of the same ceremony. There -is no division into parties, neither is difference of opinion shown -either by action or words in circle games. - -In the third class of game there are several distinct characters, and -the game partakes more of the nature of what we should call a play -proper, and may be considered an outcome of the circle play. There are -several characters, usually a mother, a witch or old woman, an elder -daughter and several younger children, a ghost, and sometimes animals, -such as sheep, wolves, fox, hen, and chickens. The principal characters -(not more than two or three) are played by different children, and these -having each a part allotted to them, have also a certain amount of -dialogue to say, and corresponding actions to perform. The remaining -characters, whether children or animals, merely act their part when -action is required, all doing the same thing, and have no words to say. -The dialogue in these games is short and to the point. It has not been -learnt from written sources, but orally, and as long as the main idea -and principal incidents are not departed from, the players may, -according to their capacity, add to or shorten the dialogue to heighten -the situation. There is no singing in these games, though there is what -perhaps might be called the remains of rhyme in the dialogue. - -The fourth form, that of the arch, is played in two ways. In the first, -two children clasp their hands and hold them up to form an arch. Under -this all the other players run as if going through an arch or gateway, -and the players are generally stopped by the two who form the arch. Then -a circle is formed, and all the players join hands and dance round -together. In the second way, the arch is formed as above, and all the -players run under. These players are then caught one by one within the -arch, and have to choose one of the two leaders, behind whom they stand. -A tug-of-war then ensues between the two leaders and their followers. - -The first of these, that ending with the circle or dancing, indicates -the celebration of an event in which all the people join, and all are of -one way of thinking--differing from this group of customs celebrated by -the simple circle game by each person in turn performing a ceremony, -signified in games by the action of going under or through an arch. - -The second way, when the "tug" follows, represents a contest, but I do -not think the contest is of the same kind as that of the line form. This -rather represents the leaders of two parties who are antagonistic, who -call, in the words of the rhymes, upon the people of a town, or faction, -to join one of the two sides. The fact that each player in the line or -string is caught by the leaders, and has to choose which of them he will -fight under, together with the tug or pulling of one side over a marked -line, by the other side, indicates a difference in the kind of warfare -from the line contests, where territory is clearly the cause of the -struggle and fight. The line contest shows a fight between people of -different lands; and the arch contest, a method of choosing leaders by -people living in one land or town. - -In the fifth form, "winding up games," the players join hands in a long -line, and wind round and round one player at the end of the line, -usually the tallest, who stands still until all are formed in a number -of circles, something like a watch spring. They then unwind, sometimes -running or dancing, in a serpentine fashion until all are again in -straight line. These games probably refer to the custom of encircling -trees, as an act of worship. They differ from the circle game in this -way: The players in a circle game surround something or some one. In the -"winding up" game they not only surround, but attachment or "hold" to -the thing surrounded has to be kept. - -The fact that these games lend themselves to such treatment, and the -fact that I am obliged to use the terms, district, tribe, localities, -obliged to speak of a state of contest between groups, of the sacred -encircling of a tree, and of other significant usages, go far to suggest -that these games must contain some element which belongs to the -essential part of their form, and my next quest is for this element. I -shall take each class of game, and endeavour to ascertain what element -is present which does not necessarily belong to games, or which belongs -to other and more important branches of human action; and it will depend -on what this element is as to what can ultimately be said of the origin -of the games. - -Of the games played in "line" form, "We are the Rovers" is the best -representative of pure contest between two opposing parties. If -reference is made to the game (vol. ii. pp. 343-356), the words will be -found to be very significant. In my account of the game (pp. 356-60), I -suggest that it owes its origin to the Border warfare which existed on -the Marches between England and Scotland and England and Wales, and I -give my reasons, from analysing the game, why I consider it represents -this particular form of contest rather than that of a fight between two -independent countries. Both sides advancing and retiring in turn, while -shouting their mutual defiance, and the final fight, which continues -until all of one side are knocked down or captured, show that a -deliberate fight was intended to be shown. I draw attention, too, to the -war-cry used by each side, which is also significant of one of the old -methods of rallying the men to the side of their leader--an especially -necessary thing in undisciplined warfare. This game, then, contains -relics of ancient social conditions. That such a contest game as this is -represented by the line form combining words, singing, and action, is, I -submit, good evidence of my contention that the line form of game -denotes contest. This game, then, I consider a traditional type of -contest game. - -It is remarkable that among the ordinary, now somewhat old-fashioned, -contest games played by boys there should be some which, I think, are -degenerate descendants of this traditional type. There are a number of -boys' games, the chief features of which are catching and taking -prisoners and getting possession of an enemy's territory--as in the -well-known "Prisoner's Base" and "Scots and English." "Prisoner's Base" -(ii. pp. 80-87) in its present form does not appear to have much in -common with games of the type of "We are the Rovers," but on turning to -Strutt we find an earlier way of playing (_ibid._ p. 80). Now, this -description by Strutt gives us "Prisoner's Base" played by two lines of -players, each line joining hands, their homes or bases being at a -distance of twenty to thirty feet apart. That the line of players had to -keep to their own ground is, I think, manifest, from it being necessary -for one of the line to touch the base. There is no mention of a leader. -Thus we have here an undoubted form of a contest game, where the taking -of prisoners is the avowed motive, played in almost the same manner as -the line dramatic game. When the dramatic representation of a contest -became formulated in a definite game, the individual running out and -capturing a certain player on the opposite side would soon develop and -become a rule of the game, instead of all on one side trying to knock -down all on the other side. It may be a point to remember, too, that in -primitive warfare the object is to knock down and kill as many of the -enemy as possible, rather than the capture of prisoners. - -In other games of a similar kind, the well-known "Scots and English" -(ii. p. 183), for example, we have the ground divided into two parts, -with a real or imaginary line drawn in the middle; the players rush -across the line and try to drag one of the opposite side across it, or -to capture the clothes of the players. - -In other boys' games--"Lamploo," "Rax," "King of Cantland," "King -Csar," "Stag"--there are the two sides; the players are sometimes all -on one side, and they have to rush across to the other, or there are -some players on each side, who rush across to the opposite, trying to -avoid being taken prisoner by a player who stands in the middle between -the opposite goals. When this player catches a boy, that boy joins hands -with him; the next prisoner taken also joins hands, and these assist in -capturing others. This is continued until all the players are caught and -have joined hands in a long line, practically reverting to the line form -of game, and showing, according to my theory of the line game, that all -joining hands are of one side or party. If the line gets broken the -players can run back to their own side. There are many other games which -are played in a similar way (see Contest Games), though farther removed -from the original form. In most of these we have practically the same -thing--the sides have opposite homes, and the leader, though individual -at first, becomes merged in the group when the line is formed, and the -game ends by all the players being on one side. It must be mentioned, -too, that in these boys' games of fighting, the significant custom of -"crowning," that is, touching the head of the captured one, obtains. If -this is omitted the prisoner is at liberty to escape (see "Cock," "King -of Cantland"). - -Although there is no dialogue between the opposing parties in these -contest games, there are in some versions undoubted remains of it, now -reduced to a few merely formal words called a "nominy." These "nominys" -must be said before the actual fight begins, and the remains are -sufficient to show that the nominy was originally a defiance uttered by -one side and answered by the other. For these nominys, see "Blackthorn," -"Chickidy Hand," "Hunt the Staigie," "Scots and English," "Johnny -Rover," "Shepherds," "Stag," "Warney," &c. - -The next most important games in line form are marriage games. In the -well-known "Nuts in May" (vol. i. p. 424-433) there is a contest between -the two parties, but the contest here is to obtain an individual for the -benefit of the side. A line is drawn on the ground and a player is -deliberately sent to "fetch" another player from the opposite side, and -that this player is expected to conquer is shown by the fact that he is -selected for this purpose, and also because the ceremony of "crowning" -prevails in some versions. The boy, after he has pulled the girl across -the line, places his hand on her head to complete the capture and to -make a prisoner. This custom of "crowning" prevails in many games where -prisoners are made, and I have already mentioned it as occurring in the -boys' contest games. If the crowning is performed, the capture is -complete; if not performed, the prisoner may escape. - -The evidence of this game, I consider, points to customs which belong to -the ancient form of marriage, and to what is technically known as -marriage by capture. - -In the game of the "Three Dukes" (vol. ii. p. 233-255), it will be -noticed that the actions are very spirited. Coquetry, contempt, and -annoyance are all expressed in action, and the boys imitate riding and -the prancing of horses. I must draw special attention to the remarks I -have made in my account of the game, and for convenience in comparing -the line marriage games I will repeat shortly the principal points here. - -In some versions, the three dukes each choose a wife at the same time, -and when these three are "wived" or "paired" another three do the same. -In another version "five" dukes each choose a wife, and all five couples -dance round together. But most significant of all is the action of the -dukes after selecting the girl, trying to carry her off, and her side -trying to prevent it. - -In this game, then, I think we have a distinct survival of or -remembrance of the tribal marriage--marriage at a period when it was the -custom for the men of a clan or village to seek wives from the girls of -another clan--both belonging to one tribe. The game is a marriage game -of the most matter-of-fact kind. Young men arrive from a place at some -distance for the purpose of seeking wives. The maidens are apparently -ready and expecting their arrival. They are as willing to become wives -as the men are to become husbands. It is not marriage by force or -capture, though the triumphant carrying off of a wife appears. It is -exogamous marriage custom. The suggested depreciation of the girls, and -their saucy rejoinders, are so much good-humoured chaff and banter -exchanged to enhance each other's value. There is no mention of "love" -in the game, nor courtship between the boy and girl. The marriage -formula does not appear, nor is there any sign that a "ceremony" or -"sanction" to marry is necessary, nor does "kissing" occur. Another -interesting point about this game is the refrain, "With a rancy, tancy, -tee," which refrain, or something similar, accompanies all verses of all -versions, and separates this game from others akin to it. This refrain -is doubtless a survival of an old tribal war-cry. - -The game of "The Three Knights from Spain" (ii. pp. 257-279), played in -the same way as "Three Dukes," may appear at first to be a variant of -the "Three Dukes"; but it is significant that the form of marriage -custom is different, though it is still marriage under primitive -conditions of society. The personal element, entirely absent from the -"Three Dukes," is here one of the principal characteristics. The -marriage is still one without previous courtship or love between two -individuals, but the parental element is present here, or, at any rate, -if not parental, there is that of some authority, and a sanction to -marry is given, although there is no trace of any actual ceremony. The -young men apparently desire some particular person in marriage, and a -demand is made for her. The suitors here are, I think, making a demand -on the part of another rather than for themselves. They may be the -ambassadors or friends of the would-be bridegroom, and are soliciting -for a marriage in which purchase-money or dowry is to be paid. The -mention of "gold" and "silver" and the line, "She must be sold," and the -offering of presents by the "Knights," are important. These indications -of purchase refer to a time when the custom of offering gold, money, and -other valuables for a bride was in vogue. While, therefore, the game has -traces of capturing or carrying off the bride, this carrying off is in -strict accord with the conditions prevalent when marriage by purchase -had succeeded to marriage by capture. There is evidence in this game of -a mercantile spirit, which suggests that women and girls were too -valuable to be parted with by their own tribe or family without -something deemed an equivalent in return. - -In another line game, "Here comes Three Sailors" (ii. pp. 282-289), -there is still more evidence of the mercantile or bargaining spirit. -Here the representative of the parental element or other authority -selects the richest and highest in rank of the suitors, and a sum of -money is given with the bride. The suitors are supposed to have -performed some actions which have gained them renown and entitled them -to a wife. The suitors are accepted or rejected by a person having -authority, and this authority introduces an interesting and suggestive -feature. The suitors are invited to stay or lodge in the house if -accepted, probably meaning admission into the family. The girl is to -"wake up," and not sleep, that is, to rouse up, be merry, dress in -bridal array, and prepare for the coming festival. She is given to the -suitors with "in her pocket one hundred pounds," and "on her finger a -gay gold ring." This is given by the "mother" or those having authority, -and refers, I believe, to the property the girl takes with her to her -new abode for her proper maintenance there; the ring shows her station -and degree, and is a token that she is a fit bride for a "king." -Curious, too, is the "Here's my daughter safe and sound," which looks -like a warrant or guarantee of the girl's fitness to be a bride, and the -robbery of the bride may also have originally related to the removal of -the bride's wedding-dress or ornaments before she enters on her wifely -duties. - -Following these definite marriage games in line form, in which previous -love or courtship does not appear, we have several games formerly played -at weddings, practically as a part of the necessary amusement to be gone -through after a marriage ceremony by the company present, amusements in -which are the traces of earlier custom. - -"Babbity Bowster" (i. pp. 9-11) is an old Scottish dance or game which -used to be played as the last dance at weddings and merrymakings. It was -danced by two lines of players, lads on one side, girls on the other. A -lad took a handkerchief--in earlier times a bolster or pillow--and -danced out in front of the girls, singing. He then selected a girl, -threw the handkerchief into her lap or round her neck, holding both ends -himself, and placed the handkerchief at her feet on the floor. His -object was to obtain a kiss. This was not given without a struggle, and -the line of girls cheered their companion at every unsuccessful attempt -the boy made. When a girl took the handkerchief she threw it to a boy, -who had to run after and catch her and then attempt to take a kiss. When -all had done thus they danced in line form. This dance took place at the -time when bride and bridegroom retired to the nuptial chamber. It is -probable the bride and bridegroom would first go through the dance, and -after the bridegroom had caught his bride and they had retired the dance -would be continued in sport. The chasing of the bride in sport by her -new-made husband at the close of the marriage festivities is mentioned -in old ballads. - -In the "Cushion Dance" (i. pp. 87-94) we have an instance of another -similar old English game sang and danced at weddings. The "Cushion -Dance," though not played in line form, has two other elements of -"Babbity Bowster." The description is so interesting, I will repeat it -shortly here. The company were all seated. Two young men left the room, -and returned carrying, one a square cushion, the other a drinking horn -or silver tankard. The young man carrying the cushion locked the door, -taking the key. The young men then danced round the room to a lively -tune played by a fiddler, and sang the words of the dance. There is a -short dialogue with the fiddler, in which it is announced that "Jane -Sandars won't come to." The fiddler says "She must come, whether she -will or no." The young men then dance round again and choose a young -woman, before whom they place the cushion and offer the horn or cup. The -girl and the young man kneel on the cushion and kiss. Here there is no -capturing or chasing of the girl, but her reluctance to be brought to -the cushion is stated by another person, and the locking of the door is -evidently done to prevent escape of the girls. - -Other line games contain the element of courting, some versions of -"Green Grass," for instance (i. pp. 161-62), show boys on one line, -girls on the other, inviting girls to come and dance, and promising them -gifts. After the boys have selected a girl, she is asked if she will -come. She replies first No! then Yes! "Pray, Pretty Miss," is similar to -these (vol. ii. pp. 65-67). - -The remaining line form of marriage games are probably degenerate -versions of "Three Dukes," "Three Knights," except "Here Comes a Lusty -Wooer" (i. 202) and "Jolly Hooper" (i. 287-88). Ritson records the -first of these two in "Gammer Gurton's Garland," 1783; the second is -probably a degenerate version of the first or similar version. They are -both demands for a bride. - -The other important line games are "Jenny Jones" (i. 260-283), "Lady of -the Land," and "Queen Anne." I refer here to the Scotch version of -"Jenny Jones," quoted from Chambers, given in vol. i. p. 281, where -"Janet Jo" is a dramatic entertainment amongst young rustics. Two of the -party represent a goodman and a goodwife, the rest a family of -daughters. One of the lads, the best singer, enters, demands to court -Janet Jo. He is asked by the goodwife what he will give for Janet Jo. -His offers of a peck o' siller, a peck of gold, are refused; he offers -more and is accepted, and told to sit beside his chosen one. He then has -a scramble with her for kisses. Versions of this game which indicate -funeral customs will be treated under that head; but love and courtship -appear in the game, and the courting appears to be that of a young man -or young men, to whom objection is made, pretended or real; the suitors -are evidently objects of suspicion to the parental authority, and their -sincerity is tested by the offers they make. - -In "Queen Anne," vol. ii. pp. 90-102, I have attempted a conjectural -rendering of what the game might have been, by putting together the -words of different versions. If this conjectural restoration be accepted -as something near the original form, it would suggest that this game -originated from one of the not uncommon customs practised at weddings -and betrothals, where the suitor has to discriminate between several -girls all dressed exactly alike, and to distinguish his bride by some -token. This incident of actual primitive custom also obtains in -folk-tales, showing its strong hold on popular tradition. Many a lost -bride in the folk-tales proves her identity by having possession of some -article previously given as a token, and this idea may account for the -"ball" incident in this game. (See also "King William.") - -From these games, when thus taken together, we have evidence of the -existence of customs obtaining in primitive marriage, and the fact that -these customs, namely, those of marriage by capture, marriage by -purchase, marriage by consent of others than those principally -concerned, in other words, marriage between comparative strangers, occur -in games played in line form, a form used for contest and fighting -games, tends to show that the line form is used for the purpose of -indicating the performance of customs which are supposed to take place -between people living in different countries, towns, and villages, or -people of different tribes or of different habits and customs. The more -imperfect games of this type, though they have lost some of the vigour, -have still enough left to show, when placed with the others, a -connection with customs performed in the same manner. - -In "Lady of the Land," for instance (vol. i. pp. 313-20), the words -indicate a lady hiring a poorer woman's daughters as servants, and, no -doubt, originates from the country practice of hiring servants at fairs, -or from hirings being dramatically acted at Harvest Homes. The old -practice of hirings at fairs is distinctly to be traced in local customs -(see p. 319), and is a common incident in folk-tales. In this game, too, -actions would be performed suitable to the work the players undertake to -do. - -It is not necessary to mention in detail any of the remaining line -games, because they are fragmentary in form, and do not add any further -evidence to that already stated. - -In considering this group of games it is obvious, I think, that we have -elements of custom and usage which would not primarily originate in a -game, but in a condition of local or tribal life which has long since -passed away. It is a life of contest, a life, therefore, which existed -before the days of settled politics, when villages or tribal territories -had their own customs differing from each other, and when not only -matters of political relationship were settled by the arbitrament of the -sword, but matters now considered to be of purely personal relationship, -namely, marriage. While great interest gathers round the particular -marriage customs or particular contests indicated in this group of -games, the chief point of interest lies in the fact that they are all -governed by the common element of contest. - -I will now turn to the circle games. Like the line games, this form -contains games which show marriage custom, but it is significant that -they all show a distinctly different form of marriage. Thus they all -show courtship and love preceding the marriage, and they show that a -distinct ceremony of marriage is needful; but this ceremony is not -necessarily the present Church ceremony. The two best examples are -"Sally Water" (vol. ii. pp. 149-179) and "Merry-ma-tansa" (vol. i. pp. -369-367). - -In "Sally Water" the two principal characters have no words to say, but -one chooses another deliberately, and the bond is sealed by a kiss, and -in some instances with joining of hands. The circle of friends approve -the choice, and a blessing and good wishes follow for the happiness of -the married couple, wishes that children may be born to them, and the -period of the duration of the marriage for seven years (the popular -notion of the time for which the marriage vows are binding). I have -printed a great many versions of this game (about fifty), and note that -in the majority of them "Sally" and "Water" are conspicuous words. In -fact they are usually taken to mean the name of the girl, but on -examining the game closely I think it is possible, and probable, that -"Sally Water" may be a corruption of some other word or words, not the -name of a girl; that the word "Water" is connected, not with the name of -the maiden, but with the action of sprinkling which she is called upon -to fulfil. The mention of water is pretty constant throughout the game. -There are numerous instances of the corruption of words in the game, and -the tendency has been to lose the sprinkling of water incident -altogether. - -The sitting or kneeling attitude, which indicates a reverential -attitude, obtains in nearly all versions, as do the words "Rise and -choose a young man," and "Crying for a young man." This "crying" for a -young man does not necessarily mean weeping; rather I consider it to -mean "announcing a want" in the way "wants" or "losses" were cried -formerly by the official crier of a town, and in the same manner as in -games children "cry" forfeits; but, losing this meaning in this game, -children have substituted "weeping," especially as "weeping" with them -expresses many "wants" or "woes." The incident of "crying" for a lover, -in the sense of wanting a lover, appears in several of these games. I -have heard the expression they've been "cried in church" used as meaning -the banns have been read. The choosing is sometimes "to the east" and -"to the west," instead of "for the best and worst." Now, the expression -"for better for worse" is an old marriage formula preserved in the -vernacular portion of the ancient English Marriage Service, and I think -we have the same formula in this game, especially as the final -admonition is to choose the "one loved best." Then comes the very -general lines of the marriage formula occurring so frequently in these -games, "Now you're married, we wish you joy," &c. - -In "Merry-ma-tansa" the game again consists of a marriage ceremony, with -fuller details. The choice of the girl is announced to the assembled -circle of friends by a third person, and the friends announce their -approval or disapproval. If they disapprove, another choice is made. -When they approve, the marriage formula is repeated, and the capacity of -the bride to undertake housewifely duties is questioned in verse by the -friends (p. 370). All the circle then perform actions imitating sweeping -and dusting a house, baking and brewing, shaping and sewing. The -marriage formula is sung, and prognostications and wishes for the birth -of children are followed by actions denoting the nursing of a baby and -going to church, probably for a christening. In one version, too, the -bride is lifted into the circle by two of the players. This may indicate -the carrying of the bride into her new home, or the lifting of the bride -across the threshold, a well-known custom. In another version (Addenda, -p. 444) after the ceremony the bridegroom is blindfolded and has to -catch his bride. - -These two games relate undoubtedly to marriage customs, and to no other -ceremony or practice. They are, so to speak, the type forms to which -others will assimilate. - -In "Isabella" (vol. i. pp. 247-56) the actions indicate a more modern -marriage ceremony. The young couple, after choosing, go to church, clasp -hands, put on ring, kneel down, say prayers, kiss, and eat dinner. The -clasping of hands, putting on a ring, and kissing are more like a solemn -betrothal before a marriage ceremony. - -In the other marriage games which show remains of a ceremony are those -of the kind to which "All the Boys" belongs (vol. i. pp. 2-6). In this -game, customs which belong to a rough and rude state of society are -indicated. The statement is made that a man cannot be happy without a -wife. He "huddles" and "cuddles" the girl, and "puts her on his knee." - -The principal thing here to be noted is the mention in all versions of -this game the fact that some food is prepared by the bride, which she -gives to the bridegroom to eat. This, although called a "pudding," -refers, of course, to the bridal cake, and to the old custom of the -bride preparing it herself, and giving some to her husband first. - -Other rhymes of this kind, belonging, probably, to the same game, are -"Down in the Valley," "Mary mixed a Pudding," "Oliver, Oliver, follow -the King," "Down in Yonder Meadow." In all these the making and eating -of a particular "pudding" or food is mentioned as an important item; in -two, catching and kissing the sweetheart is mentioned; and in all, -"courting" and "cuddling"; articles for domestic use are said to be -bought by the bride. The formal ceremony of marriage is contained in the -verbal contract of the two parties, and the important ceremony of the -bridegroom and bride partaking of the bridal food. The eating together -of the same food is an essential part of the ceremony among some savage -and semi-civilised peoples. The rhymes have a peculiar parallel in the -rude and rough customs associated with betrothal and marriage which -prevailed in Wales and the North of England. - -In "Poor Mary sits a-weeping" (vol. ii. pp. 46-62) we have very -distinctly the desire of the girl for a "lover." She is "weeping" for a -sweetheart, and, as in the case of "Sally Water," her weeping or -"crying" is to make her "want" known. She is told by her companions to -rise and make her choice. In some versions the marriage lines follow, in -others the acceptance of the choice ends with the giving of a kiss. - -Others of a similar kind are "Here stands a Young Man who wants a -Sweetheart" (vol. i. p. 204), "Silly Old Man who wants a Wife" (vol. ii. -196-99). This is a simple announcement of the young man's need for a -wife or sweetheart (probably originally intended to announce his having -arrived at manhood, as expressed in the expression, "he ain't a man till -he's got a sweetheart and gone a-courtin'"). These verses are followed -by the marriage formula. Games of this kind are used for a kiss in the -ring game, without the chasing and capturing. The ordinary kiss in the -ring games are probably relics of older custom. These consist of one -person going round the assembled circle with a handkerchief and choosing -another of the opposite sex, after saying a nominy or form of set words. -This was probably originally something in the shape of a "counting out" -rhyme, to obtain sweethearts by "lot." A chase follows, and capture of -the girl, and the giving and receiving of a kiss in the circle. This was -a method of choosing sweethearts which prevailed until quite a late -period at country festivals and fairs, but at an earlier period was a -serious function. It is still customary on Easter and Whit-Monday for -this game to be played on village greens, and the introduction thus -afforded is held sufficient to warrant continued acquaintance between -young people. - -In connection with this class of games I must point out that a game such -as "Hey, Wullie Wine" (vol. i. pp. 207-210), though it cannot be -considered exactly a marriage game, points to the matter-of-fact way in -which it was customary for young people to possess sweethearts. It seems -to have been thought not only desirable, but necessary to their social -standing. A slur is cast on the young man or young woman who has no -lover, and so every facility is given them to make a choice from among -their acquaintances. In the game "King William" is a remnant of the -disguising of the bride among some of her girl friends and the -bridegroom's test of recognition, when that custom became one of the -forms of amusement at weddings. - -The remaining love and marriage games mostly consist of lines said in -praise of some particular girl or young man, the necessity of him or her -possessing a sweetheart, and their being married. These are probably -fragments of the more complete forms preserved in the other games of -this class. Marriage games, preceded by courtship or love-making, are -played in the second method of the circle form. - -Among the games played in the first method of the circle form, "Oats and -Beans and Barley," and "Would you know how doth the Peasant," show -harvest customs. The first of these (vol. ii. pp. 1-13) shows us a time -when oats, beans, and barley were the principal crops grown, before -wheat--now, and for some time, one of the principal crops--came into -such general cultivation as at present. All the players join in singing -the words and performing the actions. They imitate sowing of seed, -folding arms and standing at ease while the corn is growing, clap hands -and stamp on the ground to awake the earth goddess, and turning round -and bowing, to propitiate the spirit and do reverence to her. In "Would -you know how doth the Peasant" (ii. 399-401) we find actions performed -showing sowing, reaping, threshing, kneeling, and praying, and then -resting and sleeping. These actions are in both games accompanied by -dancing round hand in hand. These two games, then, take us back to a -time when a ceremony was performed by all engaged in sowing and reaping -grain; when it was thought necessary to the proper growth of the crops -that a religious ceremony should be performed to propitiate the earth -spirit. I believe these games preserve the tradition of the formula sung -and danced at the spring festivals, about which Mr. Frazer has written -so fully. - -"Oats and Beans and Barley" also preserves a marriage formula, and after -the religious formula has been sung and danced, courting and marriage -follows. A partner is said to be wanted, is chosen, and the marriage -ceremony follows. The addition of this ceremony to the agricultural -custom is of considerable significance, especially as the period is that -of spring, when, according to Westermarck, natural human marriage, as -also animal pairing, takes place. It is evidently necessary to this game -for all the players to perform the same actions, and the centre player -is not required until the choosing a partner occurs. There is no centre -player in the other agricultural game, and no marriage occurs. - -In "When I was a Young Girl" (ii. pp. 362-374) we have all players -performing actions denoting the principal events of their lives from -girlhood to old age. When young, enjoyment in the form of dancing is -represented (in present day versions, going to school is taking the -place of this), then courting, marriage, nursing a baby, and occupations -which women perform; the death of the baby and of husband follows, and -the woman takes in washing, drives a cart to support herself, and -finally gets old. Here, again, there is little doubt that this game owes -its origin to those dances originally sacred in character, in which men -and women performed actions, accompanied with song and dance, of the -same nature as those they wished or intended to perform seriously in -their own lives. "Mulberry Bush" is another descendant of this custom. -In "Green Gravel" and "Wallflowers" we have a death or funeral custom. -Originally there may have been other actions performed than those the -game contains now. These two are noticeable for the players turning -themselves round in the course of the play so that they face outwards. -It is this turning outwards, or "to the wall," which indicates hopeless -sorrow and grief, and there is some probability that the death mourned -is that of a maiden, by the other maidens of the village. The game is -not a representation of an ordinary funeral. - -I must here refer to the game of "Rashes" (Addenda, ii. pp. 452, 453). I -have not succeeded in obtaining a version played now, and fear it is -lost altogether, which is, perhaps, not surprising, as the use of -"rushes" has practically ceased; but, as recorded by Mr. Radcliffe in -1873, there is no doubt it represented the survival of the time when -rushes were gathered and used with ceremony of a religious nature. - -Even in the extremely simple "Ring a Ring of Roses" (ii. 108-111), now -only a nursery game played by very young children, there can be traced -a relationship to a dance, in which the use of flowers, and all the -dancers bowing or falling prostrate to the ground together, with loud -exclamations of delight obtained. It may well be that sneezing, an -imitation of which is an essential part of the game, was actually a -necessary part of the ceremonial, and sneezing was always considered of -sacred significance among primitive peoples. It is not probable that -children would introduce this of their own accord in a dance and "bop -down" game. - -The games played in the third method of this group are also -representative of custom. In "Old Roger" (vol. ii. pp. 16-24), the -circle of players is stationary throughout; the circle sings the words -describing the story, and the other players or actors run into the -circle and act their several parts in dumb show. The story, it will be -seen, is not the acting of a funeral, but the planting of a tree over -the grave of a dead person by relatives and friends, and the spirit -connection which this tree has with the dead. The spirit of the dead -"Old Roger" enters the tree, and resents the carrying away of the fruit -by the old woman by jumping up and making her drop the apples. -Possession of the fruit would give her power over the spirit. That the -tree is sacred is clear; and I am tempted to suggest that we may -possibly have in this game a survival of the worship of the sacred tree, -and its attendant priest watching until killed by his successor, as -shown to us by Mr. Frazer in the story of the "Golden Bough." - -"Round and Round the Village" (ii. pp. 122-143) shows us the performance -of a recurring festival very clearly in the words which accompany all -versions, "As we have done before." This conveys the idea of a special -event, the event in the game marriage, and I suggest that we have here a -periodical village festival, at which marriages took place. It is -characteristic of this, as in "Old Roger," that the chorus or circle -stand still and sing the event, while the two characters act. This -acting is the dancing round the village, going in and out the windows -and houses, then choosing a lover, and "follow her to London." It is -quite possible that the perambulation of boundaries with which festive -dances and courtship were often associated would originate this game. -The perambulation was a recurring custom periodically performed, and on -p. 142, vol. ii., I have given some instances of custom which, I think, -confirm this. - -In "Who goes round my Stone Wall" we find the players in circle form, -standing still and representing the houses of a village (the stone -wall), and also animals. The game represents the stealing of sheep, one -by one, from the village, by a predatory animal or thief. In this game -the circle do not sing the story. That element has disappeared; the two -actors repeat a dialogue referring to the stealing of the sheep from the -"wall." This dialogue is short, and is disappearing. The game is not now -understood, and consequently is dying out. "Booman," another of the same -kind, represents a funeral. The grave is dug in action, Booman is -carried to his grave, the dirge is sang over him, and flowers are -pretended to be strewn over. - -There are other circle games, which it is not needful to examine in -detail. They are fragmentary, and do not present any fresh features of -interest. It is, however, important to note that a few examples have -evidently been derived from love ballads, drinking songs, and toasts; -some of the dance games are of this origin. This may be explained by the -fact that children, knowing the general form of marriage games, would -naturally dance in circle form to any ballad verses in which marriage or -love and courtship occurs, and in this manner the ballad would become -apparently a fresh game, though it would only be putting new words to an -old formula of action. - -Dr. Jacob Jacobsen, in _Dialect and Place Names of Shetland_, tells us -that all the _vissiks_ or ballads have been forgotten since 1750, or -thereby. They were sung to a dance, in which men and women joined hands -and formed a ring, moving forwards, and keeping time with their hands -and feet. Mr. Newell (_Games_, p. 78), records that "Barbara Allen" was -sung and danced in New England at children's parties at a period when -dancing was forbidden to be taught in schools. "Auld Lang Syne" is a -further instance. - -It will easily be seen that the circle games have a distinctive -characteristic compared with the line games. These, as I have already -pointed out, are games of contest, whereas the circle games are games in -which a homogeneous group of persons are performing a ceremony belonging -entirely to themselves. The ceremony is of a religious character, as in -"Oats and Beans and Barley," or "Old Roger," dedicated to a spirit -intimately connected with the group who perform it, and having nothing -belonging to any outside group. The position of the marriage ceremony in -this group is peculiar. It has settled down from the more primitive -state of things shown in the line marriage games, and has acquired a -more social and domestic form. Except in the very significant water -custom in "Sally Water," which I have suggested (ii. pp. 176, 177) may -take us back to perhaps the very oldest stage of culture, all the games -in this group are evidently of a later formation. Let it be noted, too, -that the circle has deep religious significance not entirely absent from -the customs of comparatively later times, among which the singing of -"Auld Lang Syne" is the most generally known. - -But in speaking of matters of religious significance, it is important to -bear in mind that we are not dealing with the religion of the Church. -Everywhere it is most significant that marriage ceremony, sacred rite, -social custom, or whatever is contained in these games, do not take us -to the religion of to-day. Non-Christian rites can only be pre-Christian -in origin, and these games therefore take us to pre-Christian religious -or social custom, and this is sufficient to stamp them with an antiquity -which alone would certify to the importance of studying this branch of -folk-lore. - -To take now the dialogue or individual form of game, the best example -for my purpose is "Mother, Mother, the Pot boils over" (vol. i. pp. -396-401). Here the chorus has disappeared; the principal characters tell -the story in dialogue, the minor characters only acting when the -dialogue necessitates it, and then in dumb show. This is an interesting -and important game. It is a complete drama of domestic life at a time -when child-stealing and witchcraft were rife. A mother goes out to work, -and returns to find one of her seven children missing. The game -describes the stealing of the children one by one by the witch, but the -little drama tells even more than this. It probably illustrates some of -the practices and customs connected with fire-worship and the worship of -the hearth. There is a pot, which is a magical one, and which boils over -when each one of the children is stolen and the mother's presence is -necessary. A remarkable point is that the witch asks to borrow a light -from the fire. The objection to the giving of fire out of the house is a -well-known and widely-diffused superstition, the possession of a brand -from the house fire giving power to the possessor over the inmates. The -witch in this game takes away a child when the eldest daughter consents -to give her a light. The spitting on the hearth gives confirmation to -the theory that the desecration of the hearth is the cause of the pot -boiling over. Instances of magical pots are not rare.[20] - - [20] Mr. W. F. Kirby refers me to the form of initiation into - witchcraft in Saxony, where the candidate danced round a pot - filled with magic herbs, singing-- - - "I believe in this pot, - And abjure God;" - - or else it was-- - - "I abjure God, - And believe in this pot." - - -After the children are stolen the mother has evidently a long and -troublesome journey in search of them; obstacles are placed in her path -quite in the manner of the folk-tale. Blood must not be spilled on the -threshold. This game, then, which might be considered only as one of -child-stealing, becomes, when examined on the theories accompanying the -ancient house ritual, an extraordinary instance of the way beliefs and -customs have been dramatised, and so perpetuated. Other games of a -similar character to this, and perhaps derived from it, are "Witch," -"Gipsy," "Steal the Pigs." - -Amongst other games classified as dialogue games are those in which -animals take part. In some there is a contest between a beast of prey, -usually a fox or wolf, and a hen and her chickens or a goose and her -goslings; in others a shepherd or keeper guards sheep from a wolf, and -in these animals of the chase are hunted or baited for sport. In -the animal contest games, "Fox and Goose," "Hen and Chickens," -"Gled-wylie," "Auld Grannie," "Old Cranny Crow," all played in the -dialogue form, the dialogue announces that the fox wants some food, and -he arouses the suspicion of the goose or hen by prowling around or near -her dwelling. After a parley, in which he tries to deceive the mother -animal, he announces his intention of catching one of the chickens. The -hen declares she will protect her brood, and a contest ensues. These -games have of course arisen from the well-known predatory habits of the -wolf, fox, and kite. On the other hand, the games illustrating the -hunting or baiting of animals, such as "Baste the Bear," "Fox in the -Hole," "Hare and Hounds," are simply imitations of those sports. -"Baiting the Bear," a popular and still played game, has continued since -the days of bear-baiting. - -I may also mention the games dealing with ghosts. "Ghost at the Well," -"Mouse and Cobbler," show the prevailing belief in ghosts. Playing at -Ghosts has been one of the most popular of games. These two show the -game in a very degenerate condition. I need not, I think, describe in -detail any more of the dialogue games. There are none so good as -"Mother, the Pot boils over," but that was hardly to be expected. The -customs which no doubt were originally dramatised in them all have in -many cases been lost, as in the case of some versions of "Mother, the -Pot boils over." - -The dialogue games appear to me to be later in form than both line and -circle games. They are, in fact, developments of these earlier forms. -Thus the "Fox and Goose" and "Hen and Chickens" type is played -practically in line form, and belongs to the contest group, while the -"Witch" type is probably representative of the circle form. But they -have assumed a dramatic character of a very definite shape. This, as -will be seen later on, is of considerable importance in the evidence of -the ancient origin of games; but I will only point out here that this -group has allowed the dramatic element to have full scope, with the -result that a pure dialogue has been evolved, while custom and usage has -to some extent been pushed in the background. - -The next group is the arch form of game. This I divide into two -kinds--those ending in circle or dance form, and those ending with a -contest between two leaders. Of this first form there are several -examples. "London Bridge" (i. pp. 333-50) is possibly the most -interesting. Two players form the arch, all the others follow in single -file. The words of the story are sung while all the players run under or -through the arch. The players are all caught in turn in the arch, and -then stand aside; their part is finished. In some cases the game begins -by all forming a circle, and the verses are sung while the circle dances -round. The arch is then formed, and all run through it in single file, -and are caught in turn by being imprisoned between the lowered arms. -Also, we find the circle-dancing following the arch ceremony. In my -account of this game (vol. i. pp. 341-50), I have drawn attention to the -incident of a prisoner being taken as indicative of the widespread -custom known as the foundation sacrifice, because of the suggested -difficulty of getting the bridge to stand when the prisoner is taken. I -have given a few instances of the custom, and the tradition that the -stones of London Bridge were bespattered with the blood of little -children, and that the mortar was tempered with the blood of beasts. In -stories where a victim is offered as a foundation-sacrifice, the victim, -often a prisoner, is sometimes forced to enter a hole or cavity left on -purpose in the building, which is then walled or built up, enclosing the -victim. In some, recourse to lottery is had; in others, as at Siam, -mentioned by Tylor (_Primitive Culture_, i. 97), it was customary, when -a new city gate was being erected, for a number of officers to lie in -wait and seize the first four or eight persons who happened to pass by, -and who were then buried alive under the gate-posts. After these customs -of human sacrifice had ceased to be enforced, animals were slaughtered -instead; and later still the ceremony would be performed, as a ceremony, -by the incident being gone through, the person or animal seized upon -being allowed to escape the extreme penalty by paying a money or other -forfeit; and it may be this later stage which is represented in the -game. The dancing in circle form, which belongs, I think, to the -original method of play, shows us a ceremony in which people of one -place are concerned, and would supersede an older line form of game, if -there were one, when the custom showed a real victim being taken from -outsiders by force, who would resist the demand. The circle dance would -follow as the completion of the ceremony. The "line" form would also be -the first portion of the game to disappear when once its meaning was -lost. - -The game, "Hark! the Robbers" (i. 192-99) may be a portion of "London -Bridge" made into a separate game by the part of the building being -lost, or the children who play both games may have mixed up the method -of playing; but as it ends in some places with a contest and in some -with a dance, it is difficult to say which is right. - -"Thread the Needle," played by all players running through an arch and -then dancing round, is a game well illustrated by customs obtaining on -Shrove Tuesday in different parts of the country. All the children play -"Thread the Needle" in the streets of Trowbridge, Bradford-on-Avon, -South Petherton, Evesham, besides other places, in long lines, whooping -and shouting as they run through the arches they make. After this they -proceed to the churchyard, and encompassing the church by joining hands, -dance all round it three times, and then return to their homes. Here is -the undoubted performance of what must have been an old custom, -performed at one time by all the people of the town, being continued as -an amusement of children. It was played at Evesham only on Easter -Monday, and in three other places only on Shrove Tuesday, and another -correspondent says played only on a special day. In other places where -it is played the game is not connected with a special day or season. The -circle dance does not always occur, and in some cases the children -merely run under each other's clasped hands while singing the words. In -the places above mentioned we see it as a game, but still connected with -custom. It is a pity that the words used by the children on all these -occasions should not have been recorded too. "How many Miles to Babylon" -(vol. i. pp. 231-238) may with good reason be considered a game of the -same kind. It represents apparently a gateway of a town, and a parley -occurs between the gatekeepers and those wishing to enter or leave the -town. Small gateways or entrances to fortified towns were called -needle's eyes, which were difficult to enter. But notwithstanding these -apparent identifications with the conditions of a fortified town, I -think the practice of going through the arch in this and in the previous -game relates to the custom which prevailed at festivals held during -certain seasons of the year, when people crept through holed stones or -other orifices to propitiate a presiding deity, in order to obtain some -particular favour. This would be done by a number of people on the same -occasion, and would terminate by a dance round the church or other spot -associated with sacred or religious character. "Long Duck" is another -probably almost forgotten version of this game. - -"Draw a Pail of Water" (vol. i. pp. 100-108), though not quite in accord -with the arch form in its present state, is certainly one of the same -group. This game I consider to be a descendant of the custom of "well -worship." In its present form it is generally played by children -creeping under the arms of two or four others, who clasp hands and sway -backwards and forwards with the other children enclosed in them. The -swaying movement represents, I believe, the drawing of water from the -well. The incidents of the game are:-- - - (1) Drawing water from a well. (2) For a devotee at a well. (3) - Collecting flowers for dressing the well. (4) Making a cake for - presentation. (5) Gifts to the well [a gold ring, silver pin, and - probably a garter]. (6) Command of silence. (7) The presence of - devotee at the sacred bush. (8) The reverential attitude (indicated - by the bowing and falling on the ground). - -I can now add another incident, that of the devotee creeping through a -sacred bush or tree (signified by the creeping under or getting enclosed -within the arms of the leaders). These are all incidents of primitive -well worship. - -I have from many different versions pieced together the lines as they -might appear in earlier versions (i. p. 107). - -This restoration, though it is far from complete, shows clearly enough -that the incidents belong to a ceremonial of primitive well worship. -Dressing holy wells with garlands and flowers is very general; cakes -were eaten at Rorrington Well, Shropshire, and offerings of pins, -buttons, and portions of the dress, as well as small articles worn on -the person, are very general; silence is enforced in many instances, and -sacred trees and bushes are to be found at nearly all holy wells. -Offerings are sometimes hung in the bushes and trees, sometimes thrown -into the well. Miss Burne records in _Shropshire Folk-Lore_ (pp. 414, -433, 434) that at Rorrington Green, in the parish of Chirbury, is a holy -well, at which a wake was celebrated on Ascension Day. The well was -adorned with green bowers, rushes, and flowers, and a maypole was set -up. The people used to walk round the hill with fife, drum, and fiddle, -dancing and frolicking as they went. They threw pins into the well for -good luck, and to prevent them from being bewitched, and they also drank -the water. Cakes were eaten. These were round flat buns, from three to -four inches across, sweetened, spiced, and marked with a cross, and were -supposed to bring good luck if kept. - -Instances of similar practices at holy wells could be multiplied, and -they are exhaustively examined in my husband's book on _Ethnology in -Folk-Lore_. Halliwell records in his nursery rhymes what is perhaps the -oldest printed version of the rhyme. He says the children form a long -string, hand in hand; one stands in front as leader, two hold up their -clasped hands to form an arch, and the children pass under; the last is -taken prisoner. Though this way of playing does not appear to be used -now--no version, at least, has reached me--it is clear that the game -might be played in this way, probably as a commencement of the -ceremonial, and then the other positions might follow. Halliwell may not -have recorded it minutely or have heard of it as a whole, or the version -sent him may have been in degenerate form. It is, however, clear that -the arch form here indicates a ceremonial, and not the taking of a -prisoner. - -"Oranges and Lemons" (vol. ii. pp. 25-35) is the best-known game of the -arch form, followed by the contest or tug-of-war. In this game two -players, sometimes chosen by lot, clasp hands and form an arch. They -have each a name, which is secret. One is called "Orange," the other is -"Lemon." They sing the words of the game-rhyme, and the other players -run under the arch in a long line or string. At the close of the verses -which ends with the line, "Here comes a chopper to chop off your head," -one of the string of players is caught and is asked which she prefers, -orange or lemon. She chooses, and is told to stand behind that leader -who took that name. This is repeated until all the players have been -separately caught, have chosen their side, and are standing behind the -respective leaders, holding on to each other by clasping each other's -waists. A line is then drawn on the ground, and both sides pull; each -endeavours to drag the other over the line. The tug is generally -continued until one side falls to the ground. Now this is an undoubted -contest, but I do not think the contest is quite of the same kind as the -line game of contest and fighting. The line form is one of invaders and -invaded, and the fight is for territory. In this form it seems to me -that the contest is more of a social contest, that is, between people of -the same place, perhaps between parishes and wards of parishes, or -burghers and apprentices (townspeople) on one side, and the followers of -lords or barons (military power) on the other, or of two lords and -barons. The leaders are chosen by lot. Each leader has a "cry" or -"colour," which he calls out, and the other players run and place -themselves under the banner they choose. - -In my account of this game I draw particular attention to the following -details:--The game indicates contest and a punishment, and although the -sequence is not clear, as the execution precedes the contest, that is -not of particular importance in view of the power of the old baronial -lords to threaten and execute those of their following who did not join -their armed retainers when required. All rhymes of this game deal with -saints' names and with bell ringing. Now, the only places where it would -be probable for bells to be associated with different saints' names in -one area would be the old parish units of cities and boroughs. The -bells were rung on all occasions when it was necessary to call the -people together. The "alarm" bell tolling quickly filled the open spaces -and market-places of the towns, and it is a well-known fact that serious -contests and contest games between parishes and wards of parishes were -frequent. The names "oranges" and "lemons," given to the leaders in the -game, usually considered to be the fruits of these names, are, in my -opinion, the names of the "colours" of the two rival factions. - -The passing under the arch in this game is not absolutely necessary in -order that the players may exercise their choice of leaders, nor is the -"secrecy" which is observed necessary either. Even this may have its -origin in custom. It may signify the compulsory attendance of a vassal -under pain of punishment to serve one side, or the taking prisoner and -condemning to death for serving on the opponents' or losing side. An -idea is current that it represents cutting off the last person's head, -the last of the string or line of players, and in some places the last -one in the line is always caught instead of one whom the leaders choose -to enclose in their arms. Of course a "laggard" or late arrival would be -liable to suspicion and punishment, and this idea may be suggested in -the game; but I do not think that the game originates from the idea of -catching a "last" player. The passing under the arch can also be -attributed to the custom of compelling prisoners to pass under a yoke to -signify servitude, and the threat of execution would follow attempt to -escape or disobedience. Again, prisoners were offered life and freedom -on condition of joining the army of their opponents. - -The other games of this method of play, "Three Days' Holiday," and "Tug -of War," are the same game under other names, with only a nominy -surviving, and the method of play. Several games entered under the title -of "Through the Needle Eye," are really the "arch" type with the "tug," -that is the "Oranges and Lemons" game, instead of belonging to the -"Thread the Needle" or first form of arch type, as they are usually -considered. The Scottish form, described by Jamieson (ii. p. 290), is an -exception which should have been included with "Thread the Needle," to -which group it belongs. The other games, "Through the Needle Eye," have -lost a portion of their play, which probably accounts for the mixture of -name with the "Thread the Needle" games, because of both containing the -arch form. "Namers and Guessers," "Fool, Fool, come to School," "Little -Dog, I call you," practically versions of one and the same game, which I -have classed in this type because of the "tug," have an additional -element of guessing in them. The leader or namer on one side and the -guesser on the other take sides. All the players have names given them, -and it is the first business of the guesser to guess which of the -players has taken a particular name. If he guesses correctly, he takes -that player on his side; if incorrectly, he stays on the namer's side. -After he has "guessed" at all the players, the "tug" follows, and the -beaten side has further to run the gauntlet between two lines of the -successful side. This game, having all its players chosen by guessing, -by what might have been originally choosing by "lot" or by magical -powers, may have an entirely different meaning, but it is clearly a -contest game, although there is no indication as to the why or -wherefore. The punishment of "running the gauntlet" is found in the -game, which again indicates military fighting. - -This group of games, though small, is perhaps one of the most indicative -of early custom, for beyond the custom which is enshrined in each -game--foundation sacrifice, well worship, &c.--it will be noticed there -is a common custom belonging to all the games of this group; this is the -procession under the arch. The fact that this common custom can also be -referred to primitive usage, confirms my view that the particular -customs in each game owe their origin to primitive usage. Mr. W. Crooke -has very kindly supplied me with some notes on this interesting subject, -and I gladly avail myself of his research:-- - - "In Cairo, women walk under the stone on which criminals are - decapitated, in the hope of curing ophthalmia and getting children. - They must go in silence, and left foot foremost."--Lane, _Modern - Egyptians_, i. p. 325; Hartland, _Perseus_, i. p. 163. - - "Rheumatism and lumbago cured by crawling under granitic masses in - Cornwall."--Hunt, _Popular Romances_, p. 177. - - "Passing children under bramble to cure rupture."--_Ibid._, pp. 412, - 415. - - "This cures chincough."--Aubrey, _Remains_, p. 187. - - "In Scotland, sick children are passed through the great stones of - Odin at Stennis, and through a perforated monolith at Burkham, in - Yorkshire."--Rogers, _Social Life in Scotland_, i. p. 13. - - "Barren women pass their hands through the holes of the Bore Stone - at Gask in order to obtain children."--_Ibid._, iii. p. 227. - - "Similar rites prevail in Cyprus."--Hogarth, _Devia Cypria_, p. 48; - Gardner, _New Chapters in Greek History_, p. 172. - - "This again gives rise to the use of the gateway through which - pilgrims pass to temples. Such are the Indian Torana, in this shape, - which are represented by the Torio, so common in Japan. - - "The Greeks had the same, which they called Dokana ([Greek: dokana], - from [Greek: dokos], 'a beam'). With them they represented the - Dioscuri--Castor and Pollux. They are described by Plutarch."--_De - Amor. Fratr._, i. p. 36. - - "Similar arches, covered with charms, were seen at Dahomi by - Burton."--_Mission to Gelele_, i. pp. 218, 286. - - "Women in England creep under a gallows to get children." (I have - mislaid the reference.) - - "There are many 'creeps' or narrow holes in Irish dolmens certainly - used by people, who had to creep in to worship the ghost or bring - offerings. Captives intended to be slaughtered had to creep through - such places."--Borlase, _Dolmens of Ireland_, ii. p. 554. - - "Barren women pass their hands through such holes."--_Ibid._, ii. p. - 650. - - "A good picture of such a stone from France."--_Ibid._, ii. pp. 626, - 700, 702, 707. - -Mr. Albany F. Major has also kindly drawn my attention to the following -interesting passages from the sagas, which Dr. Jon Stefansson has kindly -translated as follows:-- - - "In old times this had been the custom of brave men, who made an - agreement (pact) that the one who lived the longest should revenge - the other's death. They were to go under three earth-sods, and that - was their oath (eir). This ceremony (leikr) of theirs was in this - wise, that three long earth-sods (turfs) should be cut loose. All - the ends were to be fast in the ground (adhere to it), but the coils - (bends) were to be pulled upward, so that a man might go under - them. This play Thorgeir and Thormod went through."--_Fstbrdra - Saga_, ed. 1822, ch. i. p. 7. - - "Now is spread about this report of Thorkell and his men, but - Gudmund had before told [the story] somewhat otherwise. Now that - tale seemed to those kinsmen of Thorarins somewhat doubtful, and - they said they would not put trust in it without proof, and they - claimed for themselves [to share] half the property with Thorkell, - but Thorkell thought to own it himself alone, and bade go to ordeal - after their custom. This was then the [form of] ordeal at that time, - that they should go under an earth-belt, that is, a sod [which] was - ripped up from the field. The ends of the sod must be fast in the - field, but the man who was to perform the ordeal must go thereunder. - Thorkell of the Scarf somewhat suspects whether the death of those - men can have happened in the way that Gudmund and his men had said - the latter time. Now, heathen men thought that they had no less at - stake, when they had to play such a part, than Christian men think - nowadays when ordeals are held. Then the man who went under the - earth-belt was clear if the sod fell not on him. Thorkell took - counsel with two men that they should let themselves fall out about - something or other, and be there standing near at hand when the - ordeal was being performed, and should touch the sod so hard that - all might see that they brought it down. After this the man who was - to perform the ordeal starts, and as soon as he was come under the - earth-belt those men who were set to do it sprang to meet each other - under arms, and they encounter near the bend of the sod and lie - fallen there, and the earth-belt fell down, as was to be expected. - At once men spring between them and separate them; that was easy, - because they were fighting with no risk to life. Thorkell of the - Scarf asked what people thought of the ordeal; now all his men say - that it would have done well if no one had spoilt it. Then Thorkell - took all the loose property, but the land is joined on to - Hrappstead."--_Laxdla Saga_, ch. xviii. - - "Berg gave notice of the blow for the Hunawaterthing and began the - lawsuit there. As soon as men came to the thing they tried to - arrange a settlement. Berg said that he would not take payment in - atonement, and would only be reconciled under these terms, that - Jokull should go under three earth-belts, as was then the custom - after great transgressions, 'and thus show humility towards me.' - Jokull said the trolls should take him before he thus bowed himself. - Thorstein said it was a matter for consideration, 'and I will go - under the earth-belts.' Berg said then would the matter be paid for. - The first earth-belt reached to the shoulder, the next to the - waist-belt, the third to mid-thigh. Then Thorstein went under the - first. Then said Berg: 'Now I make thee stoop like a swine, who wast - the loftiest of the Vatnsdale men.' Thorstein answers, 'That hadst - thou no need to say, but this will be the first return for those - words, that I will not go under any more.' Finnbogi said, 'That is - clearly not well said, but then not much comes in repayment for - Berg's wrong, that he gat from Jokull, if the matter shall here come - to a standstill, and everything seems to you lowly by the side of - you Vatnsdale men, and I will challenge thee, Thorstein, to - holm-gang a week hence by the stackyard which stands on the island - down before my farm at Borg.'"--_Vatnsdla Saga_, ch. xxxiii. - -These significant customs, I think, bear out my theory as to the origin -of the games played in the two methods of the arch form. - -Lastly, I come to the "winding up" games. "Eller Tree" (i. p. 119) and -"Wind up the Bush Faggot" (ii. pp. 384-387), show a game in which a tree -or bush is represented, and is probably indicative of tree worship. The -tallest player represents the tree, and all the other players walk round -and round in line form, getting closer and closer each time, until all -are wound round the centre player. They call out when winding round "The -old tree gets thicker and thicker," and then jump all together, calling -out "A bunch of rags," and try and tread on each other's toes. This last -action is evidently performed from not understanding the action of -stamping, which is, without doubt, the object of the players. It is -probable that this game descends from the custom of encircling the tree -(Mr. Addy suggests the alder-tree) as an act of worship, and the -allusion to the "rags" bears at least a curious relationship to hanging -rags on sacred trees. A ceremonial of this kind would probably take -place each spring, and the stamping on the ground would be, as in "Oats -and Beans and Barley," a part of the ceremony to awake and arouse the -earth spirit to the necessity of his care for the trees under his -charge. The connection of all the players, by means of the clasped -hands, with the central figure or tree, may also be considered a means -of communicating life and action to it; the tree requiring contact with -living and moving creatures to enable it to put forth its leaves. In a -version of this game from Lincoln, called the "Old Oak Tree" (ii. p. -386), we find practically the same words and same actions, the dancing -round and jumping up and down are constant features of this game. It -remains in some degenerate versions from Scotland (_ibid._), where the -game has assumed the modern name of "Rolling Tobacco." In "Wind up the -Bush Faggot" we have again the tree or bush suggested, and the dancing -and jumping, or stamping up and down. In Shropshire it is the closing -game of any playtime, and was played before "breaking-up" at a boys' -school in Shrewsbury in 1850-1856. This tends to show that the game had -originally been played at a special time or season. - -For an example of this custom I may repeat (from ii. p. 386) that in -mid-Cornwall, in the second week in June, at St. Roche and one or two -adjacent parishes, a curious dance, like a serpent's coil, is performed -at the annual "feasts." The young people are assembled in a meadow, and -the band plays a lively tune. The band leads, and all the people follow -hand in hand. The band or head keeps marching in an ever-narrowing -circle, while its train of dancing followers becomes coiled round it in -circle after circle. Then the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter-movement. Although there is no mention of a tree in the account -round which this ceremony is performed, the custom is so striking as to -leave very little doubt of their connection. Lady Wilde (_Ancient Cures, -Charms, and Usages of Ireland_, p. 106) says, "On May-Day in Ireland all -the young men and maidens hold hands, and dance in a circle round a tree -hung with ribbons or garlands, or round a bonfire, moving in curves from -left to right, as if imitating the windings of a serpent." This is a -closer parallel to the game still, and leaves no doubt as to its -connection with custom. There may be, too, some connection between these -winding-up or serpentine dances and the Maypole dances on May-Day in -England. - -The detail into which I have gone in the case of these games makes it, I -think, unnecessary that I should enter into equal detail in other -customs mentioned in the classification. Thus, with regard to the -funeral customs indicated in "Jenny Jones," we have not only a ceremony -of burial, but the courting of a maiden or maidens by a band of suitors, -the opposition of the mother or guardians to their suit, the putting -forward of domestic occupations as pretexts for refusal; there is also -the illness, dying and death of the maiden, the manner of her funeral -indicated by the colour selected for her burial, followed by the burial -itself, the singing of the lament or funeral dirge, and, in some -versions, the rising of the ghost or spirit of the departed. This game -in its best versions is played in line form. But in those versions where -two children only play the parts of "mother" and "Jenny Jones," there is -also evidence of the tendency of the game to develop into the individual -form. - -Again, those games in which "guessing" occurs remind us of the important -part that guessing or chance plays in the beliefs of the savage and -uncivilised. A person who, by a guess, discovers a special person out of -a number, or the exact number of articles concealed in a hand or under a -foot, has something of the supernatural or witch-element about him. This -is largely the foundation of the belief in witchcraft and the sorcerer. -It is not surprising to find, therefore, the guessing-element largely -extant in the dramatic game. The "guesser" is usually chosen by lot by -means of the counting-out rhyme; the leader then proceeds to confuse the -guesser's or witch's mind by re-naming secretly the rest of the players. -He calls the "guesser," and in a doggerel rhyme (the remains or -imitation probably of an incantation), tells him to pick out or name a -certain person or thing. If the guess is correct, the "guesser" takes -that person to his side, indicating power over that individual or thing. -If the "guesser" is unsuccessful, he is scouted, mocked, and ill-used. - -I now proceed with the second classification referred to on p. 461. Of -the games classified on pp. 461-470, _ante_, it will be found on -examination that nearly all of them are dramatic in form. This leads me -at once to suggest that so important a phase of their character needs -separate investigation, and this I proceed to do. - -In the first place, it will be found that certain of the games are -wholly dramatic whatever may be the customs or rites they imitate. These -games are of two classes--first, where dramatic action is complete -throughout the whole game, that is where singing, action, and words are -represented; secondly, where singing has dropped out, action and words -only remaining. - -These two classes are as follows:-- - - -DRAMATIC GAMES. - - -(1) SINGING (_containing words, tune, action_). - - All the Boys. - Babbity Bowster. - Booman. - Curly Locks. - Cushion Dance. - Dillsie, Dollsie Dee. - Down in the Valley. - Down in yonder Meadow. - Galley, Galley, Ship. - Glasgow Ships. - Green Grass. - Green Gravel. - Hark the Robbers. - Hear all! let me at her. - Here comes a Lusty Wooer. - Here comes a Virgin. - Here I sit on a Cold Green Bank. - Here's a Soldier. - Here stands a Young Man. - Hey Wullie Wine. - Isabella. - Jenny Jones. - Jolly Fishermen. - Jolly Hooper. - Jolly Miller. - Jolly Rover. - Jolly Sailors. - Keys of Heaven. - King William. - Kiss in the Ring. - Knocked at the Rapper. - Lady of the Land. - Lady on the Mountain. - London Bridge. - Mary Brown. - Mary mixed a Pudding. - Merry-ma-tansa. - Milking Pails. - Mulberry Bush. - Needle Cases. - Nettles Grow. - Nuts in May. - Oats and Beans. - Old Dame. - Old Roger. - Oliver, Oliver, follow the King. - Oranges and Lemons. - Poor Mary sits a-weepin'. - Poor Widow. - Pray, pretty Miss. - Pretty little Girl. - Queen Anne. - Queen Mary. - Ring me Rary. - Rosy Apple. - Round and Round the Village. - Sally Water. - Salmon Fishers. - Silly Old Man. - Soldier. - Soldiers. - Three Dukes. - Three Knights. - Three Old Bachelors. - Three Sailors. - Wallflowers. - We are the Rovers. - When I was a Young Girl. - Widow. - Wind. - Would you know how doth the Peasant? - - -(2) DIALOGUE AND ACTION (_no singing_). - - Auld Grannie. - Barbarie, King of the. - Chickens, come clock. - Deil amo' the Dishes. - Doagan. - Draw a Pail of Water. - Dumb Motions. - Eller Tree. - Fox and Geese. - Ghost at the Well. - Giddy. - Gipsy. - Gled-Wylie. - Hen and Chickens. - Honey Pots. - How many Miles to Babylon. - Jack, Jack, the Bread's a-burning. - Keeling the Pot. - King of Barbarie. - King of the Castle. - Lady on yonder Hill. - Lend me your Key. - Mother, may I go out? - Mother Mop. - Mother, Mother, the Pot boils over. - Mouse and Cobbler. - Namers and Guessers. - Old Cranny Crow. - Old Dame. - Rashes. - Shepherds and Sheep. - Steal the Pigs. - Thread the Needle. - Three Jolly Welshmen. - Tower of London. - Trades. - Who goes round my Stone Wall? - Willie Wastell. - Witch. - Wolf. - -Nearly all the remaining dramatic games form a third class, namely, -those where action remains, and where both words and singing are either -non-existent or have been reduced to the merest fragments. - -In order to complete the investigation from the point we have now -reached, it is necessary to inquire what is the controlling force which -has preserved ancient custom in the form of children's games. The mere -telling of a game or tale from a parent to a child, or from one child to -another, is not alone sufficient. There must be some strong force -inherent in these games that has allowed them to be continued from -generation to generation, a force potent enough to almost compel their -continuance and to prevent their decay. This force must have been as -strong or stronger than the customs which first brought the games into -existence, and I identify it as the dramatic faculty inherent in -mankind. - -A necessary part of this proposition is, that the element of the -dramatic in children's games is more ancient than, or at all events as -ancient as, the customs enshrined in the games themselves, and I will -first of all see if this is so. - -With the child the capacity to express itself in words is small and -limited. The child does not apparently pay as much attention to the -language of those adults by whom he is surrounded as he does to their -actions, and the more limited his vocabulary, the greater are his -attempts at expressing his thoughts by action. Language to him means so -little unless accompanied by action. It is too cold for a child. Every -one acquainted with children will be aware of their dramatic way of -describing to their mother or nurse the way in which they have received -a hurt through falling down the stairs or out of doors, or from knocking -their heads against articles of furniture. A child even, whose command -of language is fairly good, will usually not be content to say, "Oh, -mother, I fell down and knocked my head against the table," but will -say, "Oh, I fell down like this" (suiting the action to the word by -throwing himself down); "I knocked my head like this" (again suiting the -action to the word by knocking the head against the table), and does not -understand that you can comprehend how he got hurt by merely saying so. -He feels it necessary to show you. Elders must respond in action as well -as in words to be understood by children. If "you kiss the place to make -it well," and if you bind up a cut or sore, something has been done that -can be seen and felt, and this the child believes in as a means of -healing. A child understands you are sorry he has been hurt, much more -readily than if you say or repeat that you are sorry; the words pass -almost unheeded, the action is remembered. - -Every one, too, must have noticed the observation of detail a child will -show in personifying a particular person. When a little child wishes to -personate his father, for instance, he will seat himself in the father's -chair, cross his legs, pick up a piece of paper and pretend to read, or -stroke an imaginary beard or moustache, put on glasses, frown, or give a -little cough, and say, "Now I'm father," if the father is in the habit -of indulging in either of the above habits, and it will be found that -sitting in the chair (if a special chair is used by the father to sit -in when at home) is the foundation and most important part of the -imitation. Other men of the child's acquaintance read papers, smoke, -wear glasses, &c., but father sits in that chair; therefore to be -father, sitting in the chair is absolutely necessary, and is sufficient -of itself to indicate to others that "father" is being personified, and -not another person. To be "mother" a child will pretend to pour out tea, -or sew, or do some act of household work, the doing of which is -associated with "mother," while a lady visitor or a relative would be -indicated by wearing hat or bonnet or silk dress, carrying a parasol, -saying, "How do you do?" and carrying on conversation. Again, too, it is -noticeable how a child realises a hurt if blood and swelling ensues -after a knock. This is something that can be seen and shown. - -When wishing to be an animal, a child fixes at once on some -characteristic of that animal which is special to it, and separates it -from other animals similar in other ways. Children never personate -horses and cows, for instance, in the same manner. Horses toss their -heads, shake their manes, paw the ground, prance, and are restless when -standing still, gallop and trot, wear harness, and their drivers have -reins and a whip. When a child is a cow he does none of these things; he -walks in a slower, heavier way, lowers the head, and stares about as he -moves his head from side to side, lies down on the ground and munches; -he has horns, and rubs these against a tree or a fence. - -A child of mine, when told that he must not run in the gutter when out -of doors, because that was not the place for little boys, replied, "I am -not a little boy now, I am a dog, so I may run in the gutter." When he -came into the path again he became a boy. - -Again the same child, when called by his name and told to come out from -under a table, a round one, under which he was lying rubbing his head -against the pedestal centre, because under the table was not the place -for little boys, said, "But I'm not [], I'm a cow, and it's not a -table, it's a tree, and I'm rubbing my horns." - -Again, when personating a train, the actions used are completely -different from those used when personating an animal. The child moves at -a steady rate, the feet progressing without raising the legs more than -necessary, because engines only have wheels, which keep close to the -ground; they don't jump up like feet do, the arms are used as the -propeller, and the puffing and screeching, letting off steam, taking in -water, are imitated in sound to perfection. This is entirely on the -child's own initiative. When children play in groups the same things -occur. Instances could be given _ad nauseam_. It cannot, therefore, -surprise us that in these games children should be found to use actions -which indicate to them certain persons or things, although the words -they use may render action unnecessary, as action is to them most -important. Children, when acting these games or dramas, appear not to -need the element of dress or of particular garments to indicate their -adoption of certain characters or characteristics. To display your heels -and look down at them while doing so signifies a man who wears spurs, a -knight; to prance along as if a horse, shows a man on horseback, a duke -a-riding. A child lies or stoops down and shuts her eyes, she is dead; -if she is passively carried by two others a little distance, she is -going to be buried. The child, by standing still, becomes a tree, a -house, or a stone wall. If an animal is required to be shown, down goes -the child on hands and knees, bends her head down, and the animal is -there. If a gate, fortress, or castle is wanted, two children join -hands, and their arms are raised or lowered when required for opening -the gate, &c. If one child is to personate a "mother," one or two or -more smaller children are placed behind or beside her as her children, -because "mothers have children," and so on. Many other examples could -be given from these games of the same kind of thing. There is, then, no -difficulty as to the reason why children should have continued playing -at these games when once they had seen their elders play them or similar -performances, nor why children should not have embodied in a game or -play some of the manners and customs which were constantly going on -around them in olden times as they do now, imitating the habits and -customs of the men and women and animals by whom they were surrounded. - -We know from the evidence of those who have collected the games that -many were played as amusements by young men and women up to a few years -ago. Some are still so played, and some years further back it was a -general practice for men and women in country districts to play these or -similar games at fairs and festivals; it is unlikely that adults would -play seriously at children's games, but children having seen their -elders playing at these amusements would adopt them and use them in -their turn, until these amusements become in turn too frivolous and -childish for them. It is not so very many years since that the then -educated or cultured classes amused themselves by occupations now deemed -silly and unfit even for children of the uneducated class--witness -practical joking, cock-fighting, &c. - -The natural instinct to dramatic action in children is paralleled by the -same instinct in grown-up people when in a state of culture where they -are chiefly dependent upon their natural capacities for existence. Thus -evidence of the natural dramatic power in savages and in semi-civilised -races is abundant. The dances of savages are strongly dramatic. They -advance in lines dancing, gesticulating, and singing, while others sit -and look on; they dance in circles joining hands, they go down on all -fours imitating animal postures and noises, they wear masks, special -dresses and ornaments, and these have significance for their audience. -Some of these dances are peculiar to and only witnessed by men, others -performed by men are witnessed by both sexes. These ceremonial dances -are performed principally at the celebration of the initiative rites, -but some also represent other customs periodically performed. - -Catlin's (_North American Indians_) description of the Buffalo dance -among the Mandan Indians shows the dancers wearing masks made of a -buffalo's head and horns, and a tail hanging down behind. The dancers -went through the actions of hunting, being shot with bow and arrow, -skinned and cut up, accompanied by singing and yelling. This dance was -performed as a ceremony when food was required and the hunters were at -a loss, and would continue until a herd of buffalos came in sight on the -prairie. - -Mr. W. E. Roth gives dances accompanied by songs and pantomimic action -and games practised by the N.W. Central Australian aborigines.[21] - - [21] _Ethnological Studies among the N.W. Central Queensland - Aborigines._ By Walter E. Roth. 1897. London. - -In "Secular and Ceremonial Dances of Torres Straits" (_Zeit. fr -Ethnogr._, vi. 1893, p. 131), Dr. Haddon describes a "saw-fish dance" -performed by natives. He says "the advent of different seasons of the -year is celebrated by ceremonies amongst most peoples; the most frequent -of these are harvest festivals, or periods of rejoicings at the -abundance of food. Very frequent also are ceremonies which relate to the -preparing for crops or the inauguration of a season which promises -abundant food supply. The saw-fish dance belongs to the latter class." -Dr. Haddon visited the men, and saw the making of the masks which he -describes at length. These were worn by the dancers, and consisted of an -imitation of a human face resting on a crocodile's head, and surmounted -by a figure of a saw-fish represented in a traditional method. The -dance, which lasted for hours, was accompanied by singing a chant, the -words of which served as a description of the meaning of the dance. This -dance is performed to ensure a good harvest from the sea. - -He also refers to dramatic death dances and war dances, and describes -some interesting forms of other dances, one in which crabs are -represented. He says, all the men dance in single file, and each man -during the dance performs some definite movements which illustrate an -action in real life, such as agricultural, nautical, or fishing -employments; for example, a man would crouch and move his hands about as -if he were planting yams or looking for pearl shell at the bottom of the -sea. These movements are known to the spectators, though the foreign -observer may not catch the allusion. Probably most of these actions have -become more or less conventionalised during innumerable dance -representations, just as some of the adjuncts to the dance are -degenerate representations of objects used in everyday life. In the war -dance the actions illustrate the method pursued in war, ending with an -evolution which represented the successful warriors threading the heads -of the slain on the rattan slings which always hung on their backs when -they went out to fight. - -Mrs. Murray-Aynsley in a paper on the secular and religious dances in -Asia and Africa (_Folk-lore Journal_, vol. v. pp. 273, 274), describes -an aboriginal dance which still takes place annually in certain villages -in the Khassia and Jaintia hills. It generally takes place in May. The -special reason of the dance is the display of all the unmarried girls -from far and near to choose, or be chosen by, suitable parties, and from -description it is probable that the girls choose. Many marriages result -from this one annual dance. The dances take place in a circular -enclosure which is set apart for this annual feast. The musicians sit in -the centre, and the girls form a large circle round the musicians, and -behind the girls, holding hands in a larger circle, the men dance and go -through their part of the performance. The girls perform very quiet -movements and dance slowly, while the men jig, leap, hop, and wave their -arms, legs, umbrellas, and _daos_ in the wildest confusion, accompanying -their movements with the most savage war-whoops, signifying nothing. It -is also usual for the men to dance when one of their tribe is buried. - -In the Kulu district at Sultanpore is held the feast of Rugonath, the -chief god, when the gods belonging to every village in the valley are -bound to appear and pay him respect. There is feasting, and the men -dance round and round the palanquins containing the inferior gods. When -the excitement is at its height the temple attendants seize the -palanquins and dance them up and down violently, and make the godlings -salaam to each other and to Rugonath, the chief god. - -In Spiti, a valley in the Western Himalayas, the people frequently dance -for hours for their own amusement. Men and women dance together, all -join hands and form a long line or circle. They commence by singing, -then dance to the accompaniment of their own voices, and the fun -speedily becomes fast and furious (_ibid._ p. 281). - -Amongst the Lamas there are also religious and secular dances performed -at their feasts or fairs, the religious dances by the Lamas, the secular -by men and women together, or by each sex separately. In one dance those -who take part form themselves into two long lines. Each dancer holds on -to the one in front of him, as in our game of "Fox and Goose." The two -strings of dancers wind in and out, then divide and dance opposite each -other, advancing and receding with a slow undulating movement, which -gradually becomes more energetic. Mock sword fights then take place -between two combatants, also sword dances, with two crossed weapons laid -on the ground, and precisely like those performed at our Highland -gatherings. In the religious dances each man wears a gigantic headpiece, -which comes down as far as the shoulders. Some of the masks are -ornamented. They perform several different dances, in which separate -characters are performed, one a Chinese mandarin and his wife, another, -two actors wear masks resembling ferocious-looking dogs, one places -himself against the entrance door, the other guards the door of exit. -They remind one, says Mrs. Murray-Aynsley, of the divan-palas, or -doorkeepers, whose statues are seen placed as guards on each side of the -shrine of some old Hindu temple. In Algeria the dancing at weddings is -performed by men and women. Before each woman went out to dance she was -enveloped in a garment which covered her from head to feet, her hands -even not being visible, the sleeves being drawn over and tied at the -ends so that the hands and arms were enclosed as in a bag. This was -apparently a form of disguise, as one woman was sent back because her -husband had discovered her. At a funeral also hired female mourners were -dancing on the surface of a newly-made grave and uttering wild shrieks. - -An interesting account of the war-dance of the Coorgis is also given -(_ibid._ p. 251). "The Coorgis assembled in a clearing in the natural -jungle. The forest was only illumined by jungle. The torch-bearers -formed a large circle; within the open space, in the centre, were the -musicians. One dance was very peculiar, inasmuch as it seemed to be a -remnant of a period when every man's hand was against his brother's. -The performers may consist of any equal number of persons; they always -dance in pairs. Before they begin each man is given a bundle of sticks -or bamboos. This he holds in his left hand, and a stouter stick is given -him in his right hand. At first all the men dance round and round, with -head erect, as if going to war. Presently they narrow the circle and -assume a crouching attitude, their eyes glancing here, there, and -everywhere. The respective adversaries have been singled out; the -intending aggressors make a feint or two, then bend their knees so that -they are only about two-thirds of their ordinary stature; at the same -time they place their feet together and make a succession of bounds, or -rather hops, like a frog, and with the sticks the attacking party aim -cuts at the legs of the men whom they selected as their adversaries. The -latter now takes up the same attitude; he wards off attack, and returns -the blow if he can. Whether intentionally or not, one party is -victorious in the end." - -"A curious dance is also executed by Hindu women at Sagar, in the -Central Provinces of India (_ibid._ p. 253). Men are present, but as -spectators only. Some little time before preparations have been made for -this feast. Wheat or other grain has been sown in earth placed in pots -made of large leaves, held together by thorns of a species of acacia. -The richer women walk along, followed by their attendants carrying trays -filled with such pots; the poorer people carry their own plants. As soon -as each procession arrives at the ghat, or flight of steps leading down -to the lake, every family-circle of friends deposit their pots on the -ground and dance round them. After a time the dancers descend to the -water's edge, taking their pots of earth and corn with them. They then -wash away the soil from the plants, and distribute these amongst their -friends. The whole of the ceremony is observed by the men, but they take -no part in it. It probably fixes the season for sowing some particular -crop." - -These amongst others are all dances of semi-civilised peoples, and these -dances, being all of a ceremonial nature, are probably derived from -older customs, and performed in commemoration of these. - -There are also surviving some ceremonial dances, such as the singular -ceremony observed at Echternach, in Luxemburg, on Whit-Tuesday, in which -ten or fifteen thousand pilgrims take part. Professor Attwell thus -describes it in _Notes and Queries_ of May 17, 1890:-- - -"Early on the morning of Whit-Tuesday pilgrims arrive at Echternach from -the neighbouring villages, some alone, or in little family parties, some -in small bodies personally conducted by their _curs_, singing litanies -in honour of St. Willibrord. At about eight o'clock the bells of the -parish church begin to peal, and the clergy, intoning the 'Veni -Creator,' and preceded by numerous banners, issue from the principal -porch and march along the bank of the Sure to a stone crucifix, near -which, from an extemporised pulpit, the crowd is addressed. The short -sermon ended, the procession begins. It is headed by a choir of some -hundreds of voices chanting antiphonally with the clergy the litanies of -the saint. Then come numerous ecclesiastics, followed by a band playing -the cadenced music of the dance. The pilgrims are headed by young -children and men and women belonging to the parish, after whom comes the -throng, in groups of from three to six persons of either sex. The -dancers take three jumps forward and one backward, or five forward and -two backward. It is, of course, impossible for a moving crowd consisting -of many thousands to keep anything like time, save those who are near -one of the many bands of music, which, at irregular intervals, accompany -the procession. No special order is observed, but there is no confusion. -Poor mothers with sickly children in their arms jump side by side with -young well-to-do girls; old men, broken with toil, jump in step with -vigorous fellows in the heyday of youth. Water and wine are freely -offered by the townsfolk to the pilgrims, many of whom sink exhausted -under the unwonted effort. It sometimes happens that sick persons get -paid substitutes to perform for them the expiatory jumping. The distance -traversed is less than a mile, but the time occupied is fully two hours. -Before the church can be entered sixty-four steps have to be mounted. -But the singular backward and forward movements and the accompanying -music are continued, not only while the steps are ascended, but during -the circumambulation of the church, beneath the altar of which is the -tomb of the saint. On reaching the hallowed shrine the devotees manifest -their enthusiasm in various ways, kneeling before the altar, which is -surrounded by votive offerings, with sobs and gesticulations. When the -whole of the immense multitude has passed the shrine, the clergy ascend -the altar, the 'Salve Regina' is sung, the Benediction is given, and the -imposing ceremony is ended." - -Grimm also records the fact that about the year 1133 in a forest near -Inda (Ripuaria) a ship was built, set upon wheels, and drawn about the -country by men who were yoked to it, first to Aachen (Aix), and up the -river to Tongres, Looz, and so on, everywhere with crowds of people -assembling and escorting it. Wherever it halted there were joyful -shouts, songs of triumph, and dancing round the ship, kept up till far -into the night. This Grimm describes as a recollection of an ancient -heathen festival. It was utterly repugnant to and opposed strongly by -the clergy as a sinful and heathenish piece of work. On the other hand, -the secular power authorised and protected it (_Teutonic Mythology_, i. -258). - -The story of the pied piper of Hamelin probably commemorates a -procession similar to the Echternach (see _Folk-lore Journal_, vol. ii. -209). - -With this may also be noted a dance recorded by Mr. Newell (_Games of -American Children_, p. 89), who states that the name "Threading the -Needle" is given to a dance in which hundreds take part; in which from -time to time the pair who form the head of the row raise their arms to -allow the line to pass through, coiling and winding like a great -serpent. When a French savant asked the peasants of La Chtre why they -performed this dance, the answer was, "To make the hemp grow." - -I remember when quite a small child planting hemp seeds in a patch of -garden ground, and being told by a maid-servant, an illiterate country -girl, that the seeds would not grow well unless we danced, we joined -hands and danced round and round in a circle, then stooped down and -jumped about, saying, "Please, God, send it all up," then again danced -round. This may have been said only to amuse us, but it may also have -been the remains of an old festival dance. I believe there were more -words, but I cannot remember them. Hemp seed is associated with -ceremonies of magical nature, being one of those used by maidens as a -charm to enable them to see a future husband. - -Representation in pantomime of the different actions used in the -ceremonies of sowing the grain, its growth, and the consequent reaping, -binding, and carrying the grain, are practised in different parts of the -globe. This is brought down to later times by the custom noted on p. -319, vol. i., where from _Long Ago_ and Best's _Rural Economy of -Yorkshire_ (1641), instances are given of it being customary, at -harvest-homes, to give representations of "hirings" of farm-servants. -The hiring of a farm labourer, the work he had to do, his terms of -service, and the food to be supplied him, were dramatically performed, -showing clearly that it had been customary to go through this sort of -thing, in earnest of what was expected--in fact, a sort of oral -contract, in presence of witnesses. - -I will conclude this part of my evidence by a summary of the conclusions -arrived at by anthropological authorities. - -Sir John Lubbock, in _Origins of Civilisation_ (fifth ed., p. 257), -says, "Dancing among savages is no mere amusement." He quotes from -Robertson's _America_ (iv. p. 133) as follows: "It is an important -occupation, which mingles in every occurrence of public or private life. -If any intercourse be necessary between two American tribes, the -ambassadors of the one approach in a solemn dance, and present the -calumets or emblem of peace; the sachems of the other receives it with -the same ceremony. If war is denounced against an enemy, it is by a -dance expressive of the resentment which they feel, and of the vengeance -which they meditate. If the wrath of their gods is to be appeased, or -their beneficence to be celebrated; if they rejoice at the birth of a -child, or mourn the death of a friend--they have dances appropriate to -each of these situations, and suited to the different sentiments with -which they are animated. If a person is indisposed, a dance is -prescribed as the most effectual means to restore him to health; and if -he himself cannot endure the fatigue of such an exercise, the physician -or conjurer performs it in his name, as if the virtue of his activity -could be transferred to his patient." - -Sir J. Lubbock mentions some special dances practised among different -peoples, and gives an illustration of a circle dance practised by the -natives of Virginia round a circle of upright stones (p. 268). - -Dr. Tylor (_Anthropology_, p. 296) says, "Savages and barbarians dance -their joy and sorrow, love and rage, even their magic and religion. The -forest Indians of Brazil, rattle in hand, stamp in one-two-three time -round the great earthen pot of intoxicating kawi-liquor; or men or women -dance a rude courting dance, advancing in lines with a kind of primitive -polka step; or the ferocious war-dance is performed by armed warriors in -paint. We have enough of the savage left in us to feel how Australians -leaping and yelling at a corrobboree by firelight in the forest can work -themselves up into frenzy for next day's fight. But with our civilised -notions it is not so easy to understand that barbarians' dancing may -mean still more than this; it seems to them so real, that they expect it -to act on the world outside. Such an example as the buffalo dance (given -_ante_, p. 518) shows how, in the lower level of culture, men dance to -express their feeling and wishes. All this explains how in ancient -religion dancing came to be one of the chief acts of worship. Religious -processions went with song and dance to the Egyptian temples, and Plato -said all dancing ought to be thus an act of religion.... Modern -civilisation has mostly cast off the sacred dance.... To see this -near its old state the traveller may visit the temples of India, or -among the Lamas of Tibet watch the mummers in animal masks dancing -the demons out or the new year in, to wild music of drums and -shell-trumpets. Remnants of such ceremonies come down from the religion -of England before Christian times are still sometimes to be seen in the -dances of boys and girls round the midsummer bonfire or mummers of -Yuletide." - -Dr. Tylor continues: "At low levels in civilisation it is clear that -dancing and play-acting are one. The scenes of hunting and war furnish -barbarians with subjects for dances, as when the Gold Coast negroes have -gone out to war and their wives at home dance a fetish dance in -imitation of battle to give their absent husbands strength and -courage.... Historians trace from the sacred dances of ancient Greece -the dramatic art of the civilised world. Thus from the festivals of the -Dionysia arose tragedy and comedy. In the classic ages the players' art -divided into several branches. The pantomimes kept up the earliest form, -where the dancers acted in dumb show such pieces as the labours of -Herakles, or Kadmos sowing the dragons teeth, while the chorus below -accompanied the play by singing the story. The modern pantomime ballets -which keep up remains of these ancient performances show how grotesque -the old stage gods and heroes must have looked in their painted masks. -In Greek tragedy and comedy the business of the dancers and chorus were -separated from that of the actors, who recited or chanted each his -proper part in the dialogue." - -Grimm (_Teutonic Mythology_, i. p. 43), says, "Easter fires, May Day -fires, Midsummer fires, with their numerous ceremonies, carry us back to -heathen sacrifices, especially such customs as rubbing the sacred flame, -running through glowing embers, throwing flowers into the fire, baking -and distributing loaves or cakes, and the circular dance. Dances passed -into plays and dramatic representations." - -It is then clear that dances accompanied with song and pantomimic action -have been used by men and women from the earliest period of which we -have record, at all times and upon all occasions. In times of joy and -mirth, sorrow and loss, victory or defeat, weddings and funerals, -plagues and pestilences, famine and plenty, civilised and savage alike -dance, act, and sing their griefs and their joys. The gods of all -nations have been worshipped by pantomimic dance and song, their altars -and temples are encircled by their worshippers; and as the occasion was -one of fear or joy, and the god entreated or terrified by his followers, -so would the actions and voices of the dancers be in accord. When once -certain actions were recognised as successful, fitting, or beautiful, -they would tend to become repeated and stereotyped, and the same form -would be used for other gods, other occasions, and other customs where -the requirements were similar or the same. The circle dance, for -instance, after being performed several times would necessarily become a -part of the religious customs or ceremony, and form a part of the -ordinary religious observance. It would become particularly associated -with the place where it was first instituted, and might be used to -inaugurate other festivals. We know that the early Christians when -taking over to their use the temples and altars of their so-called -heathen predecessors, or when erecting a church where a temple had -previously stood, held their worship there and performed their dances to -their God as the heathens had done to theirs. The custom of encircling a -church on its festival day existed until lately in several parishes in -England, and this could only be a descendant of the custom once held -sacred by all the followers of one belief, demonstrating by their action -in group form the fact that they all believed in the same thing and held -together, by the clasp of hands and the dance round, their determination -to hold to and keep to it. - -If these customary dances obtained and have survived in religious ritual -to the present day, is it not to be expected that we should find -survivals in dance form of non-religious customs which also impressed -themselves strongly on the minds of the people? Births, marriages, -deaths, the sowing and gathering in of the crops; the protection of -cattle from disease and animals of prey; the necessity for water and -fire; the protection of the house and the village--have all helped to -surround these events with ceremonials which have lasted, and been -transmitted from generation to generation, altering to suit later ideas, -it is true, but preserving through all some trace of the events which -first called them into existence. - -It is because of this tendency to believe more in the power of -expression by action, than in the power of expression by language alone, -that dramatic action and gesture have formed such a necessary part of -representation of custom as to become an integral part of it. Limited as -is our knowledge of the popular plays performed about the country by -troops of strolling players before the age of the written play, we know -that their chief attraction must have been the dramatic rendering of -characters and events personified by certain well-known actions of the -actors, accompanied by special style of dress, or portions of dress, -which were recognised as sufficient in themselves to show who and what -was being personified. The story was shown more by action than by words; -the idea being to present events to the onlooker, and impress them on -his mind. It is in these dramatic performances of what was expected we -have the germs of the dramatic art that afterwards developed into the -regular play or drama. Every important custom of life was probably -depicted by pantomimic action. We have, first, words, describing the -events, sung or said by a chorus of onlookers and dancers, afterwards a -short dialogue between the chief characters taking the place of the -chorus, and then, as the number of characters were increased, the -representations become something that could be performed independently, -without the need of a particular season or custom to render it -intelligible. - -At this stage of the primitive drama the characters merely present -actions of the _dramatis person_ time after time, always performed in -the same manner, and this would produce conventional methods of -presenting certain events. We know that events of a religious nature -were presented in the same manner by the Church. This must have been in -consequence of the attraction plays possessed as depicting pagan -religion and events of ordinary life and manners and customs. It is -easily conceivable that before the era of books and literature, a rough -sort of presentation of life, present and past, would be eagerly -welcomed; and it would not be until the advent of a writer who developed -the individual acting, at the expense of the event depicted, that what -we know as a play could be written. - -Mr. Ordish, in his study of Folk drama, published in the Folk-lore -Society's journal, has conclusively proved the development of the drama -independently of the miracle and mystery plays of the Middle Ages, or -from the old Greek plays, and this development has taken place through -the action of the people, always accustomed to the influence of dramatic -representation. Hence in the remains of the traditional games we have -preserved a form in which we can see the beginning and early development -of the drama. When once the line form was firmly established as an -indication of two opposite parties, it would be used for such indication -wherever it was required, and thus it became the common property of the -children's game and the early stage. The remains of the line and circle -form, as denoting opponents and friendly communion can, I think, be -traced in old plays and old methods of acting. - -In old pantomimes, the demons or evil spirits and their followers enter -on one side and stand in lines; the good fairy and her followers enter -on the opposite side and stand in line; the principal characters advance -from the line, and talk defiance to each other. We do not have a circle -form on the stage, but a half-circle, seated on the stage, is or was -until comparatively lately a method of representing a social or family -party. Every one who has seen a mummer's play performed, either in or -out of doors, will be aware that the same method obtains in them--the -performers are all on the stage or stand together at once, walking -forward as each one's name is mentioned, saying his allotted part, and -then standing back again, while the next player has his turn. - -The action in these plays has remained in stationary form; as far as the -method goes there has probably been very little difference in the manner -of presenting them for a long period of time. - -These traditional games are valuable, therefore, for the information -they afford in a direction not hitherto thought of, namely, in the study -of the early drama. If the drama can be seen in its infancy anywhere, -surely it can be seen in these children's plays. - -The study of children's games takes us, therefore, into several -departments of research. Many traces of customs that do not belong to -modern life, customs that take us back to very early times indeed, are -brought before us. The weapons are bows and arrows, the amusements -hunting and hawking; animals are found in such close relationship with -human beings, that only very primitive conditions of life would allow: -contests between men and women occur in such a way that we are taken -back to one of the earliest known customs of marriage, that known as -marriage by capture--then from this stage to a later, where purchase or -equivalent value obtains; then to a marriage with a ceremony which -carries us back to the earliest forms of such ceremonies. That such -customs can be suggested in connection with these games goes far to -prove that they, in fact, originate the game--that no other theory -satisfactorily accounts for all the phenomena. - -In looking for the motive power which has caused the continuity of these -customs to be practised as amusements, we have found that the dramatic -power inherent in mankind supplies the necessary evidence, and from this -stage we have been led to an interesting point in the early history of -the drama and of the stage. It is not, therefore, too much to say that -we have in these children's games some of the oldest historical -documents belonging to our race, worthy of being placed side by side -with the folk-tale and other monuments of man's progress from savagery -to civilisation. - -ALICE B. GOMME. - - -THE END - - - Printed by BALLANTYNE, HANSON & CO. - Edinburgh & London - - - - -Transcriber's notes: - - -General: - -This eBook is Volume II of a two-volume work. Volume I is available as -ebook number 41727 via the website of Project Gutenberg -(http://www.gutenberg.org/ebooks/41727). Because Volume I was published -in 1894 and Volume II in 1898, there is no symmetry in the references -between the two volumes (for example, Gled Wylie from Volume I does not -refer to Shue-Gled-Wylie from Volume II, whereas Shue-Gled-Wylie does -refer to Gled Wylie). - -This text follows the original printed work, including inconsistencies. -Inconsistencies include differences in spelling of the names of games -and locations, differences in transcription of dialect, inconsistencies -in lay-out, etc. Where changes were made, these are documented below. - - -References: - -Both volumes contain some uncertain references to (other) games, caused -by the naming and/or spelling of game names. Where these differences -were trivial (for example, Wolf and Lamb versus Wolf and the Lamb), -their identity has been assumed silently. Following is a list of less -trivial references. - -The game Stag is often referred to as Stag Warning, but occasionally -they are listed as thought they were separate games. - -Page xiv: Lubin, Looby Loo is listed as game in the Addenda, but not -present there; Hulla-balloo-ballee is not listed, but present in Addenda -(including references to Lubin and Looby Loo). - -Page 56: reference to the Scottish version. From the text and the -analysis this is probably version XVIII. - -Page 145: reference to Tag. This game is not listed as such, but -according to the description it could be a version of French Jackie, -which is called French Tag in some places. - -Page 282: reference to See the Farmer Sow his Seed, which is not a -separate game, but one version of Oats and Beans and Barley. - -Page 307 and 421: reference to Twos and Threes, which is not a separate -game, but a local name for Round Tag. - -Page 383: reference to Silly Young Man, which is probably a mistake for -Silly Old Man. - -Page 436: reference to Jolly Lads, which is not a separate game -(probably the game intended is Jolly Sailors). - -Page 467: reference to Drummer Man; no such game listed, the only -Drummer Man occurs in one of the variants of Follow my Gable. - -Page 470: reference to Lugs; there is no such game listed, possibly this -should be Luggie. - -Page 476: reference to Old Widow; there is no such game listed, it could -be a reference to Poor Widow; Baste the Bear, ditto, this is mentioned -under Badger the Bear; Old Woman, ditto, this could refer to Dumb -Motions. - - -Textual remarks: - -At least some of the quotations presented by the author are not verbatim -quotations, they have been edited by the author (for example Aubrey on -cockle-bread). - -In the Addenda, the original work uses Arabic rather than Roman numerals -for different variants; this has not been changed. - -The original work uses both 2-4 and 2/4 to indicate musical time; this -has not been standardised. - -Page 199: Love another like sister and brother is probably a mistake -(Love one another like sister and brother). - -Page 336/7: The original work does not give a source or authority for -variation XXV. - - -Changes made to the original text: - -Footnotes have been moved to end of the description of the game or to -immediately underneath the relevant paragraph (in the Memoir). - -Sources (when printed in smaller type in the original work) have been -moved to a separate line where necessary. - -In the Addenda, the references to games have been moved to the next -line. - -First page: mustergiltig changed to mustergltig (exemplary) - -Page vii: Pocklington Coltman changed to Pocklington-Coltman - -Page xiii: Teesty-Totsy changed to Teesty-Tosty as in text - -Page xv: Game Hulla-balloo-ballee added to list - -Page 35: the other player's changed to the other players - -Page 56-60: some rows consisting of dashes only were combined in the -original work, these have been split into separate rows - -Page 66: Hurstmonceaux changed to Hurstmonceux as elsewhere - -Page 67: Hurstmonceaux changed to Hurstmonceux as elsewhere - -Page 88: galop changed to gallop as elsewhere - -Page 100: square brackets moved from line of verse to explanation, as -elsewhere [I pray ... the ball], putting ... three girls. changed to I -pray ... the ball, [putting ... three girls.] - -Page 101: square bracket after yield up the ball. removed - -Page 108: Egmond changed to Edgmont - -Page 150: Biddgelert changed to Beddgelert - -Page 153: (variant VIII) rise, Sally changed to rise, Sallie - -Page 167: Strixwould changed to Stixwould - -Page 192: Encyclopedia changed to Encyclopdia as elsewhere - -Page 212: seldom or ever changed to seldom or never - -Page 214: Warkwickshire changed to Warwickshire - -Page 221: 1 and 2 changed to I and II as elsewhere - -Page 274: come with we changed to come with me - -Page 304: Schir, [zeta]it remembir as of befoir changed to Schir, -[yogh]it remembir as of befoir - -Page 321/2: I. and II. added for consistency - -Page 323: Collyhurst changed to Colleyhurst as elsewhere - -Page 324: Ill changed to I'll - -Page 333: Sprole changed to Sporle - -Page 347: Hartley Witney changed to Hatley Wintney - -Page 359: Authencairn changed to Auchencairn - -Page 360: beleagured changed to beleaguered - -Page 411: 229-303 changed to 299-303 - -Page 412: Page 292 changed to Page 294 - -Page 415: Doagan: placed on separate line as other section headers - -Page 423: reference to Wads and the Wears: vol. i changed to vol. ii - -Page 438: 315-319 changed to 313-319 - -Page 462: Tuilzie changed to Tuilyie - -Page 464: Johnny Hairy changed to Johanny Hairy - -Page 466: Cobler's changed to Cobbler's - -Page 469: Spangle changed to Spangie - -Page 475: Babity changed to Babbity as elsewhere - -Page 476: Granny Crow changed to Cranny Crow; Rushes changed to Rashes - -Page 477: Tuilzie changed to Tuilyie - -Page 499: and in animals of the chase changed to and in these animals of -the chase - -Page 482: Johnny Hairy changed to Johanny Hairy - -Page 506: Orange and Lemons changed to Oranges and Lemons - -Page 517: mother's have children changed to mothers have children - -Page 519: "Secular and Ceremonial Dances" of Torres Straits changed to -"Secular and Ceremonial Dances of Torres Straits". - - - - - -End of the Project Gutenberg EBook of The Traditional Games of England, -Scotland, and Ireland (Vol II of II), by Alice Bertha Gomme - -*** END OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - -***** This file should be named 41728-8.txt or 41728-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/7/2/41728/ - -Produced by David Edwards, Harry Lam, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Traditional Games of England, Scotland, and Ireland (Vol II of II) - With Tunes, Singing-Rhymes, and Methods of Playing etc. - -Author: Alice Bertha Gomme - -Release Date: December 29, 2012 [EBook #41728] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - - - - -Produced by David Edwards, Harry Lam, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - -</pre> <div class="tnboxtop"> @@ -36537,377 +36499,7 @@ In the Addenda, the references to games have been moved to separate lines.</p> -<pre> - - - - - -End of the Project Gutenberg EBook of The Traditional Games of England, -Scotland, and Ireland (Vol II of II), by Alice Bertha Gomme - -*** END OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - -***** This file should be named 41728-h.htm or 41728-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/7/2/41728/ - -Produced by David Edwards, Harry Lam, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> +<div>*** END OF THE PROJECT GUTENBERG EBOOK 41728 ***</div> </body> </html> diff --git a/41728.txt b/41728.txt deleted file mode 100644 index f3aea3e..0000000 --- a/41728.txt +++ /dev/null @@ -1,25114 +0,0 @@ -The Project Gutenberg EBook of The Traditional Games of England, Scotland, -and Ireland (Vol II of II), by Alice Bertha Gomme - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Traditional Games of England, Scotland, and Ireland (Vol II of II) - With Tunes, Singing-Rhymes, and Methods of Playing etc. - -Author: Alice Bertha Gomme - -Release Date: December 29, 2012 [EBook #41728] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - - - - -Produced by David Edwards, Harry Lame, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - - - +-------------------------------------------------------------------+ - | TRANSCRIBER'S NOTES: | - | | - | Text printed in italics in the original work is presented here | - | between underscores, as in _text_. Similarly, bold face in the | - | original is represented as =text=. | - | | - | Footnotes have been moved to the end of the description of the | - | game. | - | | - | [Illustration] means that there is an illustration present in the | - | text; [Music] means a transcription in musical notation. | - | | - | [Greek: text] represents a transcription of Greek text. [zeta] | - | and [yogh] represent the named characters. The oe-ligature has | - | been transcribed as [oe]. | - | | - | More Transcriber's Notes may be found at the end of this text. | - +-------------------------------------------------------------------+ - - - - -VOL. I. - -ACCROSHAY-NUTS IN MAY - - Medium 8vo, xix.--424 pp. With numerous Diagrams and Illustrations. - Cloth uncut. 12s. 6d. nett. - - -Some Press Notices - - _Notes and Queries._--"A work of supreme importance. . . a - scholarly, valuable, and delightful work." - - _Spectator._--"Interesting and useful to the antiquarian, historian, - and philologist, as well as to the student of manners and customs." - - _Saturday Review._--"Thorough and conscientious." - - _Critic_ (New York).--"A mine of riches to the student of folk-lore, - anthropology, and comparative religion." - - _Antiquary._--"The work of collection and comparison has been done - with obvious care, and at the same time with a con amore - enthusiasm." - - _Zeitschrift fuer vergl. Literaturgeschichte._--"In jeder Beziehung - erschoepfend und mustergueltig." - - _Zeitschrift fuer Paedagogie._--"Von hoher wissenschaftlicher - Bedeutung." - - -[_All rights reserved_] - - - - - THE - TRADITIONAL GAMES - Of England, Scotland, and Ireland - - WITH - - TUNES, SINGING-RHYMES, AND METHODS OF PLAYING - ACCORDING TO THE VARIANTS EXTANT AND - RECORDED IN DIFFERENT PARTS - OF THE KINGDOM - - - COLLECTED AND ANNOTATED BY - ALICE BERTHA GOMME - - - VOL. II. - - OATS AND BEANS-WOULD YOU KNOW - - - TOGETHER WITH A MEMOIR ON THE STUDY - OF CHILDREN'S GAMES - - - LONDON - DAVID NUTT, 270-71 STRAND - 1898 - - - Printed by BALLANTYNE, HANSON & CO. - - At the Ballantyne Press - - - - -PREFACE - - -The completion of the second volume of my Dictionary has been delayed -from several unforeseen circumstances, the most important being the -death of my most kind and learned friend the Rev. Dr. Gregor. The loss -which folk-lore students as a body sustained by this lamented scholar's -death, was in my own case accentuated, not only by many years of kindly -communication, but by the very special help which he generously gave me -for this collection. - -The second volume completes the collection of games on the lines already -laid down. It has taken much more space than I originally intended, and -I was compelled to add some important variants to the first volume, sent -to me during the compilation of the second. I have explained in the -memoir that the two volumes practically contain all that is to be -collected, all, that is to say, of real importance. - -The memoir seeks to show what important evidence is to be derived from -separate study of the Traditional Games of England. That games of all -classes are shown to contain evidence of ancient custom and belief is -remarkable testimony to the anthropological methods of studying -folk-lore, which I have followed. The memoir fills a considerable space, -although it contains only the analytical portion of what was to have -been a comprehensive study of both the analytical and comparative sides -of the questions. Dr. Gregor had kindly promised to help me with the -study of foreign parallels to British Games, but before his death it -became apparent that this branch of the subject would almost need a -separate treatise, and his death decided me to leave it untouched. I do -not underrate its importance, but I am disposed to think that the survey -I have given of the British evidence will not be materially shaken by -the study of the comparative evidence, which will now be made the -easier. - -I ought perhaps to add, that the "Memoir" at the end of this volume was -read as a paper at the evening meeting of the Folk Lore Society, on -March 16th, 1898. - -I have again to thank my many kind correspondents for their help in -collecting the different versions of the games. - -A. B. G. - -24 DORSET SQUARE, N.W. - - - - -LIST OF AUTHORITIES - -ADDENDUM TO VOL. I. - - -ENGLAND. - - BEDFORDSHIRE-- - Bedford Mrs. Haddon. - - BERKSHIRE-- - Welford Mrs. S. Batson. - - BUCKINGHAMSHIRE-- - Buckingham _Midland Garner._ - - CAMBRIDGESHIRE Halliwell's _Nursery Rhymes_. - Barrington, Girton Dr. A. C. Haddon. - Cambridge Mrs. Haddon. - - CORNWALL Miss I. Barclay. - - DERBYSHIRE Miss Youngman, _Long Ago_, vol. i. - - DEVONSHIRE Miss Chase. - Chudleigh Knighton { Henderson's _Folk-lore of the Northern - { Counties of England_. - - DORSETSHIRE-- - Broadwinsor _Folk-lore Journal_, vol. vii. - - GLOUCESTERSHIRE Northall's _English Folk Rhymes_. - - HAMPSHIRE-- - Gambledown Mrs. Pinsent. - - HERTFORDSHIRE-- - Harpenden, Stevenage Mrs. Lloyd. - - HUNTINGDONSHIRE-- - St. Neots Miss Lumley. - - KENT Miss L. Broadwood. - - LANCASHIRE-- - Manchester Miss Dendy. - Liverpool Mrs. Harley. - - LEICESTERSHIRE _Leicestershire County Folk-lore._ - - LINCOLNSHIRE-- - Brigg Miss J. Barker. - Spilsby Rev. R. Cracroft. - - LONDON Dr. Haddon, A. Nutt, Mrs. Gomme. - Blackheath Mr. M. L. Rouse. - Hoxton Rev. S. D. Headlam. - Marylebone Mrs. Gomme. - - MIDDLESEX Mrs. Pocklington-Coltman. - - NORFOLK Mrs. Haddon. - Hemsby Mrs. Haddon. - - NORTHUMBERLAND Hon. J. Abercromby. - - OXFORDSHIRE Miss L. Broadwood. - - STAFFORDSHIRE Halliwell's _Nursery Rhymes_. - Wolstanton Miss Bush. - - SUFFOLK Mrs. Haddon. - Woolpit, near Haughley Mr. M. L. Rouse. - - SURREY-- - Ash Mrs. Gomme. - - SUSSEX-- - Lewes Miss Kimber. - - WORCESTERSHIRE-- - Upton on Severn Miss. L. Broadwood. - - YORKSHIRE Miss E. Cadman. - - -SCOTLAND. - -_Notes and Queries._ Pennant's _Voyage to the Hebrides_. - - ABERDEENSHIRE-- - Aberdeen Mr. M. L. Rouse. - Aberdeen Training College Rev. Dr. Gregor. - Corgarff, Fraserburgh, } Rev. Dr. Gregor. - Meiklefolla, Rosehearty, } - Tyrie - - ARGYLLSHIRE-- - Connell Ferry, near Oban Miss Harrison. - - BANFFSHIRE-- - Cullen, Macduff Rev. Dr. Gregor. - - BERWICKSHIRE A. M. Bell (_Antiquary_, vol. xxx.). - - ELGIN AND NAIRN-- - Dyke } Rev. Dr. Gregor. - Strichen } - - FORFARSHIRE-- - Forfar Rev. Dr. Gregor. - - KINCARDINESHIRE-- - Banchory Rev. Dr. Gregor. - - KIRCUDBRIGHTSHIRE-- - Auchencairn { Miss M. Haddon. - { Dr. A. C. Haddon. - Crossmichael Rev. Dr. Gregor. - Galloway } Mr. J. G. Carter. - Dalry } - Kirkcudbright }Mr. J. Lawson. - Laurieston } - New Galloway Rev. Dr. Gregor. - - LINLITHGOWSHIRE-- - Linlithgow Mrs. Jamieson. - - PERTHSHIRE-- - Auchterarder Miss E. S. Haldane. - Perth Rev. Dr. Gregor. - - ROSS-SHIRE Rev. Dr. Gregor. - - WIGTONSHIRE-- - Port William School Rev. Dr. Gregor. - - -IRELAND. - -Carleton's _Stories of Irish Peasantry_. - - CORK-- - Cork Mr. I. J. Dennachy. - - DOWN-- - St. Andrews Miss H. E. Harvey. - - DUBLIN-- - Dublin Mrs. Coffey. - Howth Miss H. E. Harvey. - - KERRY-- - Kerry I. J. Dennachy. - Waterville Mrs. B. B. Green. - - LEITRIM-- - Kiltubbrid Mr. L. L. Duncan. - - WATERFORD-- - Waterford Miss H. E. Harvey. - - -WALES. - -Roberts' _Cambrian Popular Antiquities_. - - - - -LIST OF GAMES - - - OATS and Beans and Barley. - Obadiah. - Odd or Even. - Odd-man. - Old Dame. - Old Roger is Dead. - Old Soldier. - Oliver, Oliver, follow the King. - One Catch-all. - Oranges and Lemons. - 'Otmillo. - Over Clover. - - PADDY from Home. - Paip. - Pallall. - Pally Ully. - Pat-ball. - Pay-swad. - Pednameny. - Peesie Weet. - Peg and Stick. - Peg-fiched. - Peggy Nut. - Peg-in-the-Ring. - Peg-top. - Penny Cast. - Penny Hop. - Penny Prick. - Penny Stanes. - Ph[oe]be. - Pick and Hotch. - Pi-cow. - Pigeon Walk. - Pig-ring. - Pillie-Winkie. - Pinch. - Pinny Show. - Pins. - Pirley Pease-weep. - Pitch. - Pitch and Hustle. - Pitch and Toss. - Pit-counter. - Pits. - Pize Ball. - Plum Pudding. - Plum Pudding and Roast Beef. - Pointing out a Point. - Poncake. - Poor and Rich. - Poor Mary sits a-weeping. - Poor Widow. - Pop Goes the Weasel. - Pop-the-Bonnet. - Poppet-Show. - Port the Helm. - Pots, or Potts. - Pray, Pretty Miss. - Pretty Little Girl of Mine. - Pretty Miss Pink. - Prick at the Loop. - Prickey Sockey. - Prickie and Jockie. - Priest-Cat (1). - Priest-Cat (2). - Priest of the Parish. - Prisoner's Base. - Puff-the-Dart. - Pun o' mair Weight. - Punch Bowl. - Purposes. - Push in the Wash Tub. - Push Pin. - Push the Business On. - Puss in the Corner. - Pussy's Ground. - Pyramid. - - QUAKER. - Quaker's Wedding. - Queen Anne. - Queen Mary. - Queen of Sheba. - - RAGMAN. - Rag-stag. - Rakes and Roans. - Rakkeps. - Range the Bus. - Rax, or Raxie-boxie, King of Scotland. - Relievo. - Religious Church. - Rigs. - Ring. - Ring a Ring o' Roses. - Ring by Ring. - Ringie, Ringie, Red Belt. - Ring-me-rary. - Ring-taw. - Rin-im-o'er. - Robbing the Parson's Hen-Roost. - Rockety Row. - Roll up Tobacco. - Roly-poly. - Ronin the Bee. - Rosy Apple, Lemon and Pear. - Roundabout, or Cheshire Round. - Round and Round the Village. - Round and Round went the Gallant Ship. - Round Tag. - Rounders. - Rounds. - Row-chow-Tobacco. - Rowland-Ho. - Rumps. - Rusty. - - SACKS. - Saddle the Nag. - Saggy. - Sailor Lad. - Sally go Round the Moon. - Sally Water. - Sally Sober. - Salmon Fishers. - Salt Eel. - Save All. - Say Girl. - Scat. - Scop-peril. - Scotch-hoppers. - Scots and English. - Scratch Cradle. - Scrush. - Scurran-Meggy. - See-Saw. - See-Sim. - Shame Reel, or Shamit Dance. - She Said, and She Said. - Shepherd and Sheep. - Shepherds. - Shinney, or Shinty, or Shinnops. - Ship. - Ship Sail. - Shiver the Goose. - Shoeing the Auld Mare. - Shue-Gled-Wylie. - Shuttlefeather. - Shuvvy-Hawle. - Silly Old Man. - Skin the Goatie. - Skipping. - Skyte the Bob. - Smuggle the Gig. - Snail Creep. - Snapping Tongs. - Snatch Apple. - Snatch Hood. - Soldier. - Solomon. - Sort'em-billyort'em. - Sow-in-the-Kirk. - Span Counter. - Spang and Purley. - Spangie. - Spannims. - Spawnie. - Spinny-Wye. - Splints. - Spurn point. - Spy-arm. - Stacks. - Stag. - Stagging. - Steal the Pigs. - Stealy Clothes. - Steik and Hide. - Sticky-stack. - Sticky Toffey. - Stiff Police. - Stik-n Snael. - Stocks. - Stones. - Stool-ball. - Strik a Licht. - Stroke. - Stroke Bias. - Sun and Moon. - Sunday Night. - Sun Shines. - Sweer Tree. - Swinging. - - TAIT. - Teesty-Tosty. - Teter-cum-Tawter. - Tee-to-tum. - Thimble Ring. - Thing done. - Thread the Needle. - Three Days' Holidays. - Three Dukes. - Three Flowers. - Three Holes. - Three Jolly Welshmen. - Three Knights from Spain. - Three Little Ships. - Three Old Bachelors. - Three Sailors. - Through the Needle Eye, Boys. - Thun'er Spell. - Tick. - Tickle me Quickly. - Ticky Touchwood. - Tig. - Time. - Tip it. - Tip-Cat. - Tip-tap-toe. - Tiring Irons. - Tisty Tosty. - Titter-totter. - Tit-tat-toe. - Tods and Lambs. - Tom Tiddler's Ground. - Tops. - The Totum, or Tee-to-tum. - Touch. - Tower of London. - Town Lovers. - Trades. - Trap, Bat, and Ball. - Tray-trip. - Tres-acre. - Tribet. - Trippit and Coit. - Trip and Go. - Trip-trout. - Troap. - Troco, Trucks. - Troule-in-Madame. - Trounce-Hole. - Troy Town. - Truncher. - Trunket. - Truss. - Tuilyie-wap. - Turn, Cheeses, Turn. - Turn Spit Jack. - Turn the Ship. - Turn the Trencher, or, My Lady's Toilet. - Turvey. - Tutt-ball. - Twelve Days of Christmas. - Twelve Holes. - - UNCLE John is Ill in Bed. - Up the Streets. - - WADDS and the Wears (1). - Wadds and the Wears (2). - Waggles. - Wallflowers. - Warney. - Way-Zaltin. - We are the Rovers. - Weary. - Weave the Diaper. - Weigh the Butter. - When I was a Young Girl. - Whiddy. - Whigmeleerie. - Whip. - Whishin Dance. - Who goes round my Stone Wall. - Widow. - Wiggle-Waggle. - Wild Boar. - Wild Birds. - Willie, Willie Wastell. - Wind up the Bush Faggot. - Wind, The. - Wink-egg. - Witch, The. - Witte-Witte-Way. - Wolf. - Wolf and the Lamb. - Would you know how doth the Peasant. - - - - -ADDENDA - - - A' THE BIRDIES. - All the Boys. - American Post. - As I was Walking. - Auld Grannie. - - BALL. - Bannockburn. - Black Doggie. - Bonnet Ridgie. - Button. - - CANLIE. - Carry my Lady to London. - Cat and Dog Hole. - Catch the Salmond. - Chicken come Clock. - Chippings, or Cheapings. - Chucks. - Churning. - Codham, or Codhams. - Colley Ball. - - DAN'L my Man. - Deil amo' the Dishes. - Dig for Silver. - Dillsee Dollsie Dee. - Doagan. - Down in Yonder Meadow. - Draw a Pail of Water. - Drop Handkerchief. - Dumb Crambo. - Dump. - - EENDY, Beendy. - - FARMER'S Den. - Fire on the Mountains. - Fool, Fool, come to School. - French Jackie. - - GALLOPING, Galloping. - Gallant Ship. - Galley, Galley Ship. - Glasgow Ships. - Granny's Needle. - Green Gravel. - Green Grass. - Green Grass (2). - - HEAP the Cairn. - Hear all! - Hen and Chickens. - High Windows. - Hot Cockles. - - ISABELLA. - - JENNY Jones. - Jockie Rover. - Jolly Lads. - Jolly Miller. - - KEYS of Heaven. - Kick the Block. - - LADY of the Land. - Leap-Frog. - London Bridge. - Lubin, Looby Loo. - - MAGICIAN. - Mannie on the Pavement. - Merry-ma-Tanza. - Milking Pails. - My Delight's in Tansies. - - NAMER and Guesser. - Needle Cases. - Nuts in May. - - ODD Man. - Old Cranny Crow. - Old Johanny Hairy, Crap in! - - PAPER of Pins. - Pickie. - Poor Widow. - - QUEEN Anne. - - RASHES. - - SALLY Water. - Shuffle the Brogue. - Soldiers, Soldiers. - - THREE Dukes. - Three Knights. - Tug of War. - - WE are the Rovers. - When I was a Young Girl. - - - - -ANALYSIS OF "MEMOIR" - - - Children's games, a definite branch of folk-lore--Nature of material - for the study--Games fall into one of two sections--Classification - of the games--Under customs contained in them--Under implements of - play--Skill and chance games--Importance of classification--Early - custom contained in skill and chance games--In diagram games--Tabu - in game of "Touch"--Methods of playing the games--Characteristics of - line form--Of circle forms--Of individual form--Of the arch - forms--Of winding-up form--Contest games--War-cry used in contest - games--Early marriage customs in games of line form--Marriage by - capture--By purchase--Without love or courtship--Games formerly - played at weddings--Disguising the bride--Hiring servants - game--Marriage customs in circle games--Courtship precedes - marriage--Marriage connected with water custom--"Crying for a young - man" announcing a want--Marriage formula--Approval of friends - necessary--Housewifely duties mentioned--Eating of food by bride and - bridegroom necessary--Young man's necessity for a wife--Kiss in the - ring--Harvest customs in games--Occupations in games--Funeral - customs in games--Use of rushes in games--Sneezing action in - game--Connection of spirit of dead person with trees--Perambulation - of boundaries--Animals represented--Ballads sung to a - dance--Individual form games--Hearth worship--Objection to giving - light from a fire--Child-stealing by witch--Obstacles in path when - pursuing witch--Contest between animals--Ghosts in games--Arch form - of game--Contest between leaders of parties--Foundation sacrifice in - games--Encircling a church--Well worship in games--Tug-of-war - games--Alarm bell ringing--Passing under a yoke--Creeping through - holed stones in games--Under earth sods--Customs in "winding up" - games--Tree worship in games--Awaking the earth spirit--Serpentine - dances--Burial of maiden--Guessing, a primitive element in - games--Dramatic classification--Controlling force which has - preserved custom in games--Dramatic faculty in mankind--Child's - faculty for dramatic action--Observation of detail--Children's games - formerly an amusement of adults--Dramatic power in savages--Dramatic - dances among the savage and semi-civilised--Summary and conclusion. - - - - -CHILDREN'S GAMES - - -Oats and Beans and Barley - -[Music] - ---Madeley, Shropshire (Miss Burne). - -[Music] - ---_Northants Notes and Queries_, ii. 161 (R. S. Baker) - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Oats and beans and barley grow! - Oats and beans and barley grow! - Do you or I or any one know - How oats and beans and barley grow? - First the farmer _sows_ his seed, - Then he _stands_ and takes his ease, - _Stamps_ his foot, and _claps_ his hands, - Then _turns round_ to view the land. - Waiting for a partner, waiting for a partner! - Open the ring and take one in! - - Now you are married you must obey, - You must be true to all you say, - You must be kind, you must be good, - And help your wife to chop the wood! - ---Much Wenlock (Burne's _Shropshire Folklore_, p. 508). - - II. Oats and beans and barley grow! - Does you or I or any one know - Where oats and beans and barley grow? - - So the farmer sows his seed; - So he stands and takes his ease; - Stamps his foot and claps his hands, - And turns him round to view the lands. - Waiting for a partner! waiting for a partner! - - Now young couple you must obey, - You must be true in all you say, - You must be wise and very good, - And help your wife to chop the wood. - ---Monton, Lancashire (Miss Dendy). - - III. Does you or I, or anie one knowe - Where oates and beanes and barlie growe? - Where oates and beanes and barlie growe? - The farmer comes and sowes ye seede, - Then he standes and takes hys ease, - Stamps hys foote, and slappes hys hand, - And turnes hym rounde to viewe ye land. - Waiting for a partner, - Waiting for a partner, - Open the ringe and take mee in, - Make haste and choose youre partner. - - Now you're married you must obey, - Must bee true to alle you saye, - Must bee kinde and verie goode, - And helpe your wyfe to choppe ye woode. - ---Raunds (_Northants Notes and Queries_, i. 163). - - IV. Oats and beans and barley grows, - You or I or any one knows, - You or I or any one knows, - Where oats and beans and barley grows. - - Thus the farmer sows his seed, - Stamps his feet and claps his hands, - And turns around to view the land. - Waiting for a partner, - Waiting for a partner, - - Now you are married, &c. - [same as Much Wenlock.] - ---East Kirkby, Lincolnshire (Miss K. Maughan). - - V. Oats, beans, and barley grows, - You or I or any one knows. - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his feet and folds his hands, - And turns him round to view the lands. - Oh! waitin' for a partner, - Waitin' for a partner. - - Now you're married, &c. - [same as Much Wenlock.] - ---Winterton (Miss Fowler). - - VI. Oats and wheat and barley grows, - You and I and every one knows - Where oats and wheat and barley grows. - As the farmer sows his seed, - Folds his arms and takes his ease, - Stamps his feet and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Waiting for a partner, - Waiting for a partner, - To open the ring - And take one in. - - Now you're married, &c. - [same as Much Wenlock.] - ---Tean, North Staffs. (Miss Keary). - - VII. Oats and beans and barley grow, - You and I and every one know; - You and I and every one know - That oats and beans and barley grow. - - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his foot and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Waiting for a partner. - - Now you're married you must obey, &c. - [same as Much Wenlock.] - ---Brigg, Lincolnshire (Miss Barker). - - VIII. Oats and beans and barley-corns, you or I or any one else, - You or I or any one else, oats or beans or barley-corns; - Thus the farmer sows his seed, - Thus he stands and takes his ease, - Stamps his foot, and claps his hands, - And turns him round to view the land. - Waiting for a partner, waiting for a partner; - Open the ring and take one in, - Waiting for a partner. - Now you're married, &c. - [same as Much Wenlock.] - ---Nottingham (Miss E. A. Winfield). - - IX. Oats and beans, barley and groats, - Oats and beans, barley and groats; - You, nor I, nor anybody knows - How oats and beans and barley grows. - Thus the farmer sows his seed, - Thus he stands and takes his feed, - Stamps his foot and claps his hand, - And turns around to view the land. - Waiting for a partner, waiting for a partner. - Slip the ring, and take one in, - And kiss her when you get her in; - Now that you're married you must agree, - You must be kind to all you see; - You must be kind, you must be good, - And help your man [wife] to chop the wood. - ---Isle of Man (A. W. Moore). - - X. Wuts and beaens and barley graws, - As you and I and every one knaws. - - . . . . . - - Waaetin' for a pardner. - - Fust the farmer saws his seaeds, - Then he stands and taaeke his eaese, - Stomps his feaet and clops his hands, - And turns him round to view his lands. - Waaetin' for a pardner. - - Now you're married you must obaaey; - Must be trewe to all you saaey; - Must be kind and must be good, - And help your wife to chop the wood. - Waaetin' for a pardner. - ---Spilsby, N. Lincs. (Rev. R. Cracroft). - - XI. Oats and beans and barley corn, - Oats and beans and barley corn; - You and I and nobody else, - But oats and beans and barley corn. - As the farmer sows his seed, - As he stands to take us in, - Stamps his feet and claps his hands, - Turns around to field and lands. - Waiting for a partner, - Waiting for a partner, - Open the gate and let her come out, - And see the one you love the best. - - Now we're merry and wish you joy, - First the girl, and then the boy, - Seven years after, seven years past, - Kiss one another and go to your class. - ---Hampshire (Miss Mendham). - - XII. Where the wheat and barley grows, - You and I and nobody knows, - Where the wheat and barley grows, - You and I and nobody knows. - As the farmer sows his seed, - As he stands and takes his ease, - Stamps his foot and claps his hand, - Turns around to view the land. - Waiting for a partner, - Waiting for a partner. - Open the ring, take her in, - Kiss her when you get her in. - Now you're married you must be good, - To make your husband chop the wood. - ---Cowes, Isle of Wight (Miss E. Smith). - - XIII. Oats and beans and barley corns, - You nor I nor any one knows; - You nor I nor any one knows - How oats and beans and barley grows. - As the sower sows his seed, - As he stands he takes his ease, - Stamps his foot and claps his hands, - And turns him round to view the land. - Waiting for a partner, - Open the ring and take one in. - Now you're married, &c. - [same as Much Wenlock.] - ---Long Eaton, Nottinghamshire (Miss Youngman). - - XIV. Hop or beans or barley corn, - You or I or any one all: - First the farmer sows his seed, - Then he stands and takes his ease; - He stamped his foot and he clapped his hand, - And turned around the bugle land, - Waiting for a partner, a partner, a partner, - He opened the ring and called one in, - And now he's got a partner. - Now you're married we wish you good joy, - First the girl and then the boy; - Love one another like sister and brother, - And pray each couple to kiss together. - ---Sporle, Norfolk (Miss Matthews). - - XV. See the farmer sow his seed, - See he stands and takes them in, - Stamps his foot and claps his hand, - And turns him round to view the land. - O! waiting for a partner, - O! waiting for a partner, - Open the ring and take one in. - - Now you're married, &c. - [same as Much Wenlock.] - ---Earls Heaton, Yorks. (H. Hardy). - - XVI. A waitin' fur a pardner, - A waitin' fur a pardner, - You an' I an' ev'ry one knows - How whoats an' beans an' barley grows. - Fost tha farmer saws 'is seeds, - Then he stans' an' teks 'is ease, - Stamps 'is feet an' claps 'is 'ands, - And turns him round to view tha lands. - A waitin' fur a pardner, - A waitin' fur a pardner, - You an' I an' iv'ry one knows - How whoats an' beans an' barley grows. - - Now you're married, &c. - [same as Much Wenlock.] - ---Boston, Lincs. (_Notes and Queries_, 7th series, xii. 493). - - XVII. Oats and beans and barley grows - Not so fine as the farmer sows, - You nor I nor nobody knows - Oats and beans and barley grows. - This is the way the farmer sows, - The farmer sows, the farmer sows, - This is the way the farmer sows. - Here he stands and takes his ease, - Stamps his foot and claps his hands, - And turns around to view the land, - Waiting for a partner, waiting for a partner, - Open the ring and take one in, - And kiss him (or her) as he (or she) enters. - ---Aberdeen Training College (Rev. W. Gregor). - - XVIII. Waitin' for a partner, - Waitin' for a partner, - Open the ring and take one in, - And now you've got your partner. - - Now you're married, &c. - [same as Much Wenlock.] - ---Wakefield, Yorks. (Miss Fowler). - -(_c_) The players form a ring by joining hands, with one child, usually -a boy, standing in the centre. The ring walks round, singing the first -four lines. At the fifth line the ring stands still, and each child -suits her actions to the words sung. At "the farmer sows his seed," each -player pretends to scatter seed, then they all fold their arms and -"stand at ease," "stamp their feet," and "clap their hands" together in -order, and finally each child turns herself round. Then they again clasp -hands and move round the centre child, who at the words "open the ring -and take one in" chooses and takes into the ring with him one player -from it. These two stand together while the ring sings the marriage -formula. At the end the child first in the centre joins the ring; the -second child remaining in the centre, and in her turn choosing another -from the ring. - -This is the (Much Wenlock) way of playing. Among the variants there are -some slight differences. In the Wakefield version (Miss Fowler), a -little boy is placed in the centre of the ring first, he chooses a girl -out of the ring at the singing of the third line and kisses her. They -stand hand in hand while the others sing the next verse. In the Tean -version (Miss Keary), the children turn round with their backs to the -one in the centre, and stand still when singing "Waiting for a -partner." In the Hampshire (Miss Mendham), Brigg (Miss Barker), and -Winterton (Miss Peacock) versions, the children dance round instead of -walking. The Rev. Mr. Roberts, in a version from Kirkby-on-the-Bain -(N.W. Lincolnshire), says: "There is no proper commencement of this -song. The children begin with 'A waitin' fur a pardner,' or 'Oats and -beans,' just as the spirit moves them, but I think 'A waitin'' is the -usual beginning here." In a Sheffield version sent by Mr. S. O. Addy, -four young men stand in the middle of the ring with their hands joined. -These four dance round singing the first lines. After "views his lands" -these four choose sweethearts, or partners, from the ring. The eight -join hands and sing the remaining four lines. The four young men then -join the larger ring, and the four girls remain in the centre and choose -partners next time. The words of this version are almost identical with -those of Shropshire. In the Isle of Man version (A. W. Moore), when the -kiss is given all the children forming the ring clap their hands. There -is no kissing in the Shropshire and many other versions of this game, -and the centre child does not in all cases sing the words. - -(_d_) Other versions have been sent from Winterton, Leadenham, and -Lincoln, by Miss Peacock, and from Brigg, while the _Northamptonshire -Notes and Queries_, ii. 161, gives another by Mr. R. S. Baker. The words -are practically the same as the versions printed above from Lincolnshire -and Northants. The words of the Madeley version are the same as the Much -Wenlock (No. 1). The Nottingham tune (Miss Youngman), and three others -sent with the words, are the same as the Madeley tune printed above. - -(_e_) This interesting game is essentially of rural origin, and probably -it is for this reason that Mr. Newell did not obtain any version from -England for his _Games and Songs of American Children_, but his note -that it "seems, strangely enough, to be unknown in Great Britain" (p. -80), is effectually disproved by the examples I have collected. There is -no need in this case for an analysis of the rhymes. The variants fall -into three categories: (1) the questioning form of the words, (2) the -affirming form, and (3) the indiscriminate form, as in Nos. xvi. to -xviii., and of these I am disposed to consider the first to represent -the earliest idea of the game. - -If the crops mentioned in the verses be considered, it will be found -that the following table represents the different localities:-- - - +------+-----------------------------------------------------------+ - | |Northants. | - | | |Lancashire. | - | | | |Lincolnshire. | - | | | | |Shropshire. | - | | | | | |Staffordshire. | - | | | | | | |Nottingham. | - | | | | | | | |Isle of Man. | - | | | | | | | | |Hants. | - | | | | | | | | | |Isle of | - | | | | | | | | | |Wight. | - | | | | | | | | | | |Nor- | - | | | | | | | | | | |folk.| - +------+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ - |Oats | + | + | + | + | + | + | + | + | ... | ... | - |Beans | + | + | + | + | ... | + | + | + | ... | + | - |Barley| + | + | + | + | + | + | + | + | + | + | - |Wheat | ... | ... | ... | ... | + | ... | ... | ... | + | ... | - |Groats| ... | ... | ... | ... | ... | ... | ... | ... | ... | ... | - |Hop | ... | ... | ... | ... | ... | ... | + | ... | ... | + | - +------+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+ - -The first three are the more constant words, but it is curious that -Norfolk, not a hop county, should have adopted that grain into the game. -Hops are grown there on rare occasions, and it is probable that the game -may have been introduced from a hop county. - -In _Northants Notes and Queries_, i. 163-164, Mr. R. S. Baker gives a -most interesting account of the game (No. iii.) as follows:--"Having -been recently invited to join the Annual Christmas Entertainment of the -Raunds Church Choir, I noticed that a very favourite pastime of the -evening was one which I shall call 'Choosing Partners.' The game is -played thus: The young men and maidens join hands indiscriminately, and -form a ring; within the ring stand a lad and a lass; then they all step -round the way the sun goes, to a plain tune. During the singing of the -two last lines [of the first part] they all disjoin hands, stop and -stamp their feet and clap their hands and turn right round . . . then -join hands [while singing the second verse]. The two in the middle at -['Open the ring'] choose each of them a partner of the opposite sex, -which they do by pointing to the one chosen; then they continue round, -to the words [sang in next verse], the two pairs of partners crossing -hands, first right and then left, and revolving opposite ways -alternately. The march round is temporarily suspended for choosing -partners. The partners salute [at 'Now you're married'], or, rather, -each lad kisses his chosen lass; the first two partners go out, the game -continues as before, and every one in the ring has chosen and been -chosen, and every lad has saluted every lass. The antiquity of the -pastime is evidenced by its not mentioning wheat; wheat was in remote -times an exceptional crop--the village people lived on oatmeal and -barley bread. It also points, possibly, to a period when most of the -land lay in grass. Portions of the open fields were cultivated, and -after a few years of merciless cropping were laid down again to -recuperate. 'Helping to chop the wood' recalls the time when coal was -not known as fuel. I am indebted for the correct words of the above to a -Raunds maiden, Miss B. Finding, a native of the village, who kindly -wrote them down for me." Mr. Baker does not say how Miss Finding got the -peculiar spelling of this version. It would be interesting to know -whether this form of spelling was used as indicative of the -pronunciation of the children, or of the supposed antiquity of the game. -The Rev. W. D. Sweeting, also writes at the same reference, "The same -game is played at the school feast at Maxey; but the words, as I have -taken them down, vary from those given above. We have no mention of any -crop except barley, which is largely grown in the district; and the -refrain, repeated after the second and sixth lines, is 'waiting for the -harvest.' A lady suggested to me that the two first lines of the -conclusion are addressed to the bride of the game, and the two last, -which in our version run, 'You must be kind and very good,' apply to the -happy swain." - -This interesting note not only suggests, as Mr. Baker and Mr. Sweeting -say, the antiquity of the game and its connection with harvest at a time -when the farms were all laid in open fields, but it points further to -the custom of courtship and marriage being the outcome of village -festivals and dances held after spring sowing and harvest gatherings. It -seems in Northamptonshire not to have quite reached the stage of the -pure children's game before it was taken note of by Mr. Baker, and this -is an important illustration of the descent of children's games from -customs. As soon as it has become a child's game, however, the process -of decadence sets in. Thus, besides verbal alterations, the lines -relating to farming have dropped out of the Wakefield version. It is -abundantly clear from the more perfect game-rhymes that the waiting for -a partner is an episode in the harvest customs, as if, when the outdoor -business of the season was finished, the domestic element becomes the -next important transaction in the year's proceedings. The curious -four-lined formula applicable to the duties of married life may indeed -be a relic of those rhythmical formulae which are found throughout all -early legal ceremonies. A reference to Mr. Ralston's section on marriage -songs, in his _Songs of the Russian People_, makes it clear that -marriages in Russia were contracted at the gatherings called Besyedas -(p. 264), which were social gatherings held during October after the -completion of the harvest; and the practice is, of course, not confined -to Russia. - -It is also probable that this game may have preserved the tradition of a -formula sung at the sowing of grain, in order to propitiate the earth -goddess to promote and quicken the growth of the crops. Turning around -or bowing to fields and lands and pantomimic actions in imitation of -those actually required, are very general in the history of sympathetic -magic among primitive peoples, as reference to Mr. Frazer's _Golden -Bough_ will prove; and taking the rhyming formula together with the -imitative action, I am inclined to believe that in this game we may have -the last relics of a very ancient agricultural rite. - - -Obadiah - -The players stand in a row. The child at the head of the row says, "My -son Obadiah is going to be married, twiddle your thumbs," suiting the -action to the word by clasping the fingers of both hands together, and -rapidly "twiddling" the thumbs. The next child repeats both words and -actions, and so on all along the row, all the players continuing the -"twiddling." The top child repeats the words, adding (very gravely), -"Fall on one knee," the whole row follows suit as before (still -twiddling their thumbs). The top child repeats from the beginning, -adding, "Do as you see me," and the rest of the children follow suit, as -before. Just as the last child repeats the words, the top child falls on -the child next to her, and all go down like a row of ninepins. The whole -is said in a sing-song way. This game was, so far as I can ascertain, -truly East Anglian. I have never been able to hear of it in other parts -of England or Wales.--Bexley Heath (Miss Morris). Also played in London. - -See "Solomon." - - -Odd or Even - -A boys' game, played with buttons, marbles, and halfpence. Peacock's -_Manley and Corringham Glossary_; also mentioned in Brogden's -_Provincial Words (Lincolnshire)_. Mr. Patterson says (_Antrim and Down -Glossary_)--A boy shuts up a few small objects, such as marbles, in one -hand, and asks his opponent to guess if the number is odd or even. He -then either pays or receives one, according as the guess is right or -wrong. Strutt describes this game in the same way, and says it was -played in ancient Greece and Rome. Newell (_Games_, p. 147) also -mentions it. - -See "Prickie and Jockie." - - -Odd-man - -A game played with coins. Brogden's _Provincial Words, Lincolnshire_. - - -Old Dame - - I. I'll away to t'beck to wash my neck, - When I get there, I'll ask t'ould dame what o'clock it is? - It's one, and you'll be hanged at two. - - I'll away to t'beck to wash my neck, - When I get there, I'll ask t'ould dame what o'clock it is? - It's two, and you'll be hanged at three. - -[This is repeated until the old woman says, "It's eleven, and you'll be -hanged at twelve."] - ---Yorkshire (Miss E. Cadman). - - II. To Beccles, to Beccles, - To buy a bunch of nettles, - Pray, old dame, what's o'clock? - One, going for two. - - To Beccles, to Beccles, - To buy a bunch of nettles, - Pray, old dame, what's o'clock? - Two, going for three, &c. - -[And so on until "eleven going for twelve" is said, then the -following:--] - - Where have you been? - To the wood. - What for? - To pick up sticks. - What for? - To light my fire. - What for? - To boil my kettle. - What for? - To cook some of your chickens. - ---Halliwell, _Nursery Rhymes_, p. 229. - -(_b_) One child sits upon a little stool. The others march round her in -single file, taking hold of each other's frocks. They say in a sing-song -manner the first two lines, and the old woman answers by telling -them the hour. The questions and answers are repeated until the old -woman says, "It's eleven, and you'll be hanged at twelve." Then the -children all run off in different directions and the old woman runs -after them. Whoever she catches becomes old woman, and the game is -continued.--Yorkshire (Miss E. Cadman). In the version given from -Halliwell there is a further dialogue, it will be seen, before the old -woman chases. - -(_c_) The use of the Yorkshire word "beck" ("stream") in the first -variant suggests that this may be the original version from which the -"Beccles" version has been adapted, a particular place being substituted -for the general. The game somewhat resembles "Fox and Goose." - - -Old Roger is Dead - -[Music] - ---Earls Heaton (H. Hardy). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - -[Music] - ---Bath (A. B. Gomme). - - I. Old Rogers is dead and is laid in his grave, - Laid in his grave, - Laid in his grave; - Old Rogers is dead and is laid in his grave, - He, hi! laid in his grave. - - There grew an old apple tree over his head, - Over his head, - Over his head; - There grew an old apple tree over his head, - He, hi! over his head. - - The apples grew ripe, and they all fell off, - They all fell off, - They all fell off; - The apples grew ripe, and they all fell off, - He, hi! they all fell off. - - There came an old woman a-picking them up, - Picking them up, - Picking them up; - There came an old woman a-picking them up, - He, hi! picking them up. - - Old Rogers jumps up and he gives her a knock, - Gives her a knock, - Gives her a knock; - Old Rogers jumps up and he gives her a knock, - He, hi! gives her a knock. - - He makes the old woman go hipperty hop, - Hipperty hop, - Hipperty hop; - He makes the old woman go hipperty hop, - He, hi! hipperty hop. - ---Earls Heaton, Yorks. (Herbert Hardy). - - II. Old Roger is dead, and lies in his grave, um, ah! lies in - his grave; - There grew an old apple tree over his head, um, ah! over his - head. - The apples are ripe and ready to drop, um, ah! ready to - drop; - There came an old woman, picking them up. - ---Hanbury, Staffs. (Miss Edith Hollis). - - III. Sir Roger is dead and is low in his grave, - Is low in his grave, is low in his grave; - Sir Roger is dead and is low in his grave, - Hey hie! is low in his grave. - - They planted an apple tree over his head, - Over his head, over his head; - They planted an apple tree over his head, - Hey hie! over his head. - - When they grew ripe they all fell off, - All fell off, all fell off; - When they grew ripe they all fell off, - Hey hie! all fell off. - - There came an old woman and gathered them up, - Gathered them up, gathered them up; - There came an old woman and gathered them up, - Hey hie! gathered them up. - - Sir Roger got up and gave her a nudge, - Gave her a nudge, gave her a nudge; - Sir Roger got up and gave her a nudge, - Hey hie! gave her a nudge. - - Which made her go off with a skip and a hop, - With a skip and a hop, with a skip and a hop; - Which made her go off with a skip and a hop, - Hey hie! with a skip and a hop. - ---Ordsall, Nottinghamshire (Miss Matthews). - - IV. Sir Roger is dead and he's laid in his grave, - Laid in his grave, laid in his grave; - Sir Roger is dead and he's laid in his grave, - Heigh-ho! laid in his grave. - - There grew a fine apple tree over his head, - Over his head, over his head; - There grew a fine apple tree over his head, - Heigh-ho! over his head. - - The apples were ripe and they all fell off, - All fell off, all fell off; - The apples were ripe and they all fell off, - Heigh-ho! all fell off. - - There came an old woman and picked them all up, - Picked them all up, picked them all up; - There came an old woman and picked them all up, - Heigh-ho! picked them all up. - - Sir Roger jumped up and he gave her a push, - Gave her a push, gave her a push; - Sir Roger jumped up and he gave her a push, - Heigh-ho! gave her a push. - - Which made the old woman go hickety-hock, - Hickety-hock, hickety-hock; - Which made the old woman go hickety-hock, - Heigh-ho! hickety-hock. - ---Brigg, Lincolnshire (Miss J. Barker). - - V. Sir Roger is dead and laid in his grave, - Hee, haw! laid in his grave. - They planted an apple tree over his head, - Hee, haw! over his head. - The apples are ripe and ready to fall, - Hee, haw! ready to fall. - There came a high wind and blew them all off, - Hee, haw! blew them all off. - There came an old woman to pick them all up, - Hee, haw! pick them all up. - There came a little bird and gave her a tap, - Hee, haw! gave her a tap. - Which made the old woman go hipperty hop, - Hee, haw! hipperty hop. - ---Tong, Shropshire (Miss Burne). - - VI. Poor Johnnie is dead and he lies in his grave, - Lies in his grave, lies in his grave; - Poor Johnnie is dead and he lies in his grave, - He-ho! lies in his grave. - - They planted an apple tree over his head, - Over his head, over his head; - They planted an apple tree over his head, - He-ho! over his head. - - The apples got ripe and they all fell off, - All fell off, all fell off; - The apples got ripe and they all fell off, - He-ho! all fell off. - - Here comes an old woman a-picking them up, - A-picking them up, a-picking them up; - Here comes an old woman a-picking them up, - He-ho! a-picking them up. - - Poor Johnnie got up and gave her a thump, - And gave her a thump, and gave her a thump; - Poor Johnnie got up and gave her a thump, - He-ho! gave her a thump. - - He made the old woman go hippity-hop, - Hippity-hop, hippity-hop! - He made the old woman go hippity-hop, - He-ho! hippity-hop! - ---Sporle, Norfolk (Miss Matthews). - - VII. Cock Robin is dead and has gone to his grave; - There grew on old apple tree over his head; - The apples were ripe and ready to drop, - O my, flippity flop! - - There came an old woman to pick them all up, - Cock Robin rose up and gave her a knock, - And made the old woman go flippity flop! - O my, flippity flop! - ---Deptford, Kent (Miss Chase). - - VIII. Old Roger is dead and gone to his grave, - H'm ha! gone to his grave. - - They planted an apple tree over his head, - H'm ha! over his head. - - The apples were ripe and ready to fall, - H'm ha! ready to fall. - - There came an old woman and picked them all up, - H'm ha! picked them all up. - - Old Roger jumped up and gave her a knock, - H'm ha! gave her a knock. - - Which made the old woman go hippity hop, - H'm ha! hippity hop! - ---Bath, from a Nursemaid (A. B. Gomme). - - IX. Cock Robin is dead and lies in his grave, - Hum-ha! lies in his grave. - Place an old apple tree over his head, - Hum-ha! over his head. - When they were ripe and ready to fall, - Hum-ha! ready to fall. - There comes an old woman a-picking them up, - Hum-ha! a-picking them up. - Cock Robin jumps up and gives her a good knock, - Hum-ha! gives her a good knock. - ---Derbyshire (_Folk-lore Journal_, i. 385). - - X. Poor Roger is dead and lies low in his grave, - Low in his grave, low in his grave, - E. I. low in his grave. - - There grew an old apple tree over his head, - Over his head, over his head, - E. I. over his head. - - When the apples were ripe they all fell off, - All fell off, all fell off, - E. I. all fell off. - - There was an old woman came picking them up, - Picking them up, picking them up, - E. I. picking them up. - - Poor Roger jumped up and gave her a nudge, - Gave her a nudge, gave her a nudge, - E. I. gave her a nudge. - - Which made the old woman go lippety lop, - Lippety lop, lippety lop, - E. I. lippety lop. - ---Newark, Nottinghamshire (S. O. Addy). - - XI. Poor Toby is dead and he lies in his grave, - He lies in his grave, he lies in his grave; - They planted an apple tree over his head, - Over his head, over his head. - - The apples grew ripe and beginning to fall, - Beginning to fall, beginning to fall; - The apples grew ripe and beginning to fall, - Beginning to fall, beginning to fall. - - There came an old woman picking them up, - Picking them up, picking them up; - Poor Toby rose up and he gave her a kick, - Gave her a kick, gave her a kick. - - And the poor old woman went hipperty hop, - Hipperty hop, hipperty hop; - And the poor old woman went hipperty hop, - Hipperty hop along. - ---Belfast (W. H. Patterson). - - XII. There was an old woman we buried her here, - Buried her here, buried her here; - There was an old woman we buried her here, - He--ho! buried her here. - ---Sporle, Norfolk (Miss Matthews). - -(_b_) A ring is formed by children joining hands; one child, who -represents Sir Roger, lays down on the ground in the centre of the ring -with his head covered with a handkerchief. The ring stands still and -sings the verses. When the second verse is begun, a child from the ring -goes into the centre and stands by Sir Roger, to represent the apple -tree. At the fourth verse another child goes into the ring, and pretends -to pick up the fallen apples. Then the child personating Sir Roger jumps -up and knocks the child personating the old woman, beating her out of -the ring. She goes off hobbling on one foot, and pretending to be hurt. -In the Ordsall game the children dance round when singing the verses -instead of standing still, the action of the game being the same. In the -Tong version, the action seems to be done by the ring. Miss Burne says -the children go through various movements, finally all limping round. -The Newark (Notts), and Bath versions are played as first described, -Poor Roger being covered with a cloak, or an apron, and laying down in -the middle of the ring. A Southampton version has additional -features--the ring of children keep their arms crossed, and lay their -hands on their chests, bending their heads and bodies backwards and -forwards, in a mourning attitude, while they sing; in addition to which, -in the Bath version, the child who personates the apple tree during the -singing of the third verse raises her arms above her head, and then lets -them drop to her sides to show the falling apples. - -(_c_) Various as the game-rhymes are in word detail, they are -practically the same in incident. One remarkable feature stands out -particularly, namely, the planting a tree over the head of the dead, and -the spirit-connection which this tree has with the dead. The robbery of -the fruit brings back the dead Sir Roger to protect it, and this must be -his ghost or spirit. In popular superstition this incident is not -uncommon. Thus Aubrey in his _Remains of Gentilisme_, notes that "in the -parish of Ockley some graves have rose trees planted at the head and -feet," and then proceeds to say, "They planted a tree or a flower on the -grave of their friend, and they thought the soule of the party deceased -went into the tree or plant" (p. 155). In Scotland a branch falling from -an oak, the Edgewell tree, standing near Dalhousie Castle, portended -mortality to the family (Dalyell, _Darker Superstitions_, p. 504). -Compare with this a similar superstition noted in Carew's _History of -Cornwall_, p. 325, and Mr. Keary's treatment of this cult in his -_Outlines of Primitive Belief_, pp. 66-67. In folk-tales this incident -also appears; the spirit of the dead enters the tree and resents robbery -of its fruit, possession of which gives power over the soul or spirit of -the dead. - -The game is, therefore, not merely the acting of a funeral, but more -particularly shows the belief that a dead person is cognisant of actions -done by the living, and capable of resenting personal wrongs and -desecration of the grave. It shows clearly the sacredness of the grave; -but what, perhaps to us, is the most interesting feature, is the way in -which the game is played. This clearly shows a survival of the method of -portraying old plays. The ring of children act the part of "chorus," and -relate the incidents of the play. The three actors say nothing, only act -their several parts in dumb show. The raising and lowering of the arms -on the part of the child who plays "apple tree," the quiet of "Old -Roger" until he has to jump up, certainly show the early method of -actors when details were presented by action instead of words. Children -see no absurdity in being a "tree," or a "wall," "apple," or animal. -They simply _are_ these things if the game demands it, and they think -nothing of incongruities. - -I do not, of course, suggest that children have preserved in this game -an old play, but I consider that in this and similar games they have -preserved methods of acting and detail (now styled traditional), as -given in an early or childish period of the drama, as for example in the -mumming plays. Traditional methods of acting are discussed by Mr. -Ordish, _Folk-lore_, ii. 334. - - -Old Soldier - -One player personates an old soldier, and begs of all the other players -in turn for left-off garments, or anything else he chooses. The formula -still used at Barnes by children is, "Here comes an old soldier from the -wars [or from town], pray what can you give him?" Another version is-- - - Here comes an old soldier from Botany Bay, - Have you got anything to give him to-day. - ---Liverpool (C. C. Bell). - -The questioned child replying must be careful to avoid using the words, -Yes! No! Nay! and Black, White, or Grey. These words are tabooed, and a -forfeit is exacted every time one or other is used. The old soldier -walks lame, and carries a stick. He is allowed to ask as many questions, -talk as much as he pleases, and to account for his destitute condition. - -(_c_) Some years ago when colours were more limited in number, it was -difficult to promise garments for a man's wear which were neither of -these colours tabooed. Miss Burne (_Shropshire Folk-lore_, p. 526), in -describing this game says, "The words Red or Blue are sometimes -forbidden, as well as Yes or No," and adds that "This favourite old game -gives scope for great ingenuity on the part of the beggar, and 'it seems -not improbable' (to use a time-honoured antiquarian phrase!) that the -expression 'To come the old soldier over a person' may allude to it." -Halliwell (_Nursery Rhymes_, p. 224) describes the game as above. - - -Oliver, Oliver, follow the King! - - Oliver, Oliver, follow the King! - Oliver, Oliver, last in the ring! - _Jim Burguin_ wants a wife, and a wife he shall have, - _Nelly_ he kissed at the back-cellar door, - _Nelly_ made a pudding, she made it over sweet, - She never stuck a knife in till he came home at night, - So next Monday morning is our wedding-day, - The bells they shall ring, and the music shall play! - Oliver, Oliver, follow the King! (_da capo_). - ---Berrington (Burne's _Shropshire Folk-lore_, p. 508). - -(_b_) The children form a ring and move round, singing the first two -lines. Then they curtsey, or "douk down," all together; the one who is -last has to tell her sweetheart's name. The other lines are then sung -and the game is continued. The children's names are mentioned as each -one names his or her sweetheart. - -This is apparently the game of which "All the Boys," "Down in the -Valley," and "Mary Mixed a Pudding up," are also portions. - - -One Catch-all - -The words "Cowardy, cowardy custard" are repeated by children playing at -this game when they advance towards the one who is selected to catch -them, and dare or provoke her to capture them. Ray, _Localisms_, gives -Costard, the head; a kind of opprobrious word used by way of contempt. -Bailey gives Costead-head, a blockhead; thus elucidating this -exclamation which may be interpreted, "You cowardly blockhead, catch me -if you dare" (Baker's _Northamptonshire Glossary_). - -The words used were, as far as I remember, - - Cowardy, cowardy custard, eat your father's mustard, - Catch me if you can. - -To compel a person to "eat" something disagreeable is a well-known form -of expressing contempt. The rhyme was supposed to be very efficacious in -rousing an indifferent or lazy player when playing "touch" (A. B. -Gomme). - - -Oranges and Lemons - -[Music] - -An older and more general version of the last five bars (the tail piece) -is as follows:-- - -[Music] - ---London (A. B. Gomme). - -[Music] - ---Yorkshire (H. Hardy). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Oranges and lemons, - Say the bells of St. Clement's; - You owe me five farthings, - Say the bells of St. Martin's; - When will you pay me, - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Stepney; - I'm sure I don't know, - Says the Great Bell of Bow. - Here comes a light to light you to bed; - Here comes a chopper to chop off your head; - The last, last, last, last man's head. - ---London (A. B. Gomme). - - II. Oranges and lemons, - Say the bells of St. Clement's; - You owe me four farthings, - Say the bells of St. Martin's; - When will you pay me? - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Stepney; - I'm sure I don't know, - Says the Great Bell of Bow. - Here comes a candle to light you to bed; - Here comes a chopper to chop off your head; - Last, last, last, last, last man's head. - ---Winterton and Leadenham, Lincolnshire; also Nottinghamshire (Miss M. -Peacock). - - III. Oranges and lemons, - Says the bells of S. Clemen's. - Brickdust and tiles, - Says the bells of S. Giles. - You owe me five farthings, - Says the bells of S. Martin's. - I do not know you, - Says the bells of S. Bow. - When will you pay me? - Says the bells of Old Bailey. - When I get rich, - Says the bells of Shoreditch. - Here comes a candle to light you to bed, - Here comes a chopper to chop off your head. - ---Derbyshire (_Folk-lore Journal_, i. 386). - - IV. Oranges and lemons, - The bells of St. Clemen's; - You owe me five farthings, - The bells of St. Martin's; - When will you pay me? - Say the bells of Old Bailey; - When I grow rich, - Say the bells of Shoreditch; - When will that be? - Say the bells of Shorlea; - I don't know, - Says the Great Bell Bow. - Here comes the candle to light you to bed, - Here comes the chop to chop off your head. - Chop, chop, chop, &c. - ---Middlesex (Miss Winfield). - - V. Orange or lemon, - The bells of St. Clement's [or the bells are a clemming]. - I owe you five farthings, - And when shall I pay you, - To-day or to-morrow? - To-morrow will do. - Here come some great candles - To light you to bed, - Here come some great choppers - To chop off your head. - Come under, come under, - Come run as you ought; - Come under, come under, - Until you are caught; - Then stand just behind us - And pull either way; - Which side pulls the strongest - That side wins the day. - ---Sporle, Norfolk (Miss Matthews). - - VI. Oranges and lemons, - The bells of St. Clement's. - I owe you three farthings, - When shall I pay you? - When I get rich. - Here comes a candle to light you to bed, - Here comes a hatchet to chop off your head. - ---Brigg (from a Lincolnshire friend of Miss Barker). - - VII. Oranges and lemons, - Say the bells of St. Clemen's. - I owe you five farthins, - Say the bells of St. Martin's. - When shall I pay you? - Monday, Tuesday, Wednesday, - Thursday, Friday, Saturday, - Or Sunday? - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 216). - - VIII. I owe you five farthings. - When will you pay me, - To-day or to-morrow? - Here comes a candle to light you to bed, - Here comes a chopper to chop off your head. - ---Broadwinsor, Dorset (_Folk-lore Journal_, vii. 217). - - IX. Oranges and lemons, the bells of St. Clement's [or St. - Helen's]. - I owe you five farthings. And when will you pay me? - I'm sure I don't know. - Here comes a candle to light you to bed, - Here comes a chop'n bill to chop off your head-- - Chop--chop--chop--chop. - [Or Here comes a chop'n bill to chop off the last man's - head.] - ---Earls Heaton, Yorks. (Herbert Hardy). - - X. Lend me five shillings, - Said the bells of St. Helen's. - - When will you pay me? - Said the bells of St. Philip's. - - I do not know, - Said the Great Bell of Bold. - - Ring a ding, ding, - Ring a ding, ding, - Ring a ding, ding, ding, ding. - ---Earls Heaton (Herbert Hardy, as told him by A. K.). - - XI. Oranges and lemons, say the bells of St. Clement's; - You owe me five farthings, and when will you pay me? - Say the bells of Old Bailey. - When I grow rich, say the bells of Shoreditch. - And the last one that comes shall be chop, chop. - ---Hersham, Surrey (_Folk-lore Record_, v. 86). - - XII. Orange and lemon, - Say the bells of St. Martin (or the bells of Sweet Lemon); - I owe you five farthings, - But when shall I pay you? - - Here comes a candle - To light you to bed, - Here comes a hatchet - To chop off your head. - ---Eckington, Derbyshire (S. O. Addy). - - XIII. Oranges and lemons, - The bells of St. Clement's; - I owe you five farthings, - And when will you pay me? - Oh, that I can't tell you; - Sim, Bim, bim, bow, bay. - ---Settle, Yorks. (Rev. W. E. Sykes). - - XIV. Oranges or lemons, - The bells of St. Clement's; - You owe me five farthings, - Pray, when will you pay me? - Here come the clappers to knock you down backwards, carwoo! - ---Suffolk (Mrs. Haddon). - - XV. Oranges and lemons, say the bells of St. Clement's; - Brick dust and tiles, say the bells of St. Giles; - You owe me three farthings, say the bells of St. Martin's; - When will you pay me? say the bells of Old Bailey; - When I grow rich, say the bells of Shoreditch; - When will that be? say the bells of Stepney; - I'm sure I don't know, says the Great Bell of Bow. - ---Perth (Rev. W. Gregor). - - XVI. Pancakes and fritters, - Says the bells of St. Peter's; - Where must we fry 'em? - Says the bells of Cold Higham; - In yonder land thurrow (furrow), - Says the bells of Wellingborough; - You owe me a shilling, - Says the bells of Great Billing; - When will you pay me? - Says the bells of Widdleton Cheney; - When I am able, - Say the bells at Dunstable; - That will never be, - Says the bells at Coventry; - Oh, yes, it will, - Says Northampton Great Bell; - White bread and sop, - Says the bells at Kingsthorp; - Trundle a lantern, - Says the bells at Northampton. - ---Northamptonshire (Baker's _Words and Phrases_). - -(_c_) This game is generally played as follows:-- - -Two of the taller children stand facing each other, holding up their -clasped hands. One is named Orange and the other Lemon. The other -players, grasping one another's dresses, run underneath the raised arms -and round Orange, and then under the arms again and round Lemon, while -singing the verses. The three concluding lines are sung by "Orange" and -"Lemon" in a slow emphatic manner, and at the word "head" they drop -their arms over one of the children passing between them, and ask her -secretly whether she will be _orange_ or _lemon_. The captive chooses -her side, and stands behind whichever leader she selects, placing her -arms round her waist. The game continues till every one engaged in it -has ranged herself behind one or other of the chiefs. When the two -parties are ranged a "tug of war" takes place until one of the parties -breaks down, or is pulled over a given mark. - -[Illustration: Fig. 1 - -Fig. 2 - -Fig. 3] - -In the Middlesex version (Miss Winfield) the children form a ring and go -round singing the verses, and apparently there is neither catching the -"last man" nor the "tug." Mr. Emslie says he has seen and played the -game in Middlesex, and it always terminated with the cutting off the -last man's head. In the Symondsbury version the players drop their hands -when they say "Sunday." No tug is mentioned in the first Earls Heaton -version of the game (Mr. Hardy). In the second version he says bells are -represented by children. They should have in their hands, bells, or some -article to represent them. All stand in a row. First, second, and third -bells stand out in turn to sing. All rush for bells to sing chorus. Miss -Barclay writes: The children of the Fernham and Longcot choir, playing -on Christmas Eve, 1891, pulled across a handkerchief. In Monton, -Lancashire, Miss Dendy says the game is played as elsewhere, but without -words. In a Swaffham version (Miss Matthews), the girls sometimes call -themselves "Plum pudding and roast beef," or whatever fancy may suggest, -instead of oranges and lemons. They join hands high enough for the -others to pass under, which they do to a call of "Ducky, Ducky," -presently the hands come down and catch one, who is asked in -_confidence_ which she likes best. The game then proceeds in the usual -way, one side trying to pull the other over a marked line. Oranges and -lemons at Bocking, Essex, is an abbreviated variant of the rhyme printed -by Halliwell (_Folk-lore Record_, iii., part II., 171). In -Nottinghamshire, Miss Peacock says it is sometimes called "Tarts and -Cheesecakes." Moor (_Suffolk Words_) mentions "Oranges and Lemons" as -played by both girls and boys, and adds, "I believe it is nearly the -same as 'Plum Pudding and Roast Beef.'" In the Suffolk version sent by -Mrs. Haddon a new word is introduced, "carwoo." This is the signal for -one of the line to be caught. Miss Eddleston, Gainford, Durham, says -this game is called-- - - Through and through the shally go, - The last shall be taken. - -Mr. Halliwell (_Nursery Rhymes_, No. cclxxxi.) adopts the verses -entitled, "The Merry Bells of London," from Gammer Gurton's _Garland_, -1783, as the origin of this game. In Aberdeen, Mr. M. L. Rouse tells me -he has heard Scotch children apparently playing the same game, "Oranges -and Lemons, ask, Which would you have, 'A sack of corn or a sack of -coals?'" - -(_d_) This game indicates a contest between two opposing parties, and a -punishment, and although in the game the sequence of events is not at -all clear, the contest taking place after the supposed execution, these -two events stand out very clearly as the chief factors. In the endeavour -to ascertain who the contending parties were, one cannot but be struck -with the significance of the bells having different saint's names. Now -the only places where it would be probable for bells to be associated -with more than one saint's name within the circuit of a small area are -the old parish units of cities and boroughs. Bells were rung on -occasions when it was necessary or advisable to call the people -together. At the ringing of the "alarm bell" the market places were -quickly filled by crowds of citizens; and by turning to the customs of -these places in England, it will be found that contest games between -parishes, and between the wards of parishes, were very frequent (see -Gomme's _Village Community_, pp. 241-243). These contests were generally -conducted by the aid of the football, and in one or two cases, such as -at Ludlow, the contest was with a rope, and, in the case of Derby, it is -specially stated that the victors were announced by the joyful ringing -of their parish bells. Indeed, Halliwell has preserved the "song on the -bells of Derby on football morning" (No. clxix.) as follows:-- - - Pancake and fritters, - Say All Saints and St. Peter's; - When will the _ball_ come, - Say the bells of St. Alkmun; - At two they will throw, - Says Saint Werabo; - O! very well, - Says little Michel. - -This custom is quite sufficient to have originated the game, and the -parallel which it supplies is evidence of the connection between the -two. Oranges and lemons were, in all probability, originally intended -to mean the _colours_ of the two contesting parties, and not _fruits_ of -those names. In contests between the people of a town and the authority -of baron or earl, the adherents of each side ranged themselves under and -wore the colours of their chiefs, as is now done by political partizans. - -The rhymes are probably corrupted, but whether from some early cries or -calls of the different parishes, or from sentences which the bells were -supposed to have said or sung when tolled, it is impossible to say. The -"clemming" of the bells in the Norfolk version (No. 5) may have -originated "St. Clements," and the other saints have been added at -different times. On the other hand, the general similarity of the rhymes -indicates the influence of some particular place, and, judging by the -parish names, London seems to be that place. If this is so, the main -incident of the rhymes may perhaps be due to the too frequent -distribution of a traitor's head and limbs among different towns who had -taken up his cause. The exhibitions of this nature at London were more -frequent than at any other place. The procession of a criminal to -execution was generally accompanied by the tolling of bells, and by -torches. It is not unlikely that the monotonous chant of the last lines, -"Here comes a light to light you to bed," &c., indicates this. - - -'Otmillo - -A boy (A) kneels with his face in another's (B) lap; the other players -standing in the background. They step forward one by one at a signal -from B, who says to each in turn-- - - 'Otmillo, 'Otmillo, - Where is this poor man to go? - -A then designates a place for each one. When all are despatched A -removes his face from B's knees, and standing up exclaims, "Hot! Hot! -Hot!" The others then run to him, and the laggard is blinded instead of -A.--Warwickshire (Northall's _Folk Rhymes_, p. 402). - -This is probably the same game as "Hot Cockles," although it apparently -lacks the hitting or buffeting the blinded wizard. - - -Over Clover - -The name for the game of "Warner" in Oxfordshire. They have a song used -in the game commencing-- - - Over clover, - Nine times over. - ---Halliwell's _Dictionary_. - -See "Stag Warning." - - -Paddy from Home - -[Music] - ---Long Eaton, Notts. (Miss Youngman). - - Paddy from home has never been, - A railway train he's never seen, - He longs to see the great machine - That travels along the railway. - ---Long Eaton, Nottinghamshire and Derbyshire borders (Miss Youngman). - -(_c_) The children form a ring, and hold in their hands a string tied at -the ends, and on which a ring is strung. They pass the ring from one to -another, backwards and forwards. One child stands in the centre, who -tries to find the holder of the ring. Whoever is discovered holding it -takes the place of the child in the centre. - -(_d_) This game is similar to "Find the Ring." The verse is, no doubt, -modern, though the action and the string and ring are borrowed from an -older game. Another verse used for the same game at Earl's Heaton (Mr. -Hardy) is-- - - The ring it is going; - Oh where? oh where? - I don't care where, - I can't tell where. - - -Paip - -Three cherry stones are placed together, and another above them. These -are all called a castle. The player takes aim with a cherry stone, and -when he overturns the castle he claims the spoil.--Jamieson. See "Cob -Nut." - - -Pallall - -A Scottish name for "Hop Scotch."--Jamieson. - - -Pally Ully - -See "Hop Scotch." - - -Pat-ball - -A child's name for the simple game of throwing a ball from one to -another.--Lowsley's _Berkshire Glossary_. - - -Pay-swad - -A boys' game, somewhat similar to "Duckstone." Each boy, when he threw -his stone, had to say "Pay-swad," or he had to go down -himself.--Holland's _Cheshire Glossary_. - -See "Duckstone." - - -Pednameny - -A game played with pins: also called "Pinny Ninny," "Pedna-a mean," -"Heads and Tails," a game of pins.--Courtenay's _West Cornwall -Glossary_. - - -Peesie Weet - -The game of "Hide and Seek." When the object is hidden the word -"Peesie-weet" is called out.--Fraserburgh, Aberdeenshire (Rev. W. -Gregor). - -See "Hide and Seek (2)." - - -Peg and Stick - -The players provide themselves with short, stout sticks, and a peg (a -piece of wood sharpened at one or both ends). A ring is made, and the -peg is placed on the ground so as to balance. One boy then strikes it -with his stick to make it spring or bounce up into the air; while in the -air he strikes it with his stick, and sends it as far as he possibly -can. His opponent declares the number of leaps in which the striker is -to cover the distance the peg has gone. If successful, he counts the -number of leaps to his score. If he fails, his opponent leaps, and, if -successful, the number of leaps count to his score. He strikes the next -time, and the same process is gone through.--Earls Heaton, Yorks. -(Herbert Hardy). - -See "Tip-cat." - - -Peg-fiched - -A west country game. The performers in this game are each furnished with -a sharp-pointed stake. One of them then strikes it into the ground, and -the others, throwing their sticks across it, endeavour to dislodge it. -When a stick falls, the owner has to run to a prescribed distance and -back, while the rest, placing the stick upright, endeavour to beat it -into the ground up to the very top.--Halliwell's _Dictionary_. - - -Peggy Nut - -A boyish game with nuts.--Dickinson's _Cumberland Glossary_. - - -Peg-in-the-Ring - -A game of "Peg-top." The object of this game is to spin the top within a -certain circle marked out, in which the top is to exhaust itself without -once overstepping the bounds prescribed (Halliwell's _Dict. -Provincialisms_). Holloway (_Dictionary_) says, "When boys play at -'Peg-top,' a ring is formed on the ground, within which each boy is to -spin his top. If the top, when it has ceased spinning, does not roll -without the circle, it must remain in the ring to be pegged at by the -other boys, or he redeems it by putting in an inferior one, which is -called a 'Mull.' When the top does not roll out, it is said to be -'mulled.'" Mr. Emslie writes: "When the top fell within the ring the -boys cried, 'One a penny!' When two had fallen within the ring it was, -'Two a penny!' When three, 'Three a penny, good as any!' The aim of each -spinner was to do what was called 'drawing,' _i.e._, bring his top down -into the ring, and at the same time draw the string so as to make the -top spin within the ring, and yet come towards the player and out of the -ring so as to fall without." - -See "Tops." - - -Peg-top - -One of the players, chosen by lot, spins his top. The other players -endeavour to strike this top with the pegs of their own tops as they -fling them down to spin. If any one fails to spin his top in due form, -he has to lay his top on the ground for the others to strike at when -spinning. The object of each spinner is to split the top which is being -aimed at, so as to release the peg, and the boy whose top has succeeded -in splitting the other top obtains the peg as his trophy of victory. It -is a matter of ambition to obtain as many pegs in this manner as -possible.--London (G. L. Gomme). - -See "Peg-in-the-Ring," "Tops." - - -Penny Cast - -A game played with round flat stones, about four or six inches across, -being similar to the game of quoits; sometimes played with pennies when -the hobs are a deal higher. It was not played with pennies in -1810.--Easther's _Almondbury Glossary_. In an article in _Blackwood's -Magazine_, August 1821, p. 35, dealing with children's games, the writer -says, Pennystanes are played much in the same manner as the quoits or -discus of the ancient Romans, to which warlike people the idle tradesmen -of Edinburgh probably owe this favourite game. - -See "Penny Prick." - - -Penny Hop - -A rude dance, which formerly took place in the common taverns of -Sheffield, usually held after the bull-baiting.--Wilson's Notes to -_Mather's Songs_, p. 74, cited by Addy, _Sheffield Glossary_. - - -Penny Prick - -"A game consisting of casting oblong pieces of iron at a -mark."--Hunter's _Hallamsh. Gloss._, p. 71. Grose explains it, "Throwing -at halfpence placed on sticks which are called hobs." - - Their idle houres, I meane all houres beside - Their houres to eate, to drinke, drab, sleepe, and ride, - They spend at shove-boord, or at pennie-pricke. - ---Scots' _Philomythie_, 1616. - -Halliwell gives these references in his _Dictionary_; Addy, _Sheffield -Glossary_, describes it as above; adding, "An old game once played by -people of fashion." - -See "Penny Cast." - - -Penny Stanes - -See "Penny Cast." - - -Ph[oe]be - -The name of a dance mentioned in an old nursery rhyme. A correspondent -gave Halliwell the following lines of a very old song, the only ones he -recollected:-- - - Cannot you dance the Ph[oe]be? - Don't you see what pains I take; - Don't you see how my shoulders shake? - Cannot you dance the Ph[oe]be? - ---Halliwell's _Dictionary_. - -These words are somewhat of the same character as those of "Auntie -Loomie," and are evidently the accompaniment of an old dance. - -See "Lubin." - - -Pick and Hotch - -The game of "Pitch and Toss."--Brogden's _Provincial Words_, -Lincolnshire. It is called Pickenhotch in Peacock's _Manley and -Corringham Glossary_. - - -Pi-cow - -A game in which one half of the players are supposed to keep a castle, -while the others go out as a foraging or marauding party. When the -latter are all gone out, one of them cries _Pee-ku_, which is a signal -to those within to be on the alert. Then those who are without attempt -to get in. If any one of them gets in without being seized by the -holders of the castle, he cries to his companions, _The hole's won_; and -those who are within must yield the fortress. If one of the assailants -be taken before getting in he is obliged to change sides and to guard -the castle. Sometimes the guards are successful in making prisoners of -all the assailants. Also the name given to the game of Hide and -Seek.--Jamieson. - - -Pigeon Walk - -A boy's game [undescribed].--Patterson's _Antrim and Down Glossary_. - - -Pig-ring - -A game at marbles where a ring is made about four feet in diameter, and -boys "shoot" in turn from any point in the circumference, keeping such -marbles as they may knock out of the ring, but loosing their own "taw" -if it should stop within.--Lowsley's _Berkshire Glossary_. See "Ring -Taw." - - -Pillie-Winkie - -A sport among children in Fife. An egg, an unfledged bird, or a whole -nest is placed on a convenient spot. He who has what is called the first -_pill_, retires a few paces, and being provided with a cowt or rung, is -blindfolded, or gives his promise to wink hard (whence he is called -_Winkie_), and moves forward in the direction of the object, as he -supposes, striking the ground with the stick all the way. He must not -shuffle the stick along the ground, but always strike perpendicularly. -If he touches the nest without destroying it, or the egg without -breaking it, he loses his vice or turn. The same mode is observed by -those who succeed him. When one of the party breaks an egg he is -entitled to all the rest as his property, or to some other reward that -has been previously agreed on. Every art is employed, without removing -the nest or egg, to mislead the blindfolded player, who is also called -the Pinkie.--Jamieson. See "Blind Man's Stan." - - -Pinch - -The game of "Pitch-Halfpenny," or "Pitch and Hustle."--Halliwell's -_Dictionary_. Addy (_Sheffield Glossary_) says this game consists of -pitching halfpence at a mark. - -See "Penny Cast," "Penny Prick." - - -Pinny Show - -A child's peep-show. The charge for a peep is a pin, and, under -extraordinary circumstances of novelty, two pins. - -I remember well being shown how to make a peep or poppet-show. It was -made by arranging combinations of colours from flowers under a piece of -glass, and then framing it with paper in such a way that a cover was -left over the front, which could be raised when any one paid a pin to -peep. The following words were said, or rather sung, in a sing-song -manner:-- - - A pin to see the poppet-show, - All manner of colours oh! - See the ladies all below. - ---(A. B. Gomme). - -Pansies or other flowers are pressed beneath a piece of glass, which is -laid upon a piece of paper, a hole or opening, which can be shut at -pleasure, being cut in the paper. The charge for looking at the show is -a pin. The children say, "A pin to look at a pippy-show." They also -say-- - - A pinnet a piece to look at a show, - All the fine ladies sat in a row. - Blackbirds with blue feet - Walking up a new street; - One behind and one before, - And one beknocking at t'barber's door. - ---Addy's _Sheffield Glossary_. - -In Perth (Rev. W. Gregor) the rhyme is-- - - A pin to see a poppy show, - A pin to see a die, - A pin to see an old man - Sitting in the sky. - -Described also in Holland's _Cheshire Glossary_, and Lowsley's -_Berkshire Glossary_. Atkinson's _Cleveland Glossary_ describes it as -having coloured pictures pasted inside, and an eye-hole at one of the -ends. The _Leed's Glossary_ gives the rhyme as-- - - A pin to look in, - A very fine thing. - -Northall (_English Folk-rhymes_, p. 357), also gives a rhyme. - - -Pins - -On the 1st of January the children beg for some pins, using the words, -"Please pay Nab's New Year's gift." They then play "a very childish -game," but I have not succeeded in getting a description of -it.--Yorkshire. - -See "Prickie and Jockie." - - -Pirley Pease-weep - -A game played by boys, "and the name demonstrates that it is a native -one, for it would require a page of close writing to make it -intelligible to an Englishman." The rhyme used at this play is-- - - Scotsman, Scotsman, lo! - Where shall this poor Scotsman go? - - Send him east, or send him west, - Send him to the craw's nest. - ---_Blackwood's Magazine_, August 1821, p. 37. - -The rhyme suggests comparison with the game of "Hot Cockles." - - -Pitch - -A game played with pennies, or other round discs. The object is to pitch -the penny into a hole in the ground from a certain point.--Elworthy, -_West Somerset Words_. - -Probably "Pick and Hotch," mentioned in an article in _Blackwood's -Mag._, Aug. 1821, p. 35. Common in London streets. - - -Pitch and Hustle - -"Chuck-Farthing." The game of "Pitch and Toss" is very common, being -merely the throwing up of halfpence, the result depending on a guess of -heads or tails.--Halliwell's _Dictionary_. - - -Pitch and Toss - -This game was played by two or more players with "pitchers"--the stakes -being buttons. The ordinary bone button, or "scroggy," being the unit of -value. The "pitcher" was made of lead, circular in form, from one and a -half inch to two inches in diameter, and about a quarter of an inch -thick, with an "[H]" to stand for "Heads" cut on one side, and a "[T]" -for "Tails" on the other side. An old-fashioned penny was sometimes -used, and an old "two-penny" piece I have by me bears the marks of much -service in the same cause. A mark having been set up--generally a -stone--and the order of play having been fixed, the first player, A, -threw his "pitcher" to the mark, from a point six or seven yards -distant. If he thought he lay sufficiently near the mark to make it -probable that he would be the nearest after the others had thrown, he -said he would "lie." The effect of that was that the players who -followed had to lie also, whatever the character of their throw. If A's -throw was a poor one he took up his "pitcher." B then threw, if he threw -well he "lay," if not he took up his pitcher, in hope of making a better -throw, as A had done. C then played in the same manner. D followed and -"lay." E played his pitcher, and had no choice but to lie. F followed in -the same way. These being all the players, A threw again, and though his -second might have been worse than his first, he has to lie like the -others. B and C followed. All the pitchers have been thrown, and are -lying round the mark, in the following order of proximity--for that -regulates the subsequent play--B's is nearest, then D's follows, in -order by A, C, F, E. B takes the pitchers, and piles them up one above -the other, and tosses them into the air. Three (let us say) fall head -up, D's, A's, and F's. These three B keeps in his hand. D, who was next -nearest the mark, takes the three remaining pitchers, and in the same -manner tosses them into the air. B's and C's fall head up, and are -retained by D. A, who comes third, takes the remaining pitcher, E's, and -throws it up. If it falls a head he keeps it, and the game is finished -except the reckoning; if it falls a tail it passes on to the next -player, C, who throws it up. If it falls a head he keeps it, if a tail, -it is passed on to F, and from him to E, and on to B, till it turns up a -head. Let us suppose that happens when F throws it up. The game is now -finished, and the reckoning takes place-- - - B has three pitchers, D's, A's, and F's. - D " two " B's and C's. - F " one " E's. - A, C, and E have none. - -Strictly speaking, D, A, and F should each pay a button to B. B and C -should each pay one to D. E should pay one to F. But in practice it was -simpler, F holding one pitcher had, in the language of the game, "freed -himself." D had "freed himself," and was in addition one to the good. B -had "freed himself," and was two to the good. A, C, and E, not having -"freed themselves," were liable for the one D had won and the two B had -won, and settled with D and B, without regard to the actual hand that -held the respective pitchers. It simplified the reckoning, though -theoretically the reckoning should have followed the more roundabout -method. Afterwards the game was begun _de novo_. E, who was last, having -first pitch--the advantage of that place being meant to compensate him -in a measure for his ill luck in the former game. The stakes were the -plain horn or bone buttons--buttons with nicks were more valuable--a -plain one being valued at two "scroggies," or "scrogs," the fancy ones, -and especially livery buttons, commanding a higher price.--Rev. W. -Gregor. See "Buttons." - - -Pit-counter - -A game played by boys, who roll counters in a small hole. The exact -description I have not been able to get.--Halliwell's _Dictionary_. - - -Pits - -A game at marbles. The favourite recreation with the young fishermen in -West Cornwall. Forty years ago "Pits" and "Towns" were the common games, -but the latter only is now played. Boys who hit their nails are looked -on with great contempt, and are said "to fire Kibby." When two are -partners, and one in playing accidentally hits the other's marble, he -cries out, "No custance," meaning that he has a right to put back the -marble struck; should he fail to do so, he would be considered -"out."--_Folk-lore Journal_, v. 60. There is no description of the -method of playing. It may be the same as "Cherry Pits," played with -marbles instead of cherry stones (vol. i. p. 66). Mr. Newell, _Games and -Songs of American Children_, p. 187, says "The pits are thrown over the -palm; they must fall so far apart that the fingers can be passed between -them. Then with a fillip of the thumb the player makes his pit strike -the enemy's and wins both." - - -Pize Ball - -Sides are picked; as, for example, six on one side and six on the other, -and three or four marks or tuts are fixed in a field. Six go out to -field, as in cricket, and one of these throws the ball to one of those -who remain "at home," and the one "at home" strikes or pizes it with his -hand. After pizing it he runs to one of the "tuts," but if before he can -get to the "tut" he is struck with the ball by one of those in the -field, he is said to be _burnt_, or out. In that case the other side go -out to field.--Addy's _Sheffield Glossary_. - -See "Rounders." - - -Plum Pudding - -A game at marbles of two or more boys. Each puts an equal number of -marbles in a row close together, a mark is made at some little distance -called taw; the distance is varied according to the number of marbles in -a row. The first boy tosses at the row in such a way as to pitch just on -the marbles, and so strike as many as he can out of the line; all that -he strikes out he takes; the rest are put close together again, and two -other players take their turn in the same manner, till all the marbles -are struck out of the line, when they all stake afresh and the game -begins again.--Baker's _Northamptonshire Glossary_. - - -Plum Pudding and Roast Beef - -Mentioned by Moor, _Suffolk Words and Phrases_, as the name of a game. -Undescribed, but nearly the same as French and English. - - -Pointing out a Point - -A small mark is made on the wall. The one to point out the point, who -must not know what is intended, is blindfolded, and is then sent to put -the finger on the point or mark. Another player has taken a place in -front of the point, and bites the finger of the blindfolded -pointer.--Fraserburgh, Aberdeenshire (Rev. W. Gregor). - - -Poncake - -Name of a girl's game the same as Cheeses.--Holland's _Cheshire -Glossary_. See "Turn Cheeses, Turn." - - -Poor and Rich - -An old game mentioned in Taylor's _Motto_, sig. D, iv. London, 1622. - - -Poor Mary sits a-weeping - -[Music] - -[Music] - ---Barnes (A. B. Gomme). - -[Illustration: "Poor Mary sits a-weeping."] - - I. Poor Mary sits a-weepin', - A-weepin', a-weepin'; - Poor Mary sits a-weepin' - On a bright summer's day. - - Pray, Mary, what're you weepin' for, - A-weepin' for, a-weepin' for? - Pray, Mary, what're you weepin' for? - On a bright summer's day. - - I'm weepin' for a sweetheart, - A sweetheart, a sweetheart; - I'm weepin' for a sweetheart, - On a bright summer's day. - - Pray, Mary, choose your lover, - Your lover, your lover; - Pray, Mary, choose your lover - On a bright summer's day. - - Now you're married, I wish you joy; - First a girl, and then a boy; - Seven years after, son and daughter; - Pray, young couple, come kiss together. - - Kiss her once, kiss her twice, - Kiss her three times over. - ---Barnes, Surrey (A. B. Gomme). - - II. Poor Mary is weeping, is weeping, is weeping, - Poor Mary is weeping on a bright summer's day. - - Pray tell me what you're weeping for, weeping for, weeping - for, - Pray tell me what you're weeping for, on a bright summer's - day? - - I'm weeping for my true love, my true love, my true love, - I'm weeping for my true love, on a bright summer's day. - - Stand up and choose your lover, your lover, your lover, - Stand up and choose your lover, on a bright summer's day. - - Go to church with your lover, your lover, your lover, - Go to church with your lover, on a bright summer's day. - - Be happy in a ring, love; a ring, love; a ring, love. - Kiss both together, love, on this bright summer's day. - ---Upton-on-Severn, Worcestershire (Miss Broadwood). - - III. Pray, Sally, what are you weeping for-- - Weeping for--weeping for? - Pray, Sally, what are you weeping for, - On a bright shiny day? - - I am weeping for a sweetheart-- - A sweetheart--a sweetheart; - I am weeping for a sweetheart, - On a bright shiny day. - - Pray, Sally, go and get one-- - Go and get one--get one; - Pray, Sally, go and get one, - On a bright shiny day. - - Pray, Sally, now you've got one-- - You've got one--got one; - Pray, Sally, now you've got one, - On a bright sunny day. - - One kiss will never part you-- - Never part you--part you; - One kiss will never part you, - On a bright sunny day. - ---Dorsetshire (_Folk-lore Journal_, vii. 209). - - IV. Poor ---- sat a-weeping, - A-weeping, a-weeping; - Poor ---- sat a-weeping, - On a bright summer's day. - - I'm weeping for a sweetheart, - A sweetheart, a sweetheart; - I'm weeping for a sweetheart, - On a bright summer's day. - - Oh, pray get up and choose one, - And choose one, and choose one; - Oh, pray get up and choose one, - On a bright summer's day. - - Now you're married, you must obey; - You must be true to all you say. - You must be kind, you must be good, - And help your wife to chop the wood. - ---Sporle, Norfolk (Miss Matthews). - - V. Poor Mary sat a-weeping, a-weeping, a-weeping, - Poor Mary sat a-weeping, down by the sea-side. - - By the side of the river, by the side of the river, - She sat down and cried. - - Oh, pray get up and choose one, and choose one, and choose - one, - Oh, pray get up and choose one, down by the sea-side. - - Now you're married, I wish you joy; - Father and mother you must obey; - Love one another like sister and brother, - And pray, young couple, come kiss one another. - ---Colchester (Miss G. M. Frances). - - VI. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping on a fine summer's day. - - What is she weeping for, weeping for, weeping for, - What is she weeping for on a fine summer's day? - - She's weeping for her sweetheart, her sweetheart, her - sweetheart, - She's weeping for her sweetheart on a fine summer's day. - - Pray get up and choose one, choose one, choose one, - Pray get up and choose one on a fine summer's day. - - Pray go to church, love; church, love; church, love; - Pray go to church, love, on a fine summer's day. - - Pray put the ring on, ring on, ring on, - Pray put the ring on, on a fine summer's day. - - Pray come back, love; back, love; back, love; - Pray come back, love, on a fine summer's day. - - Now you're married, we wish you joy; - Your father and mother you must obey; - Love one another like sister and brother; - And now it's time to go away. - ---(_Suffolk County Folk-lore_, pp. 66, 67.) - - VII. Poor Mary sits a-weeping, a-weeping, a-weeping, - Poor Mary sits a-weeping on a bright summer's day. - - Pray tell me what you are weeping for, weeping for, weeping - for, - Pray tell me what you are weeping for on a bright summer's - day? - - I'm weeping for a sweetheart, a sweetheart, a sweetheart, - I'm weeping for a sweetheart on a bright summer's day. - - Poor Mary's got a shepherd's cross, a shepherd's cross, a - shepherd's cross, - Poor Mary's got a shepherd's cross on a bright summer's day. - ---Berkshire (Miss Thoyts, _Antiquary_, xxvii. 254). - - VIII. Mary sits a-weeping, a-weeping, a-weeping, - Mary sits a-weeping, close by the sea-side. - - Mary, what are you weeping for, weeping for, weeping for, - Mary, what are you weeping for, close by the sea-side? - - I'm a-weeping for my sweetheart, my sweetheart, my - sweetheart, - I'm a-weeping for my sweetheart, close by the sea-side. - - Pray get up and choose one, and choose one, and choose one, - Pray get up and choose one, close by the sea-side. - ---Winterton and Lincoln (Miss M. Peacock). - - IX. Poor Mary sits a-weeping, a-weeping, - Poor Mary sits a-weeping, on a bright summer's day. - - She is weeping for her lover, her lover, - She is weeping for her lover on a bright summer's day. - - Stand up and choose your lover, your lover, - Stand up and choose your lover, on a bright summer's day. - - And now she's got a lover, a lover, - And now she's got a lover, on a bright summer's day. - ---Hanbury, Staffs. (Miss E. Hollis). - - X. Oh, what is Nellie weeping for, - A-weeping for, a-weeping for? - Oh, what is Nellie weeping for, - On a cold and sunshine day? - - I'm weeping for my sweetheart, - My sweetheart, my sweetheart; - I'm weeping for my sweetheart - On a cold and sunshine day. - - So now stand up and choose the one, - And choose the one, and choose the one; - So now stand up and choose the one, - On a cold and sunshine day. - ---Forest of Dean, Gloucestershire (Miss Matthews). - - XI. Poor Mary sits a-weeping, a-weeping, a-weeping, - Poor Mary sits a-weeping, on a bright summer's day. - - Pray what are you a-weeping for, a-weeping for, a-weeping - for, - Pray what are you a-weeping for on a bright summer's day? - - She's weeping for a lover, a lover, a lover, - She's weeping for a lover, this bright summer's day. - - Rise up and choose your lover, your lover, your lover, - Rise up and choose your lover, this bright summer's day. - - Now Mary she is married, is married, is married, - Now Mary she is married this bright summer's day. - ---Enborne School, Newbury, Berks. (Miss M. Kimber). - - XII. Poor Sarah's a-weeping, - A-weeping, a-weeping; - Oh, what is she a-weeping for, - A-weeping for, a-weeping for? - - I'm weeping for a sweetheart, - A sweetheart, a sweetheart; - I'm weeping for a sweetheart - This bright summer day. - - Oh, she shall have a sweetheart, - A sweetheart, a sweetheart; - Oh, she shall have a sweetheart - This bright summer day. - - Go to church, loves, - Go to church, loves. - Say your prayers, loves, - Say your prayers, loves. - Kiss your lovers, - Kiss your lovers; - Rise up and choose your love. - ---Liphook, Hants. (Miss Fowler). - - XIII. Poor Mary sits weeping, weeping, weeping, - Poor Mary sits weeping on a bright summer's day; - On the carpet she must kneel till the grass grows on the - field. - - Stand up straight upon your feet, - And show me the one you love so sweet. - - Now you're married, I wish you joy; - First a girl, and second a boy; - If one don't kiss, the other must, - So kiss, kiss, kiss. - ---Cambridge (Mrs. Haddon). - - XIV. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping on a bright summer's day; - Pray what is she a-weeping for, a-weeping for, a-weeping - for, - Pray what is she a-weeping for, on a bright summer's day? - - I'm weeping for my true love, my true love, my true love, - I'm weeping for my true love, on a bright summer's day. - - Stand up and choose your true love, your true love, your - true love, - Stand up and choose your true love, on a bright summer's - day. - - Ring a ring o' roses, o' roses, o' roses, - Ring a ring o' roses; a pocketful of posies. - ---Ogbourne, Wilts. (H. S. May). - - XV. Poor Sally is a-weeping, a-weeping, a-weeping, - Poor Sally is a-weeping, down by the sea-side. - Pray tell me what you're weeping for, you're weeping for, - you're weeping for, - Pray tell me what you're weeping for, down by the sea-side? - - I'm weeping for my sweetheart, my sweetheart, my sweetheart, - I'm weeping for my sweetheart, down by the sea-side. - - A ring o' roses, - A pocketful of posies; - Isham! Isham! - We all tumble down. - ---Manton, Marlborough, Wilts. (H. S. May). - - XVI. Poor Mary is a-weeping, a-weeping, a-weeping, - On a fine summer's day; - What is she weeping for, weeping for, weeping for? - - She is weeping for her lover, her lover, her lover; - And who is her love, who is her lover? - - Johnny Baxter is her lover, Johnny Baxter is her lover; - And where is her lover, where is her lover? - - Her lover is a-sleeping, her lover is a-sleeping, - Is a-sleeping at the bottom of the sea. - ---South Devon (_Notes and Queries_, 8th Series, i. 249, Miss R. H. -Busk). - - XVII. Poor Mary, what are you weeping for? - You weeping for? - You weeping for? - Poor Mary, what are you weeping for, - On a bright summer's day? - - Pray tell us what you are weeping for? - You are weeping for? - You are weeping for? - - Pray tell us what you are weeping for, - On a bright summer's day. - - My father he is dead, sir; - Is dead, sir; - Is dead, sir. - My father he is dead, sir, - On a bright summer's day. - ---Earls Heaton (Herbert Hardy). - - XVIII. Poor Mary is a-weeping, a-weeping, a-weeping, - Poor Mary is a-weeping, on a fine summer's day. - Pray tell me what you're weeping for? &c. - - Because my father's dead and gone, is dead and gone, is dead - and gone; - Because my father's dead and gone, on a fine summer's day. - - She is kneeling by her father's grave, her father's grave, - her father's grave; - She is kneeling by her father's grave, on a fine summer's - day. - - Stand up and choose your love, choose your love, choose your - love; - Stand up and choose your love, on a bright summer's day. - ---(Rev. W. Gregor). - - XIX. Oh, what is Jennie weeping for, - A-weeping for, a-weeping for? - Oh, what is Jennie weeping for, - All on this summer's day? - - I'm weeping for my own true love, - My own true love, my own true love; - I'm weeping for my own true love, - All on this summer's day. - - Rise up and choose another love, - Another love, another love; - Rise up and choose another love, - All on this summer's day. - ---Berwickshire (A. M. Bell, _Antiquary_, xxx. 16). - - +---+----------------------+----------------------+----------------------+ - |No.| Barnes. | Enborne. | Dorsetshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary sits a- |Poor Mary sits a- | -- | - | |weeping. |weeping. | | - | 2.|Pray, Mary, what are |Pray, what are you a- |Pray, Sally, what are | - | |you weeping for? |weeping for? |you weeping for? | - | 3.| -- | -- | -- | - | 4.|I'm weeping for a |She's weeping for a |I'm weeping for a | - | |sweetheart. |lover. |sweetheart. | - | 5.|On a bright summer's |This bright summer's |On a bright shiny day.| - | |day. |day. | | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Pray, Mary, choose |Rise up and choose | -- | - | |your lover. |your lover. | | - |11.| -- | -- |Pray, Sally, go and | - | | | |get one. | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.|Now you're married, I |Now Mary she is | -- | - | |wish you joy. |married. | | - |15.|First a girl, then a | -- | -- | - | |boy. | | | - |16.|Seven years after, son| -- | -- | - | |and daughter. | | | - |17.| -- | -- |Pray, Sally, now | - | | | |you've got one. | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.|Pray, young couple, | -- | -- | - | |come kiss together. | | | - |25.| -- | -- |One kiss will never | - | | | |part you. | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.|Kiss her once, twice, | -- | -- | - | |kiss three times over.| | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Upton. | Sporle. | Colchester. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary is weeping. |Poor [ ] sat a- |Poor Mary sat a- | - | | |weeping. |weeping. | - | 2.|Pray, tell me what | -- | -- | - | |you're weeping for. | | | - | 3.| -- | -- | -- | - | 4.|I am weeping for my |I'm weeping for a | -- | - | |true love. |sweetheart. | | - | 5.|On a bright summer's |On a bright summer's | -- | - | |day. |day. | | - | 6.| -- | -- |By the side of the | - | | | |river. | - | 7.| -- | -- |She sat down and | - | | | |cried. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Stand up and choose |Pray, get up and |Pray, get up and | - | |your lover. |choose one. |choose one. | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- | -- |Now you're married, I | - | | | |wish you joy. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |Now you're married you| -- | - | | |must obey. | | - |19.| -- |You must be true to | -- | - | | |all you say. | | - |20.| -- |You must be kind and | -- | - | | |good. | | - |21.| -- |Help wife to chop | -- | - | | |wood. | | - |22.| -- | -- |Father and mother you | - | | | |must obey. | - |23.| -- | -- |Love one another like | - | | | |sister and brother. | - |24.| -- | -- |Pray, young couple, | - | | | |come kiss together. | - |25.| -- | -- | -- | - |26.|Go to church with your| -- | -- | - | |lover. | | | - |27.|Be happy in a ring, | -- | -- | - | |love. | | | - |28.| -- | -- | -- | - |29.|Kiss both together, | -- | -- | - | |love. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Winterton. | Forest of Dean. | Liphook. | - +---+----------------------+----------------------+----------------------+ - | 1.|Mary sits a-weeping. | -- |Poor Sarah's a- | - | | | |weeping. | - | 2.|Mary, what are you |Oh! what is Nellie |Oh, what is she a- | - | |weep'ng for? |weeping for? |weeping for? | - | 3.| -- | -- | -- | - | 4.|I'm weeping for a |I'm weeping for my |I'm weeping for a | - | |sweetheart. |sweetheart. |sweetheart. | - | 5.| -- | -- |This bright summer's | - | | | |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.|Close by the sea side.| -- | -- | - | 9.| -- |On a cold and sunshine| -- | - | | |day. | | - |10.|Pray, get up and |Now stand up and |Rise up and choose | - | |choose one. |choose one. |your lover. | - |11.| -- | -- | -- | - |12.| -- | -- |She shall have a | - | | | |sweetheart. | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- |Go to church, love. | - |27.| -- | -- | -- | - |28.| -- | -- |Say your prayers, | - | | | |love. | - |29.| -- | -- |Kiss your lovers. | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Earls Heaton. | Suffolk. | Berkshire. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Poor Mary sits a- |Poor Mary sits a- | - | | |weeping. |weeping. | - | 2.|Poor Mary, what are |What is she weeping | -- | - | |you weeping for? |for? | | - | 3.|Pray tell us what you | -- |Pray tell me what she | - | |are weeping for? | |is weeping for?| | - | 4.| -- |She's weeping for a |I'm weeping for a | - | | |sweetheart. | | - | 5.|On a bright summer's |On a fine summer's |On a bright summer's | - | |day. |day. |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- |Pray get up and choose| -- | - | | |one. | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Now you're married, we| -- | - | | |wish you joy. | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- |Father and mother you | -- | - | | |must obey. | | - |23.| -- |Love one another like | -- | - | | |brother and sister. | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- |Pray go to church, | -- | - | | |love. | | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.| -- | -- | -- | - |30.|My father he is dead, | -- | -- | - | |sir. | | | - |31.| -- | -- | -- | - |32.| -- |Pray put the ring on. | -- | - |33.| -- |Pray come back, love. | -- | - |34.| -- |Now it's time to go | -- | - | | |away. | | - |35.| -- | -- |Mary's got a | - | | | |shepherd's cross. | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Staffordshire. | Newbury. | South Devon. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary sits a- |Poor Mary sits a- |Poor Mary is a- | - | |weeping. |weeping. |weeping. | - | 2.| -- |Pray what are you |What is she weeping | - | | |weeping for? |for? | - | 3.| -- | -- | -- | - | 4.|She's weeping for her |She's weeping for a |She's weeping for her | - | |lover. |lover. |lover. | - | 5.|On a bright summer's |This bright summer's |On a fine summer's | - | |day. |day. |day. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- |[See No. 41.] | - | 9.| -- | -- | -- | - |10.|Stand up and choose |Rise up and choose | -- | - | |your lover. |your lover. | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Now Mary she is | -- | - | | |married. | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.| -- | -- | -- | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.|Now she's got a lover.| -- | -- | - |37.| -- | -- |Who is her lover? | - |38.| -- | -- |I. O. is her lover. | - |39.| -- | -- |Where is her lover? | - |40.| -- | -- |Her lover is sleeping.| - |41.| -- | -- |At the bottom of the | - | | | |sea. | - |42.| -- | -- | -- | - |43.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Cambridge. | Ogbourne. | Manton. | - +---+----------------------+----------------------+----------------------+ - | 1.|Poor Mary is a- |Poor Mary is a- |Poor Sally is a- | - | |weeping. |weeping. |weeping. | - | 2.| -- |Pray what is she |Pray tell me what | - | | |weeping for? |you're weeping for. | - | 3.| -- | -- | -- | - | 4.| -- |I'm weeping for my |I'm weeping for my | - | | |true love. |sweetheart. | - | 5.| -- |On a bright summer's | -- | - | | |day. | | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- |Down by the seaside. | - | 9.| -- | -- | -- | - |10.|Stand up upon your |Stand up and choose | -- | - | |feet and show the one |your true love. | | - | |you love so sweet. | | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|On the carpet she | -- | -- | - | |shall kneel till the | | | - | |grass grows on the | | | - | |field. | | | - |14.|Now you're married I | -- | -- | - | |wish you joy. | | | - |15.|First a girl and | -- | -- | - | |second a boy. | | | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- | -- | - |29.|If one don't kiss, the| -- | -- | - | |other must. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - |40.| -- | -- | -- | - |41.| -- | -- | -- | - |42.| -- |Ring a ring o' roses a|A ring of roses a | - | | |pocketful of posies. |pocketful of posies. | - |43.| -- | -- |We all tumble down. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+ - |No.| Berwickshire. | Scotland. | - +---+----------------------+----------------------+ - | 1.|What is Jennie weeping|Poor Mary is a- | - | |for? |weeping. | - | 2.| -- |Pray tell me what | - | | |you're weeping for. | - | 3.| -- | -- | - | 4.|I'm weeping for my own| -- | - | |true love. | | - | 5.|All on this summer's |On a fine summer's | - | |day. |day. | - | 6.| -- | -- | - | 7.| -- | -- | - | 8.| -- | -- | - | 9.| -- | -- | - |10.| -- |Stand up and choose | - | | |your love. | - |11.| -- | -- | - |12.|Rise up and choose | -- | - | |another love. | | - |13.| -- | -- | - |14.| -- | -- | - |15.| -- | -- | - |16.| -- | -- | - |17.| -- | -- | - |18.| -- | -- | - |19.| -- | -- | - |20.| -- | -- | - |21.| -- | -- | - |22.| -- | -- | - |23.| -- | -- | - |24.| -- | -- | - |25.| -- | -- | - |26.| -- | -- | - |27.| -- | -- | - |28.| -- | -- | - |29.| -- | -- | - |30.| -- |Because my father's | - | | |dead and gone. | - |31.| -- |She's kneeling by her | - | | |father's grave. | - |32.| -- | -- | - |33.| -- | -- | - |34.| -- | -- | - |35.| -- | -- | - |36.| -- | -- | - |37.| -- | -- | - |38.| -- | -- | - |39.| -- | -- | - |40.| -- | -- | - |41.| -- | -- | - |42.| -- | -- | - |43.| -- | -- | - +---+----------------------+----------------------+ - -(_b_) A ring is formed by the children joining hands. One child kneels -in the centre, covering her face with her hands. The ring dances round, -and sings the first two verses. The kneeling child then takes her hands -from her face and sings the next verse, still kneeling. While the ring -sings the next verse, she rises and chooses one child out of the ring. -They stand together, holding hands while the others sing the marriage -formula, and kiss each other at the command. The ring of children dance -round quickly while singing this. When finished the first "Mary" takes a -place in the ring, and the other child kneels down (Barnes and other -places). At Enborne school, Newbury (Miss Kimber), this game is played -by boys and girls. All the children in the ring sing the first two -verses. Then the boys alone in the ring sing the next verse; all the -ring singing the fourth. While singing this the kneeling child rises and -holds out her hand to any boy she prefers, who goes into the ring with -her. When he is left in the ring at the commencement of the game again, -a boy's name is substituted for that of "Mary." There appears to be no -kissing. In the Liphook version (Miss Fowler), after the girl has chosen -her sweetheart the ring breaks, and the two walk out and then kneel -down, returning to the ring and kissing each other. A version identical -with that of Barnes is played by the girls of Clapham High School. All -tunes sent me were similar to that given. - -(_c_) The analysis of the game rhymes is on pp. 56-60. - -This analysis shows that the incidents expressed by the rhymes are -practically the same in all the versions. In the majority of the cases -the weeping is depicted as part of a ceremony, by which it is known that -a girl desires a lover; she is enabled then to choose one, and to be -married. The marriage formula is the usual one in the Barnes' version, -but follows another set of words in three other versions. In the cases -where the marriage is neither expressed by a formula, nor implied by -other means (Winterton and Forest of Dean), the versions are evidently -fragments only, and probably at one time ended, as in the other cases, -with marriage. But in three other cases the ending is not with marriage. -The Earls Heaton and Scottish versions represent the cause of weeping as -the death of a father, the Berkshire version introduces the apparently -unmeaning incident of Mary bearing a shepherd's cross, and the South -Devon version represents the cause of weeping the death of a lover at -sea. It is obvious that at places where sailors abound, the incident of -weeping for a sailor-lover who is dead would get inserted, and the fact -of this change only occurring once in the versions I have collected, -tells all the more strongly in favour of the original version having -represented marriage and love, and not death, but it does not follow -that the marriage formula belongs to the oldest or original form of the -game. I am inclined to think this has been added since marriage was -thought to be the natural and proper result of choosing a sweetheart. - -(_d_) The change in some of the verses, as in the Cambridge version, is -due to corruption and the marked decadence now occurring in these games. -No. 13 in the analysis is from the game "Pretty little girl of mine," -and Nos. 42-3 "Ring o' Roses." - - -Poor Widow - - I. Here's an old widow who lies alone, - Lies alone, lies alone, - Here's an old widow who lies alone, - She wants a man and can't get one. - Choose one, choose two, choose the fairest. - The fairest one that I can see - Is [Mary Hamilton], come unto me. - Now she is married and tied to a bag, - She has got a man with a wooden leg. - ---Belfast (W. H. Patterson). - - II. There was an old soldier he came from the war, - His age it was sixty and three. - Go you, old soldier, and choose a wife, - Choose a good one or else choose none. - - Here's a poor widow she lives her lone, - She hasn't a daughter to marry but one. - Come choose to the east, choose to the west, - And choose the very one you love best. - - Here's a couple married in joy, - First a girl and then a boy, - Seven years after, and seven years come, - Pree[1] young couple kiss and have done. - ---Belfast (W. H. Patterson). - - III. There was a poor widow left alone, - And all her children dead and gone. - Come, choose you east, - Come, choose you west, - Take the man you love best. - Now they're married, - I wish them joy, - Every year a girl or a boy, - I hope this couple may kiss each other. - ---Nairn (Rev. W. Gregor). - -(_b_) One child is chosen to act the part of the widow. The players join -hands and form a circle. The widow takes her stand in the centre of the -circle in a posture indicating sorrow. The girls in the circle trip -round and round, and sing the first five lines. The widow then chooses -one of the ring. The ring then sings the marriage formula, the two kiss -each other, and the game is continued, the one chosen to be the mate of -the first widow becoming the widow in turn (Nairn). - -(_c_) This game is probably the same as "Silly Old Man." Two separate -versions may have arisen by girls playing by themselves without boys. - - [1] Sometimes "pray," but "pree" seems to be the Scotch for - taste:--"pree her moo" = taste her mouth = to kiss. - - -Pop Goes the Weasel - - Half a pound of tup'ny rice, - Half a pound of treacle; - Mix it up and make it nice, - Pop goes the weasel. - ---Earls Heaton (Herbert Hardy). - -(_b_) Children stand in two rows facing each other, they sing while -moving backwards and forwards. At the close one from each side selects a -partner, and then, all having partners, they whirl round and round. - -(_c_) An additional verse is sometimes sung with or in place of the -above in London. - - Up and down the City Road; - In and out the Eagle; - That's the way the money goes, - Pop goes the weasel. - ---(A. Nutt). - -Mr. Nutt writes: "The Eagle was (and may be still) a well-known tavern -and dancing saloon." - - -Pop-the-Bonnet - -A game in which two, each putting down a pin on the crown of a hat or -bonnet, alternately pop on the bonnet till one of the pins crosses the -other; then he at whose pop or tap this takes place, lifts the -stakes.--Teviotdale (Jamieson). The same game is now played by boys with -steel pens or nibs. - -See "Hattie." - - -Poppet-Show - -See "Pinny Show." - - -Port the Helm - -This is a boys' game. Any number may join in it. The players join hands -and stand in line. The leader, generally a bigger boy, begins to bend -round, at first slowly, then with more speed, drawing the whole line -after him. The circular motion is communicated to the whole line, and, -unless the boys at the end farthest from the leader run very quickly, -the momentum throws them off their feet with a dash if they do not drop -their hold.--Keith, Nairn (Rev. W. Gregor). - - -Pots, or Potts - -Throwing a ball against a wall, letting it bounce and catching it, -accompanied by the following movements:-- - -1. Simply three times each. - -2. Throw, twist hands, and catch. - -3. Clap hands in front, behind, in front. - -4. Turn round. - -5. Beat down ball on ground three times, and catch. - -6. Again on ground and catch (once) at end of first "pot," and twice for -second "pot." - ---Hexham (Miss J. Barker). - - -Pray, Pretty Miss - - I. Priperty Miss, will you come out, - Will you come out, will you come out? - Priperty Miss, will you come out - To help us with our dancing? - - No! - - The naughty girl, she won't come out, - She won't come out, she won't come out; - The naughty girl, she won't come out - To help us with our dancing. - - Priperty Miss, will you come out, - Will you come out, will you come out? - Priperty Miss, will you come out - To help us with our dancing? - - Yes! - - Now we've got another girl, - Another girl, another girl; - Now we've got another girl - To help us with our dancing. - ---Fochabers (Rev. W. Gregor). - - II. Pray, pretty Miss, will you come out, - Will you come out, will you come out? - Pray, pretty Miss, will you come out - To help me in my dancing? - - No! - - Then you are a naughty Miss! - Then you are a naughty Miss! - Then you are a naughty Miss! - Won't help me in my dancing. - - Pray, pretty Miss, will you come out, - Will you come out, will you come out? - Pray, pretty Miss, will you come out - To help me in my dancing? - - Yes! - - Now you are a good Miss! - Now you are a good Miss! - Now you are a good Miss! - To help me in my dancing. - ---Cornwall (_Folk-lore Journal_, v. 47, 48). - - III. Pray, pretty Miss, will you come out to help us in our - dancing? - No! - Oh, then you are a naughty Miss, won't help us with our - dancing. - Pray, pretty Miss, will you come out to help us in our - dancing? - Yes! - Now we've got our jolly old lass to help us with our - dancing. - ---Sheffield, Yorks. (_Folk-lore Record_, v. 87). - - IV. Oh, will you come and dance with me, - Oh, will you come and dance with me? - No! - -[They say as above to the next girl, who says "Yes."] - - Now we've got our bonny bunch - To help us with our dancing. - ---Hurstmonceux, Sussex (Miss Chase). - -(_b_) The Scottish version of this game is played as follows:--All the -players stand in a line except two, who stand facing them. These two -join hands crosswise, and then advancing and retiring, sing to the child -at the end of the line the first four lines. The first child refuses, -and they then dance round, singing the second verse. They sing the first -verse again, and on her compliance she joins the two, and all three -dance round together, singing the last verse. The three then advance and -retire, singing the first verse to another child. - -The Cornish version is played differently: a ring is formed, boy and -girl standing alternately in the centre. The child in the middle holds -a white handkerchief by two of its corners; if a boy he would single out -one of the girls, dance backwards and forwards opposite to her, and sing -the first verse. If the answer were "No!" spoken with averted head over -the left shoulder, he sang the second verse. Occasionally three or four -in turn refused. When the request was granted the words were changed to -the fourth verse. The handkerchief was then carefully spread on the -floor; the couple knelt on it and kissed: the child formerly in the -middle joined the ring, and the other took his place, or if he preferred -it remained in the centre; in that case the children clasped hands and -sang together the first verse over again, the last to enter the ring -having the privilege of selecting the next partner. - -(_c_) Miss Courtney says (_Folk-lore Journal_, v. 47), that this game is -quite a thing of the past. Of the Hurstmonceux version, Miss Chase says, -"This game is not fully remembered. It was played about 1850." The words -indicate an invitation to the dance similar to those in "Cushion Dance," -"Green Grass." - - -Pretty Little Girl of Mine - -[Music] - ---Monton, Lancashire (Miss Dendy). - -[Music] - ---Tean, North Staffordshire (Miss Burne). - -[Music] - ---Eccleshall (Miss Burne). - -[Music] - ---Nottingham (Miss Youngman). - -[Music] - ---Hanbury, Staffordshire (Edith Hollis). - - I. Here's a pretty little girl of mine, - She's brought me many a bottle of wine; - A bottle of wine she gave me too-- - See what this little girl can do. - - On the carpet she shall kneel - As the grass grows on the fiel'; - Stand upright on your feet, - And choose the one you love so sweet. - - Now you are married I wish you joy, - First a girl and then a boy; - Seven years after, son and daughter; - Pray, young couple, kiss together. - ---Symondsbury, Dorset (Folk-lore Journal, vii. 207). - - II. Oh, this pretty little girl of mine, - Brought me many a bottle of wine; - A bottle of wine and a guinea, too, - See what my little girl _can_ do. - - Down on the carpet she shall kneel, - As the grass grows in the field; - Stand upright on your feet, - And choose the one you love so sweet. - - Now I'm married and wish you joy, - First a girl and then a boy; - Seven years after, seven years past, - Kiss one another and go to your class. - ---Hampshire (Miss Mendham). - - III. Here's a pretty little girl of mine, - Who's brought her bottle and glass of wine; - A glass of wine and a biscuit too, - See what my pretty girl will do. - - On the carpet she shall kneel, - While the grass grows in the field; - Stand upright upon your feet, - Choose the one you love so sweet. - - When you're married I wish you joy, - First a girl and second a boy, - Seven years after, son and daughter, - Now, young couple, kiss together. - ---Gambledown, Hants (Mrs. Pinsent). - - IV. Oh! this pretty little girl of mine, - Has cost me many a bottle of wine; - A bottle of wine and a guinea or two, - So see what my little girl can do. - - Down on the carpet she shall kneel, - While the grass grows on her field; - Stand upright upon your feet, - And choose the one you love so sweet. - - Now you are married you must obey, - Must be true in all you say; - You must be kind and very good, - And help your wife to chop the wood. - ---Maxey (_Northants Notes and Queries_, i. 214). - - V. Here's a pretty little girl of mine, - She's cost me many a bottle of wine; - A bottle of wine and a guinea too, - See what my little girl can do. - - Down on the carpet she must kneel, - As the grass grows in the field; - Stand upright upon her feet, - And choose the one she loves so sweet. - - Now you're married I wish you joy, - Father and mother you must obey; - Love one another like sister and brother, - And pray, young couple, come kiss one another. - ---Colchester (Miss G. M. Frances). - - VI. Oh! this pretty little girl of mine, - She bought me many a bottle of wine, - A bottle of wine she gave me too, - So see what my little girl could do. - - Stand up, stand up upon your feet, - And choose the one you love so sweet. - ---Liphook, Hants (Miss Fowler). - - VII. See what a pretty little girl have I, - She brings me many a bottle of wi'; - A bottle of wine and a biscuit too, - See what a little girl can do. - On the carpet she shall kneel, - As the grass grows in the fiel'; - Stand upright upon your feet, - And choose the one you love so sweet. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after, son and daughter, - May you couple kiss together. - ---South Devon (_Notes and Queries_, 8th series, i. 249; Miss R. H. -Busk). - - VIII. See what a pretty little girl I am, - She gave me many a bottle of wine, - Many a bottle of wine, and a biscuit too, - See what a pretty little girl can do. - On the carpet you shall kneel, - Stand up straight all in the field, - Choose the one that you love best. - - Now we are married and hope we enjoy, - First a girl and then a boy, - Seven years after and seven years to come, - May young company kiss have done. - ---Holywood, Co. Down (Miss C. M. Patterson). - - IX. See what a pretty little girl I am! - Brought me many a bottle o' wine! - Bottle o' wine to make me shine! - See what a pretty little girl I am! - - Upon the carpets we shall kneel, - As the grass grows in yonder field; - Stand up lightly on your feet, - And choose the one you love so sweet. - - Now these two are going to die, - First a girl, and then a boy; - Seven years at afterwards, seven years ago, - And now they are parted with a kiss and a go. - ---Monton, Lancashire (Miss Dendy). - - X. See this pretty little maid of mine! - She's brought me many a bottle of wine; - A bottle of wine, a good thing, too; - See what this pretty maid can do! - - Down on the carpet she must kneel, - Till the grass grows on her feet; - Stand up straight upon thy feet, - Choose the very one that you love sweet. - - Take her by her lily-white hand, - Lean across the water; - Give a kiss,--one, two, three,-- - To Mrs. ----'s daughter. - ---Suffolk (Mrs. Haddon). - - XI. See what a pretty little girl I am! - They brought me many a bottle of wine-- - Bottle of wine to make me shine; - See what a pretty little girl I am! - - On the carpets we must kneel, - As the grass grows in yonder field; - Rise up lightly on your feet, - And kiss the one you love so sweet. - - My sister's going to get married, - My sister's going to get married, - My sister's going to get married, - Ee! Ii! Oh! - - Open your gates as wide as high, - And let the pretty girls come by, - And let the {jolly} matrons[2] by. - {bonny} - One in a bush, - Two in a bush, - Ee! Ii! Oh! - ---Colleyhurst, Manchester (Miss Dendy). - - XII. On the carpet you shall kneel - Where the grass grows fresh and {green; - {clean; - Stand up, stand up on your pretty feet, - And show me the one you love so sweet. - Now Sally's got married, we wish her good joy, - First a girl, and then a boy; - Seven years arter, a son and darter, - So, young couple, kiss together. - -Or, - - Seven years now, and seven to come, - Take her and kiss her and send her off home. - ---Eccleshall, Staffs. (Miss Burne). - - XIII. On the carpet you shall kneel, - As the grass grows on the field; - Stand up straight upon your feet, - And tell me the one you love so sweet. - - ---- is married with a good child, - First with a girl and then with a boy; - Seven years after son and daughter, - Play with a couple and kiss together. - ---Tean, North Staffs. (from a Monitor in the National School). - - XIV. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up upon your feet, - And tell me whom you love so sweet. - - Now you're married I wish you joy, - First a girl, and then a boy; - Seven years after son and daughter, - Come, young couple, come kiss together. - ---Middlesex (Miss Winfield). - - XV. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up on your feet, - Show the girl you love so sweet. - - Now you're married I hope you'll enjoy - A son and a daughter, so - Kiss and good-bye. - ---Long Eaton, Nottinghamshire (Miss Youngman). - - XVI. Down on the carpet you shall kneel, - While the grass grows on your field;[3] - Stand up straight upon your feet, - And choose the one you love so sweet. - Marry couple, married in joy, - First a girl and then a boy; - Seven years after, seven years come, - Please,[4] young couple, kiss and have done. - ---Belfast (W. H. Patterson). - - XVII. On the carpet you shall kneel, - While the grass grows fresh and green; - Stand up straight upon your feet, - And kiss the one you love so sweet. - - Now they're married, love and joy, - First a girl and then a boy; - Seven years after, seven years ago, - Now's the time to kiss and go. - ---Liverpool and neighbourhood (Mrs. Harley). - - XVIII. On the carpet you shall kneel, - As the grass grows in the field; - Stand up, stand up on your feet, - And shew me the girl you love so sweet. - Now Sally's married I hope she'll enjoy, - First with a girl and then with a boy; - Seven years old and seven years young, - Pray, young lady, walk out of your ring. - ---Derbyshire (_Folk-lore Journal_, i. 385). - - XIX. On the carpet you shall kneel, - Where the grass grows fresh and green; - Stand up, stand up on your pretty feet, - And show me the one you love so sweet. - ---Berrington (Burne's _Shropshire Folk-lore_, p. 509). - -[Same ending as Eccleshall version.] - - XX. On the carpitt you shall kneel, - While the grass grows in the field; - Stand up, stand up on your feet, - Pick the one you love so sweet. - ---Wakefield, Yorks. (Miss Fowler). - - XXI. King William was King David's son, - And all the royal race is run; - Choose from the east, choose from the west, - Choose the one you love the best.[5] - - Down on this carpet you shall kneel, - While the grass grows in yond field; - Salute your bride and kiss her sweet, - Rise again upon your feet. - ---Hanging Heaton, Yorks. (Herbert Hardy). - - XXII. On the carpet you shall kneel, while the grass grows at your - feet; - Stand up straight upon your feet, and choose the one you - love so sweet. - Now Sally is married, life and joy, first a girl and then a - boy; - Seven years after, seven years ago, three on the carpet, - kiss and go. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - XXIII. I had a bonnet trimmed wi' blue. - Why dosn't weare it? Zo I do; - I'd weare it where I con, - To teake a walk wi' my young mon. - My young mon is a-gone to sea, - When he'd come back he'll marry me. - Zee what a purty zister is mine, - Doan't 'e think she's ter'ble fine? - She's a most ter'ble cunnen too, - Just zee what my zister can do. - On the carpet she can kneel, - As the grass grow in the fiel'. - Stand upright upon thy feet, - And choose the prettiest you like, sweet. - ---Hazelbury Bryan, Dorset (_Folk-lore Journal_, vii. 208). - - XXIV. Kneel down on the carpets, we shall kneel; - The grass grows away in yonder fiel', - Stand up, stand up upon your feet, - And show me the one you love so sweet. - - Now they get married, I wish they may joy - Every year a girl or a boy; - Loving together like sister and brother, - Now they are coupled to kiss together. - ---Galloway, N.B. (J. G. Carter). - -(_c_) This game is played in the same way in all the different variants -I have given, except a slight addition in the Suffolk (Mrs. Haddon). A -ring is formed by the children joining hands--one child stands in the -centre. The ring dances or moves slowly round, singing the verses. The -child in the centre kneels down when the words are sung, rises and -chooses a partner from the ring, kisses her when so commanded, and then -takes a place in the ring, leaving the other child in the centre. In -those cases where the marriage formula is not given, the kissing would -probably be omitted. - -(_d_) Of the twenty-four versions given there are not two alike, and -this game is distinguished from all others by the singular diversity of -its variants; although the original structure of the verses has been -preserved to some extent, they seem to have been the sport of the -inventive faculty of each different set of players. Lines have been -added, left out, and altered in every direction, and in the example from -Hazelbury Bryan, in Dorsetshire (No. xxiii.), a portion of an old song -or ballad has been added to the game rhyme. These alterations occur not -only in different counties, but in the same counties, as may be seen by -the Dorset, Hants, Staffordshire, and Northants examples. Mr. Carter -says of the Galloway game that the kissing match sometimes degenerates -into a spitting match, according to the temper of the parties concerned. -In the Suffolk version (Mrs. Haddon), at the words "Lean across the -water," the two in the centre lean over the arms of those forming the -ring. These words and action are probably an addition. They belong to -the "Rosy Apple, Lemon and Pear" game. - -These peculiar characteristics of the game do not permit of much -investigation into the original words of the game-rhyme, but they serve -to illustrate, in a very forcible manner, the exactly opposite -characteristics of nearly all the other games, which preserve, in almost -stereotyped fashion, the words of the rhymes. It appears most probable -that the verses belonged originally to some independent game like -"Sally, Sally Water," and that, when divorced from their original -context, they lent themselves to the various changes which have been -made. The minute application of modern ideas is seen in the version from -Gambledown, where "A bottle of wine and a guinea, too," becomes "A -bottle of wine and a biscuit, too;" and at West Haddon, in -Northamptonshire, a variant of the marriage formula is given in -_Northants Notes and Queries_, ii. 106, as-- - - Now you're married, we wish you joy, - First a girl and then a boy; - Cups and saucers, sons and daughters, - Now join hands and kiss one another. - -Another version from Long Itchington, given in _Notes and Queries_, 7th -series, x. 450, concludes with-- - - Up the kitchen and down the hall, - Choose the fairest of them all; - Seven years now and seven years then, - Kiss poor Sally and part again. - - [2] Matron is _not_ a word in common use among Lancashire people. - - [3] _d_ not sounded. - - [4] Another version has "pree," which means in Scotch, _taste_, hence - _kiss_. - - [5] At Earls Heaton two verses or lines are added, viz.:-- - - "If she is not here to take her part, - Choose another with all your heart." - - -Pretty Miss Pink - - Pretty Miss Pink, will you come out, - Will you come out, will you come out? - Pretty Miss Pink, will you come out, - To see the ladies dancing? - - No, I won't. - - Pretty Miss Pink, she won't come out, - Won't come out, won't come out, &c. - She will come out. - Pretty Miss Pink, she has come out, &c. - ---Winterton, Lincs and Nottinghamshire (Miss M. Peacock.) - -(_b_) The children place themselves in a row. They each choose a colour -to represent them. One player must be _pink_. Another player stands -facing them, and dances to and fro, singing the first four lines. The -dancer then sings the next two lines, and Miss Pink having answered -rushes forward, catches hold of the dancer's hand, and sings the next -verse. Each colour is then taken in turn, but Miss Pink must always be -first. - -(_c_) This is clearly a variant of "Pray, Pretty Miss," colours being -used perhaps from a local custom at fairs and May meetings, where girls -were called by the colours of the ribbons they wore. - - -Prick at the Loop - -A cheating game, played with a strap and skewer at fairs, &c, by persons -of the thimble-rig class, probably the same as the game called "Fast and -Loose." - - -Prickey Sockey - -Christmas morning is ushered in by the little maidens playing at the -game of "Prickey Sockey," as they call it. They are dressed up in their -best, with their wrists adorned with rows of pins, and run about from -house to house inquiring who will play at the game. The door is opened -and one cries out-- - - Prickey sockey for a pin, - I car not whether I loss or win. - -The game is played by the one holding between her two forefingers and -thumbs a pin, which she clasps tightly to prevent her antagonist seeing -either part of it, while her opponent guesses. The head of the pin is -"sockey," and the point is "prickey," and when the other guesses she -touches the end she guesses at, saying, "this for prickey," or "this for -sockey," At night the other delivers her two pins. Thus the game is -played, and when the clock strikes twelve it is declared up; that is, no -one can play after that time.--_Mirror_, 1828, vol. x. p. 443. - -See "Headicks and Pinticks." - - -Prickie and Jockie - -A childish game, played with pins, and similar to "Odds or -Evens,"--Teviotdale (Jamieson), but it is more probable that this is the -game of "Prickey Sockey," which Jamieson did not see played. - - -Priest-Cat (1) - -See "Jack's Alive." - - -Priest-Cat (2) - -A peat clod is put into the shell of the crook by one person, who then -shuts his eyes. Some one steals it. The other then goes round the circle -trying to discover the thief, and addressing particular individuals in a -rhyme-- - - Ye're fair and leal, - Ye canna steal; - Ye're black and fat, - Ye're the thief of my priest-cat! - -If he guesses wrong he is in a wadd, if right he has found the -thief.--Chambers' _Popular Rhymes_, p. 128. - -This is an entirely different game to the "Priest-Cat" given by -Mactaggart (see "Jack's Alive"), and seems to have originated in the -discovery of stolen articles by divination. - - -Priest of the Parish - -William Carleton describes this game as follows:--"One of the boys gets -a wig upon himself, goes out on the floor, places the boys in a row, -calls on his man Jack, and says to each, 'What will you be?' One -answers, 'I'll be Black Cap,' another, 'Red Cap,' and so on. He then -says, 'The priest of the parish has lost his considering-cap. Some says -this, and some says that, but I say my man Jack.' Man Jack then, to put -it off himself, says, 'Is it me, sir?' 'Yes you, sir.' 'You lie, sir.' -'Who then, sir?' 'Black Cap.' If Black Cap then doesn't say, 'Is it me, -sir?' before the priest has time to call him he must put his hand on his -ham and get a pelt of the brogue. A boy must be supple with the tongue -in it."--_Traits and Stories of the Irish Peasantry_, p. 106 (Tegg's -reprint). - -This game is no doubt the original form of the game imperfectly played -under the name of "King Plaster Palacey" (see _ante_, i. 301). - - -Prisoner's Base or Bars - -The game of "The Country Base" is mentioned by Shakespeare in -"Cymbeline"-- - - "He, with two striplings (lads more like to run - The country base, than to commit such slaughter), - Made good the passage."--Act v., sc. 3. - -Also in the tragedy of Hoffman, 1632-- - - "I'll run a little course - At _base_, or barley-brake." - -Again, in the Antipodes, 1638-- - - "My men can runne at _base_." - -Also, in the thirtieth song of Drayton's "Polyolbion"-- - - "At hood-wink, barley-brake, at tick, or _prison-base_." - -Again, in Spenser's "Faerie Queen," v. 8-- - - "So ran they all as they had been at _bace_." - -Strutt (_Sports and Pastimes_, p. 78), says, "This game was much -practised in former times. The first mention of this sport that I have -met with occurs in the Proclamations at the head of the Parliamentary -proceedings, early in the reign of Edward III., where it is spoken of as -a childish amusement; and prohibited to be played in the avenues of the -palace at Westminster during the Sessions of Parliament, because of the -interruption it occasioned to the members and others in passing to and -fro. . . . The performance of this pastime requires two parties of equal -number, each of them having a base or home, as it is usually called to -themselves, at the distance of about twenty or thirty yards. The players -then on either side taking hold of hands extend themselves in length and -opposite to each other, as far as they conveniently can, always -remembering that one of them must touch the base; when any one of them -quits the hand of his fellow and runs into the field, which is called -giving the chase, he is immediately followed by a second from the former -side, and he by a second opponent; and so on alternately, until as many -are out as choose to run, every one pursuing the man he first followed -and no other; and if he overtake him near enough to touch him, his party -claims one toward their game, and both return home. Then they run forth -again and again in like manner, until the number is completed that -decides the victory; this number is optional. It is to be observed that -every person on either side who touches another during the chase, claims -one for his party." - -Strutt describes the game in Essex as follows:--"They play this game -with the addition of two prisons, which are stakes driven into the -ground, parallel with the home boundaries, and about thirty yards from -them; and every person who is touched on either side in the chase is -sent to one or other of these prisons, where he must remain till the -conclusion of the game, if not delivered previously by one of his -associates, and this can only be accomplished by touching him, which is -a difficult task, requiring the performance of the most skilful players, -because the prison belonging to either party is always much nearer to -the base of their opponents than to their own; and if the person sent to -relieve his confederate be touched by an antagonist before he reaches -him, he also becomes a prisoner, and stands in equal need of -deliverance."--_Sports and Pastimes_, p. 80. - -[Illustration] - -But this is not quite the same as it is played in London. There the -school ground is divided in the following manner:-- The boys being -divided into equal sides, with a captain for each, one party takes up -its quarters in A, the other in B. Lots are chosen as to which side -commences. Then one member of the side so chosen (say B) starts off for -the middle of the playground and cries out "Chevy, Chevy Chase, one, -two, three;" thereupon it becomes the object of the side B to touch him -before reaching home again. If unsuccessful one from side B goes to the -middle, and so on until a prisoner is secured from one of the sides. -Then the struggle commences in earnest, after the fashion described by -Strutt as above. If a boy succeeds in getting to the prison of his side -without being touched by an opponent, he releases a prisoner, and brings -him back home again to help in the struggle. The object of the -respective sides is to place all their opponents in prison, and when -that is accomplished they rush over to the empty home and take -possession of it. The game then begins again from opposite sides, the -winning side counting one towards the victory.--London (G. L. Gomme). - -This was once a favourite game among young men in North Shropshire (and -Cheshire). It was played yearly at Norton-in-Hales Wakes, and the -winning party were decorated with ribbons. Men-servants, in the last -century, were wont to ask a day's holiday to join or witness a game of -"Prison-bars," arranged beforehand as a cricket-match might be (see -_Byegones_, 2nd May 1883). A form of the game still survives there among -the school-children, under the name of "Prison Birds." The Birds arrange -themselves in pairs behind each other, facing a large stone or stump -placed at some little distance. Before them, also facing the stone, -stands one player, called the Keeper. When he calls, "Last pair out!" -the couple next behind him run to the stone and touch hands over it. If -they can do so without being touched by the Keeper, they are free, and -return to a position behind the other birds; but any one whom he touches -must remain behind the stone "in prison."--Ellesmere (Burne's -_Shropshire Folk-lore_, p. 524). - -The Ellesmere inhabitants were formerly accustomed to devote their -holiday occasions to the game, and in the year 1764 the poet laureate of -the town (Mr. David Studley) composed some lines on the game as it was -played by the Married _v._ Single at Ellesmere. They are as follows:-- - - "Ye lovers of pleasure, give ear and attend, - Unto these few lines which here I have penned, - I sing not of sea fights, of battles nor wars, - But of a fine game, which is called 'Prison Bars.' - - This game was admired by men of renown, - And played by the natives of fair Ellesmere town; - On the eighth day of August in the year sixty-four, - These nimble heel'd fellows approached on the moor. - - Twenty-two were the number appear'd on the green, - For swiftness and courage none like them were seen; - Eleven were married to females so fair, - The other young gallants bachelors were. - - Jacob Hitchen the weaver commands the whole round, - Looks this way, and that way, all over the ground, - Gives proper directions, and sets out his men, - So far go, my lads, and return back again. - - Proper stations being fixed, each party advance, - And lead one another a many fine dance. - There's Gleaves after Ellis, and Platt after he, - Such running before I never did see. - - Huzza! for the young men, the fair maids did say, - May heaven protect you to conquer this day, - Now, my brave boys, you're not to blame, - Take courage, my lads, nine and eight is the game. - - Now behold the Breeches makers, master and man, - Saddlers, Slaters, and Joiners, do all they can; - The Tailor so nimble, he brings up the rear, - Cheer up, my brave boys, you need not to fear. - - Alas! poor old Jacob, thy hopes are in vain, - Dick Chidley is artful, and spoils all thy schemes. - The Barber is taken, the Currier is down, - The Sawyer is tired, and so is the Clown." - -The moor referred to in the last line of the second verse was the -Pitchmoor. The Clown was a nickname for one of the players, who, on -hearing the song repeated in the presence of the author, became so -exasperated, that, to appease him, the words "the game is our'n" were -substituted for the words "so is the Clown "in the last line of the -concluding verse. - - -Puff-the-Dart - -A game played with a long needle inserted in some worsted, and blown at -a target through a tin tube.--Halliwell's _Dictionary_. This game is -also mentioned in Baker's _Northamptonshire Glossary_. - - -Pun o' mair Weight - -A rough play among boys, adding their weight one upon another, and all -upon the one at the bottom.--Dickinson's _Cumberland Glossary_. - - -Punch Bowl - - I. Round about the punch bowl,-- - One, two, three; - If anybody wants a bonnie lassie, - Just take me. - -Another form of words is-- - - The fillan o' the punch bowl, - That wearies me; - The fillan o't up, an' the drinkan' o't doon, - An' the kissan o' a bonnie lass, - That cheeries me. - ---Fochabers (Rev. W. Gregor). - - II. Round about the punch bowl, - Punch bowl, punch bowl; - Round about the punch bowl, one, two, three. - - First time never to fall, - Never to fall, never to fall; - First time never to fall, one, two, three. - - Second time, the catching time, - Catching time, catching time; - Second time, the catching time, one, two, three. - - Third time, the kissing time, - Kissing time, kissing time, - Third time, the kissing time, one, two, three. - ---Belfast (W. H. Patterson). - - III. Round about the punch bowl,--one, two, three; - Open the gates and let the bride through. - - Half-a-crown to know his name, to know his name, to know his - name, - Half-a-crown to know his name, - On a cold and frosty morning. - - Ah! (Michael Matthews) is his name, is his name, is his - name; - (Michael Matthews) is his name, - On a cold and frosty morning. - - Half-a-crown to know her name, to know her name, to know her - name, - Half-a-crown to know her name, - On a cold and frosty morning. - - (Annie Keenan) is her name, is her name, is her name, - (Annie Keenan) is her name, - On a cold and frosty morning. - - They'll be married in the morning, - Round about the punch bowl, I [? Hi!]. - ---Annaverna, Ravensdale, Co. Louth, Ireland (Miss R. Stephen). - -(_b_) The Fochabers' game is played by girls only. The players join -hands and form a ring. They dance briskly round, singing the verse. The -last word, "me," is pronounced with strong emphasis, and all the girls -jump, and if one falls she has to leave the ring. The game is carried on -until all the players fall. In the Belfast game, at the words "one, two, -three," the players drop down in a crouching position for a few seconds. -In the Louth (Ireland) game the players all curtsey after the first -line, and the one who rises last is the bride. She is led outside the -ring by another, and asked to whom she is engaged. She tells without -letting those in the ring hear, and the two return to the ring saying -the second line. Then all the ring sing the next three lines, and then -the girl who has been told the name tells it to the ring, who thereupon -sing or say the remaining lines of the verse. - -(_c_) The Louth version has more detail in its movements, and probably -represents the oldest form. At all events, it supplies the reason for -the words and movements, which are not quite so obvious in the other -versions. Many ancient monoliths are known as "Punch Bowls," and it may -be that this game is the relic of an old marriage ceremony, "at the -stones." - - -Purposes - -A kind of game. "The prettie game which we call purposes" (Cotgrave in -_v._ "Opinion").--Halliwell's _Dictionary_. - - -Push in the Wash Tub - -A ring of girls is formed. Two go in opposite directions outside the -ring, and try to get back first to the starting-point; the one -succeeding stops there, rejoining the ring, the other girl _pushes_ -another girl into the ring, or _wash tub_, with whom the race is -renewed.--Crockham Hill, Kent (Miss Chase). - - -Push-pin, or Put-pin - -A child's play, in which pins are pushed with an endeavour to cross -them. So explained by Ash, but it would seem, from Beaumont and -Fletcher, vii. 25, that the game was played by aiming pins at some -object.--Halliwell's _Dictionary_. - - "To see the sonne you would admire, - Goe play at push-pin with his sire." - ---_Men's Miracles_, 1656, p. 15. - - "Love and myselfe, beleeve me on a day, - At childish push-pin for our sport did play." - ---Herrick's _Works_, i. 22. - -There is an allusion to it under the name of put-pin in Nash's -_Apologie_, 1593-- - - "That can lay down maidens bedds, - And that can hold ther sickly heds; - That can play at put-pin, - Blow poynte and near lin." - -Two pins are laid upon a table, and the object of each player is to push -his pin across his opponent's pin.--Addy's _Sheffield Glossary_. - -See "Hattie," "Pop the Bonnet." - - -Push the Business On - - I. I hired a horse and borrowed a gig, - And all the world shall have a jig; - And I'll do all 'at ever I can - To push the business on. - To push the business on, - To push the business on; - And I'll do all 'at ever I can - To push the business on. - ---North Kelsey, Anderby, and near the Trent, Nottinghamshire (Miss M. -Peacock). - - II. Beeswax and turpentine make the best of plaster, - The more you try to pull it off, it's sure to stick the - faster. - I'll buy a horse and hire a gig, - And all the world shall have a jig; - And you and I'll do all we can - To push the business on, - To push the business on; - And we'll do all that ever we can - To push the business on. - ---Brigg, Lincolnshire (Miss Barker, from a Lincolnshire friend). - - III. I'll buy a horse and steal a gig, - And all the world shall have a jig; - And I'll do all that ever I can - To pass the business on. - To pass the business on, - To pass the business on; - And I'll do all that ever I can - To pass the business on. - ---Wolstanton, North Staffs. (Miss Bush, Schoolmistress) - - IV. We'll borrow a horse and steal a gig, - And round the world we'll have a jig; - And I'll do all that ever I can - To push the business on. - ---Earls Heaton (Herbert Hardy). - - V. I'll hire a horse and steal a gig, - And all the world shall have a jig; - And I'll do all that ever I can - To push the business on, - To push the business on, to push the business on, - And I'll do all that ever I can to push the business on. - ---Settle, Yorkshire (Rev. W. S. Sykes). - -(_b_) The players stand in a circle, boy and girl alternately, and sing -the lines. At the fourth line they all clap their hands, keeping time -with the song. When singing the seventh line each boy takes the girl on -his left hand,--dances round with her and places her on his right hand. -This is done till each girl has been all round the circle, and has been -turned or danced with by each boy. In the Wolstanton version (Miss -Bush), after singing the first four lines, the children fall behind one -another, march round, clapping their hands and singing; at the seventh -line they all join in couples and gallop round very quickly to the end. -When they finish, the girls stand at the side of the boys in couples, -and change places every time they go round until each girl has partnered -each boy. At Hexham there is rather more of the regular dance about the -game at the beginning. At the fourth line they set to partners and swing -round, the girls changing places at the end, and continuing until they -have been all round each time with a different partner. - -(_c_) This game seems of kin to the old-fashioned country dances. Miss -Bush writes that this game was introduced into the school playground -from Derbyshire a few years ago, and is sung to a simple tune. - - -Puss in the Corner - -The children stand at fixed points: one stands in the middle and chants, -"Poor puss wants a corner." The others beckon with the fore-finger, and -calling, "Puss, puss," run from point to point. Puss runs also to one of -the vacant spaces. The one left out becomes puss.--Monton, Lancashire -(Miss Dendy). - -[Illustration] - -The players place themselves each in some "coign of vantage," as the -play place allows; one player in the middle is "out." Those in the -corners change places with each other at choice, calling, "Puss, puss, -puss," to attract each other's attention. The one who is out watches his -opportunity to slip into a vacant corner, and oblige some one else to be -"out." A favourite game _in the streets_ of Market Drayton.--Burne's -_Shropshire Folk-lore_, p. 523. - -When we played this game, the child who was to be "Puss" was invariably -decided upon by a counting-out rhyme. He or she being the last of the -five players "not he." The words we used when wishful to change corners -were, "Puss, puss, give me a drop of milk." The players in the corners -beckoned with the finger to an opposite player in another corner (A. B. -Gomme). - -The game in Scotland is called "Moosie in the Corner," and is played by -boys or girls, or by both together, either outside or in a room. Each -player takes a corner, and one stands in the middle. On a given signal, -usually by calling out the word "Change," a rush is made from the -corners. The aim of the one standing in the middle is to reach a vacant -corner. If the game is played in a room, as many chairs, or other seats, -are placed as there are players, less one. Each takes a seat, and one is -left standing. On the word "Change" being called out, each jumps from -the seat and makes for another. The one standing strives to get a seat -in the course of the change.--Nairn and Macduff (Rev. W. Gregor). - - -Pussy's Ground - -Name for Tom Tiddler's Ground in Norfolk. - -See "Tom Tiddler's Ground." - - -Pyramid - -A circle of about two feet in diameter is made on the ground, in the -centre of which a pyramid is formed by several marbles. Nine are placed -as the base, then six, then four, and then one on the top. The keeper of -the pyramid then desires the other players to shoot. Each player gives -the keeper one marble for leave to shoot at the pyramid, and all that -the players can strike out of the circle belong to them.--London streets -(A. B. Gomme), and _Book of Sports_. - -See "Castles." - - -Quaker - -Men and women stand alternately in a circle, and one man begins by -placing his left hand on his left knee, and saying, "There was an old -Quaker and he went so." This is repeated all round the circle; the first -man then says the same thing again, but this time he places his _right_ -hand on his _right_ knee. Then he places his hand on the girl's -shoulder, then round her neck, and on her far shoulder, then looks into -her face, and, lastly, kisses her.--Sharleston, Yorks (Miss Fowler). - - -Quaker's Wedding - - Hast thou ever been to a Quaker's wedding? - Nay, friend, nay. - Do as I do; twiddle thy thumbs and follow me. - -The leader walks round chanting these lines, with her eyes fixed on the -ground. Each new comer goes behind till a long train is formed, then -they kneel side by side as close together as possible. The leader then -gives a vigorous push to the one at the end of the line [next herself, -and that one to the next], and the whole line tumble over.--Berkshire -(Miss Thoyts in the _Antiquary_, xxvii. 194). - -See "Obadiah," "Solomon." - - -Queen Anne - - I. Lady Queen Ann she sits in her stand, - And a pair of green gloves upon her hand, - As white as a lily, as fair as a swan, - The fairest lady in a' the land; - Come smell my lily, come smell my rose, - Which of my maidens do you choose? - I choose you one, and I choose you all, - And I pray, Miss ( ), yield up the ball. - The ball is mine, and none of yours, - Go to the woods and gather flowers. - Cats and kittens bide within, - But we young ladies walk out and in. - ---Chambers' _Pop. Rhymes_, p. 136. - - II. Queen Anne, Queen Anne, who sits on her throne, - As fair as a lily, as white as a swan; - The king sends you three letters, - And begs you'll read one. - - I cannot read one unless I read all, - So pray ( ) deliver the ball. - - The ball is mine and none of thine, - So you, proud Queen, may sit on your throne, - While we, your messengers, go and come. - -(Or sometimes)-- - - The ball is mine, and none of thine, - You are the fair lady to sit on; - And we're the black gipsies to go and come. - ---Halliwell's _Pop. Rhymes_, p. 230. - - III. Queen Anne, Queen Anne, you sit in the sun, - As fair as a lily, as white as a wand, - I send you three letters, and pray read one. - You must read one, if you can't read all, - So pray, Miss or Master, throw up the ball. - ---Halliwell's _Pop. Rhymes_, p. 64. - - IV. Here we come a-piping, - First in spring and then in May. - The Queen she sits upon the sand, - Fair as a lily, white as a wand: - King John has sent you letters three, - And begs you'll read them unto me. - We can't read one without them all, - So pray, Miss Bridget, deliver the ball. - ---Halliwell's _Pop. Rhymes_, p. 73. - - V. Queen Anne, Queen Anne, - She sot in the sun; - So fair as a lily, - So white as a nun; - She had a white glove on, - She drew it off, she drew it on. - - Turn, ladies, turn. - - The more we turn, the more we may, - Queen Anne was born on Midsummer Day; - We have brought dree letters from the Queen, - Wone of these only by thee must be seen. - We can't reade wone, we must reade all, - Please ( ) deliver the ball. - ---Dorsetshire (_Folk-lore Journal_, vii. 229). - - VI. Here come we to Lady Queen Anne, - With a pair of white gloves to cover our hand; - As white as a lily, as fair as the rose, - But not so fair as you may suppose. - - Turn, ladies, turn. - - The more we turn the more we may, - Queen Anne was born on Midsummer Day. - - The king sent me three letters, I never read them all, - So pray, Miss ----, deliver the ball. - - The ball is yours, and not ours, - You must go to the garden and gather the flowers. - - The ball is ours, and not yours, - We go out and gather the flowers. - ---Cornwall (_Folk-lore Journal_, v. 52-53). - - VII. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, so white and wan; - A pair of kid gloves she holds in her hand, - There's no such a lady in all the fair land. - - Turn all. - - The more we turn the better we are, - For we've got the ball between us. - ---North Kelsey, Lincolnshire (Miss M. Peacock). - - VIII. Lady Queen Anne she sits on a stand [sedan], - She is fair as a lily, she is white as a swan; - A pair of green gloves all over her hand, - She is the fairest lady in all the land. - Come taste my lily, come smell my rose, - Which of my babes do you choose? - I choose not one, but I choose them all, - So please, Miss Nell, give up the ball. - - The ball is ours, it is not yours, - We will go to the woods and gather flowers; - We will get pins to pin our clothes, - You will get nails to nail your toes. - ---Belfast (W. H. Patterson). - - IX. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as brown as a bun; - We've brought you three letters, pray can you read one? - I can't read one without I read all, - So pray ---- deliver the ball. - - You old gipsy, sit in the sun, - And we fair ladies go and come; - The ball is mine, and none o' thine, - And so good-morning, Valentine. - ---Swaffham. Norfolk (Miss Matthews). - - X. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as brown as a bun. - - Turn, fair ladies, turn. - - We bring you three letters, and pray you read one. - I cannot read one without I read all, - So please ( ) give up the ball. - -[If the wrong guess is made the girls say--] - - The ball is ours, and none of yours, - And we've the right to keep it. - -[If the right child is named, they say--] - - The ball is yours, and is not ours, - And you've the right to take it. - -[Some of the children said this rhyme should be--] - - The ball is ours, and none of yours, - So you, black gipsies, sit in the sun, - While we the fair ladies go as we come. - ---London (A. B. Gomme). - - XI. Queen Anne, Queen Anne, she sits in the sun, - As fair as a lily, as white as a swan; - I bring you three letters, so pray you choose one, - I cannot read one without I read all, - So pray ---- give up the ball. - -[If the wrong girl is asked, they say--] - - The ball is ours, it is not yours, - And we've the right to keep it. - -[When the right one is guessed--] - - The ball is yours, it is not ours, - And you've the right to keep it. - ---Barnes, Surrey (A. B. Gomme). - - XII. The lady Queen Anne she sat in a tan (sedan), - As fair as a lily, as white as a swan; - The Queen of Morocco she sent you a letter, - So please to read one. - - I won't read one except them all, - So please, Miss ----, deliver the ball. - ---Hersham, Surrey (_Folk-lore Record_, v. 87). - - XIII. Queen Ann, Queen Ann, - She sits in the sun, - As fair as a lily, and bright as one; - King George has sent you three letters, - And desires you to read one. - - I cannot read one - Without I read all, - So pray, Miss ( ), - Deliver the ball. - -[Rhyme when right is seldom in use, and the one when wrong forgotten.] - - The ball is ours, and none of yours, - So, black gipsies, sit in the sun, - And we, fair ladies, go as we come. - ---Sussex, about 1850 (Miss Chase). - - XIV. Queen Ann, Queen Ann, - She sat in the sun; - A pair of white gloves to cover her hands, - As white as a lily, as red as a rose, - To which young lady do you propose? - ---Devon (Miss Chase). - - XV. Here come seven sisters, - And seven milken daughters, - And with the ladies of the land, - And please will you grant us. - - I grant you once, I grant you twice, - I grant you three times over; - A for all, and B for ball, - And please [ ] deliver the ball. - ---Bocking, Essex (_Folk-lore Journal_, vi. 211). - -[Illustration] - -(_b_) Sides are chosen, and two lines are formed; the words are said by -each line alternately. One line, in which is the Queen, standing still -or sitting down, the other line advancing and retiring while singing the -words. The latter line gives one of their number a ball or some other -small object to hold in the hand in such a manner that it cannot be -perceived. All the players on this side then assume the same -position--either all put their hands behind them or fold their arms, put -their hands under their armpits, or under their skirts or pinafores. The -object of the other side is to guess which child in the line has the -ball. The line which has the ball commences the game by advancing -singing or saying the first three or four lines. Queen Anne answers, and -then names one of the girls on the opposite side whom she suspects to -have the ball, and if she be right in her guess the lines change sides. -If she be wrong, the line retires in triumph, the girl who possesses the -ball holding it up to show the Queen she is wrong. The children all -curtsey when leaving the Queen's presence. Another girl of the line then -takes the ball and the game continues till the right holder of the ball -is named. When the Queen tells the line of players to "turn," they all -spin round, coming back to face the Queen, and then stand still again. -In the North Kelsey version (Miss Peacock) there is only one player on -Queen Anne's side, the rest form the line. This is also the case with -the Cornish game. - -(_c_) The analysis of the game-rhymes is as follows:-- - - +---+----------------------+----------------------+----------------------+ - |No.| Scotland (Chambers). | Halliwell (1). | Halliwell (2). | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Lady Q. Anne. |Q. Anne, Anne. | Queen Anne. | - | 4.| -- | -- | -- | - | 5.|Sits in her stand. | -- | -- | - | 6.| -- |Sits on her throne. | -- | - | 7.| -- | -- |Sits in the sun. | - | 8.|Pair of green gloves | -- | -- | - | |on her hand. | | | - | 9.|White as a lily, fair |Fair as lily, white as| -- | - | |as a swan. |swan. | | - |10.| -- | -- |Fair as lily, white as| - | | | |wand. | - |11.|Fairest lady in the | -- | -- | - | |land. | | | - |12.| -- | -- | -- | - |13.|Smell my lily, smell | -- | -- | - | |my rose. | | | - |14.|Which of my maidens do| -- | -- | - | |you choose? | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |King sends three |I send you three | - | | |letters. |letters. | - |19.| -- |Begs you'll read one. |Pray read one. | - |20.| -- | -- | -- | - |21.|Choose you one and |Cannot read one |You must read one, | - | |choose you all. |unless I read all. |if you can't all. | - |22.| -- | -- | -- | - |23.|Pray, Miss, yield up |Pray [ ] deliver |Pray, Miss [ ], | - | |the ball. |the ball. |throw up the ball. | - |24.| -- | -- | -- | - |25.|The ball is mine, and |The ball is mine, and | -- | - | |none of yours. |none of thine. | | - |26.| -- |You, proud Queen, may | -- | - | | |sit on your throne. | | - |27.| -- |While we, your | -- | - | | |messengers, go and | | - | | |come. | | - |28.|Go to the woods and | -- | -- | - | |gather flowers. | | | - |29.| -- | -- | -- | - |30.| -- |The ball is mine, and | -- | - | | |none of thine. | | - |31.| -- |You are the fair lady | -- | - | | |to sit on. | | - |32.| -- |And we're black gip- | -- | - | | |sies to go and come. | | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.|Cats and kittens, bide| -- | -- | - | |within. | | | - |36.|We young ladies walk | -- | -- | - | |out and in. | | | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Halliwell (3). | Dorsetshire. | Cornwall. | - +---+----------------------+----------------------+----------------------+ - | 1.|Here we come a-piping.| -- | -- | - | 2.|First in Spring, then | -- | -- | - | |in May. | | | - | 3.| -- |Queen Anne. |Lady Queen Anne. | - | 4.|Queen. | -- | -- | - | 5.|Sits upon the sand. | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |Sot in the sun. | -- | - | 8.| -- |White glove on. |Pair of white gloves | - | | | |to cover our hand. | - | 9.| -- | -- |White as lily, fair as| - | | | |rose. | - |10.|Fair as lily, white as|Fair as lily, white as| -- | - | |wand. |nun. | | - |11.| -- | -- | -- | - |12.| -- | -- |Not so fair as you may| - | | | |suppose. | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- |Turn, ladies. |Turn, ladies. | - |16.| -- |More we turn, more we |More we turn, more we | - | | |may. |may. | - |17.| -- |Queen Anne was born on|Q. Anne was born on | - | | |midsummer day. |midsummer day. | - |18.|King John has sent |We've brought three |King sent me three | - | |three letters. |letters. |letters. | - |19.|Begs you'll read them | -- | -- | - | |unto me. | | | - |20.| -- |One of these only by | -- | - | | |you must be seen. | | - |21.|We can't read one |We can't read one, | -- | - | |without all. |must read all. | | - |22.| -- | -- |I never read them all.| - |23.|Pray, Miss [ ], |Please [ ] deliver |Pray, Miss [ ], | - | |deliver the ball. |the ball. |deliver the ball. | - |24.| -- | -- | -- | - |25.| -- | -- |The ball is yours, and| - | | | |not ours. | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - |28.| -- | -- |Go to the garden and | - | | | |gather flowers. | - |29.| -- | -- | -- | - |30.| -- | -- |The ball is ours, and | - | | | |none of yours. | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- |We must go to the | - | | | |garden and gather | - | | | |flowers. | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| North Kelsey. | Belfast. | Swaffham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Queen Anne. |Lady Queen Anne. | Queen Anne. | - | 4.| -- | -- | -- | - | 5.| -- |Sits on a stand. | -- | - | 6.| -- | -- | -- | - | 7.|Sits in the sun. | -- |Sits in the sun. | - | 8.|Pair of kid gloves in |Pair of green gloves | -- | - | |her hand. |all over her hand. | | - | 9.| -- |Fair as lily, white as| -- | - | | |swan. | | - |10.|Fair as lily, white | -- |Fair as lily, brown as| - | |and wan. | |bun. | - |11.|No such lady in the |Fairest lady in the | -- | - | |land. |land. | | - |12.| -- | -- | -- | - |13.| -- |Taste my lily, smell | -- | - | | |my rose. | | - |14.| -- |Which of my babes do | -- | - | | |you choose? | | - |15.|Turn all. | -- | -- | - |16.|More we turn, better | -- | -- | - | |we are. | | | - |17.| -- | -- | -- | - |18.| -- | -- |We've brought three | - | | | |letters. | - |19.| -- | -- |Pray can you read one.| - |20.| -- | -- | -- | - |21.| -- |Choose not one but | -- | - | | |choose all. | | - |22.| -- | -- | -- | - |23.| -- |Please, Miss Nell, |Pray deliver the ball.| - | | |give up the ball. | | - |24.|We've got the ball | -- | -- | - | |between us. | | | - |25.| -- | -- |You, old gipsy sit in | - | | | |the sun. | - |26.| -- | -- |We fair ladies, go and| - | | | |come. | - |27.| -- |The ball is ours, it |The ball is mine, and | - | | |is not yours. |none of thine. | - |28.| -- |We'll go to the woods | -- | - | | |and gather flowers. | | - |29.| -- | -- | -- | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- |We will get pins to | -- | - | | |pin our clothes. | | - |38.| -- |You will get nails to | -- | - | | |nail your toes. | | - |39.| -- | -- |So good morning | - | | | |Valentine. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| London. | Barnes. | Hersham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- | -- | - | 3.|Queen Anne. |Queen Anne. |Lady Queen Anne. | - | 4.| -- | -- | -- | - | 5.| -- | -- |Sits in a tan. | - | 6.| -- | -- | -- | - | 7.|Sits in the sun. |Sits in the sun. | -- | - | 8.| -- | -- | -- | - | 9.| -- |Fair as lily, white as|Fair as lily, white as| - | | |swan. |swan. | - |10.|Fair as lily, brown as| -- | -- | - | |bun. | | | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|We bring you three |I bring you three |Queen of Morocco sent | - | |letters. |letters. |you a letter. | - |19.| Pray you read one. |Pray you choose one. |Please to read one. | - |20.| -- | -- | -- | - |21.|Cannot read one |Cannot read one |I won't read one | - | |without all. |without all. |except all. | - |22.| -- | -- | -- | - |23.|Please give up the |Pray give up the ball.|Please, Miss [ ], | - | |ball. | |deliver the ball. | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|The ball is ours, and |The ball is ours, it | -- | - | |none of yours. |is not yours. | | - |28.| -- | -- | -- | - |29.|And we've the right to|And we've the right to| -- | - | |keep it. |keep it. | | - |30.|The ball is yours, and|The ball is yours, it | -- | - | |not ours. |is not ours. | | - |31.|You, black gipsies, | -- | -- | - | |sit in the sun. | | | - |32.|While we, fair ladies,| -- | -- | - | |go as we come. | | | - |33.| -- | -- | -- | - |34.| -- |And you've the right | -- | - | | |to keep it. | | - |35.| -- | -- | -- | - |36.| -- | -- | -- | - |37.| -- | -- | -- | - |38.| -- | -- | -- | - |39.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+ - |No.| Sussex. | Devon. | - +---+----------------------+----------------------+ - | 1.| -- | -- | - | 2.| -- | -- | - | 3.|Queen Ann. |Queen Ann. | - | 4.| -- | -- | - | 5.| -- | -- | - | 6.| -- | -- | - | 7.|Sits in the sun. |Sat in the sun. | - | 8.| -- |Pair of white gloves | - | | |to cover her hand. | - | 9.| -- |White as lily, red as | - | | |rose. | - |10.|Fair as lily, bright | -- | - | |as one. | | - |11.| -- | -- | - |12.| -- | -- | - |13.| -- | -- | - |14.| -- |To which young lady do| - | | |you propose? | - |15.| -- | -- | - |16.| -- | -- | - |17.| -- | -- | - |18.|King Geo. has sent you| -- | - | |three letters. | | - |19.|Desires you to read | -- | - | |one. | | - |20.| -- | -- | - |21.|Cannot read one | -- | - | |without all. | | - |22.| -- | -- | - |23.|Pray, Miss [ ], | -- | - | |deliver the ball. | | - |24.| -- | -- | - |25.|So, black gipsies, sit| -- | - | |in the sun. | | - |26.|We fair ladies, go as | -- | - | |we come. | | - |27.|The ball is ours, and | -- | - | |none of yours. | | - |28.| -- | -- | - |29.| -- | -- | - |30.| -- | -- | - |31.| -- | -- | - |32.| -- | -- | - |33.| -- | -- | - |34.| -- | -- | - |35.| -- | -- | - |36.| -- | -- | - |37.| -- | -- | - |38.| -- | -- | - |39.| -- | -- | - +---+----------------------+----------------------+ - -This game appears to be in such a state of decadence that it is -difficult to do more than suggest an origin. It may be that "Queen Anne" -represents an oracle, and the petition is addressed to her to discover -the stolen treasure; but more probably the players represent disguised -damsels, one of whom is a bride whose identity has to be found out by -her showing or possessing some object which belongs to or has been given -previously by her suitor. The "guessing" or "naming" a particular person -runs through all the versions, and is undoubtedly the clue to the game. -If the Belfast version is the nearest to the original of those at -present existing, and there is every probability that this is so, -especially as Chambers' version is so similar, an early form of the game -might be restored, and from this its origin may be ascertained. Using -the first four lines of one of Halliwell's versions, and what appear to -be the common lines of the other versions, the reading is-- - -_Suitor and Friends._ - - Here we come a-piping, - First in Spring and then in May. - The Queen she sits upon the sand, - Fair as a lily, white as a wand [swan]. - Here's a pair of {white} gloves to cover the hands [suitors offer - {green} gloves], - - Of the fairest lady in all the land. - -_Guardian (or Mother) and Maidens._ - - Come {taste} my lily, come {taste} my rose, - {smell} {smell} - For which of my maidens do you propose? - -_Suitors or Queen Anne._ - - I chose but one, I chose from all, - I pray, Miss ( ), receive the ball [throwing ball to one girl, - who catches it]. - -Or-- - - I pray this hand receive the ball, [putting a ball into the extended - hands of one of three girls.] - -Guardian then disguises three girls (one with the ball) with veils or -other coverings, so that they precisely resemble each other, and returns -with the girls to the suitors, saying to the girls-- - - Turn, ladies, turn; turn, ladies, turn; - -and to the suitors-- - - Come choose your own, come choose from all. - I've brought you three letters, pray can you read one? - -_Suitor_ - -(touching one of the disguised girls). - - I cannot read one without I read all. - I pray, Miss ( ), yield up the ball. - -_Disguised Maiden_ - -(one who did not receive the ball). - - The ball is mine, and none of thine, - And so, good morning, Valentine. - -_Chorus of Maidens_ (curtseying). - - We will go to the wood and gather flowers, - We will get pins to pin our clothes, - You will get nails to nail your toes. - Cats and kittens bide within, - But we, young maidens, come out and in. - -The inference being that the chosen maiden is still free until the -suitor can try again, and is fortunate enough to indicate the right -maiden. - -If this conjectural restoration of the verses be accepted on the -evidence, it would suggest that this game originated from one of the not -uncommon customs practised at weddings or betrothals--when the suitor -has to discriminate between several girls all dressed precisely alike -and distinguish his bride by some token. (See "King William.") This -incident of actual primitive custom also obtains in folk tales, thus -showing its strong hold upon popular tradition, and hence increasing the -probability that it would reappear in games. It must be remembered that -the giving of gloves was a significant fact in betrothals. - -This game is said by some to have its origin in the use of the sedan -chair. A version taken from a newspaper cutting (unfortunately I had not -recorded the name and date, but think it was probably the _Leeds -Mercury_ some years ago) gives the following rhyme. The writer does not -say whether he knows it as a game-- - - Lady Lucan she sits in a sedan, - As fair as a lily, as white as a swan; - A pair of green gloves to doff and to don. - My mistress desires you will read one, - I can't read one without them all, - So I pray this hand decline the ball. - -In this version there is still the puzzle to solve, or riddle to read. - - -Queen Mary - -[Music: Verses 1, 2.] - -[Music: Verses 3, 4, 5.] - ---Hexham (Miss J. Barker). - - I. Queen Mary, Queen Mary, my age is sixteen, - My father's a farmer on yonder green; - He has plenty of money to dress me in silk-- - Come away, my sweet laddie, and take me a walk. - - One morning I rose and I looked in the glass, - I thought to myself what a handsome young lass; - My hands by my side, and a gentle ha, ha, - Come away, my sweet lassie, and take me a walk. - - Father, mother, may I go, may I go, may I go; - Father, mother, may I go, to buy a bunch of roses? - Oh yes, you may go, you may go, you may go; - Oh yes, you may go, buy a bunch of roses! - - Pick up her tail and away she goes, away she goes, away - she goes; - Pick up her tail and away she goes, to buy a bunch of - roses. - ---Sang by the children of Hexham Workhouse (Miss J. Barker). - - II. Queen Mary, Queen Mary, my age is sixteen, - My father's a farmer on yonder green; - He has plenty of money to keep me sae braw, - Yet nae bonnie laddie will tak' me awa'. - - The morning so early I looked in the glass, - And I said to myself what a handsome young lass; - My hands by my side, and I gave a ha, ha, - Come awa', bonnie laddie, and tak' me awa'. - ---Berwickshire, A. M. Bell, _Antiquary_, xxx. 17. - - III. My name is Queen Mary, - My age is sixteen, - My father's a farmer in Old Aberdeen; - He has plenty of money to dress me in black-- - There's nae [no] bonnie laddie 'ill tack me awa'. - Next mornin' I wakened and looked in the glass, - I said to myself, what a handsome young lass; - Put your hands to your haunches and give a ha, ha, - For there's nae bonnie laddie will tack ye awa'. - ---N. E. Scotland (Rev. W. Gregor). - - IV. My name is Queen Mary, - My age is sixteen, - My father's a farmer in yonder green; - He's plenty of money to dress in silk [fu' braw'], - For there's nae bonnie laddie can tack me awa'. - One morning I rose and I looked in the glass, - Says I to myself, I'm a handsome young lass; - My hands by my edges, and I give a ha, ha, - For there's nae bonnie laddie t' tack me awa'. - ---Cullen (Rev. W. Gregor). - -(_b_) The Scottish game is played by girls. The players join hands, form -a circle with one in the centre, and dance round singing. At the words -"'ill tack me awa'," the centre player chooses another one, and the two -wheel round. Then the singing proceeds. At the exclamation "ha! ha!" the -players suit the action to the words of the line. In the Cullen game the -girls stand in a row with one in front, who sings the verses and chooses -another player from the line. The two then join hands and go round and -round, singing the remaining verses. - - -Queen of Sheba - -Two rows of people sit on chairs face to face on each side of a door, -leaving just sufficient space between the lines for a player to pass. At -the end of the rows furthest from the door sits the "Queen of Sheba," -with a veil or shawl over her head. A player, hitherto unacquainted with -the game, is brought to the door, shown the Queen, and told to go up -between the rows, after being blindfolded, to kiss her, taking care, -meanwhile, to avoid treading on the toes of the people on each side the -alley leading to the lady. While his mind is diverted by these -instructions, and by the process of blindfolding, the Queen gives up her -seat to "the King," who has been lurking in the background. He assumes -the veil and receives the kiss, to the amusement of every one but the -uninitiated player. - ---Anderby, Lincolnshire, and near the Trent, Nottinghamshire (Miss M. -Peacock). - - -Ragman - -An ancient game, at which persons drew by chance poetical descriptions -of their characters, the amusement consisting--as at modern games of a -similar kind--in the peculiar application or misapplication of the -verses so selected at hazard by the drawers.--Halliwell's _Dictionary_. -Halliwell goes on to say that the meaning of this term was first -developed by Mr. Wright in his _Anecdota Literaria_, 1844, where he has -printed two collections of ancient verses used in the game of "Ragman." -Mr. Wright conjectures that the stanzas were written one after another -on a roll of parchment; that to each stanza a string was attached at the -side, with a seal or piece of metal or wood at the end; and that when -used the parchment was rolled up with all the strings and their seals -hanging together, so that the drawer had no reason for choosing one more -than another, but drew one of the strings by mere chance, and which he -opened to see on what stanza he had fallen. If such were the form of the -game, we can very easily imagine why the name was applied to a charter -with an unusual number of seals attached to it, which, when rolled up, -would present exactly the same appearance. Mr. Wright is borne out in -his opinion by an English poem, termed "Ragmane roelle," printed from -MS., Fairfax, 16:-- - - "My ladyes and my maistresses echone, - Lyke hit unto your humbyble wommanhede, - Resave in gre of my sympill persone - This rolle, which, withouten any drede, - Kynge Ragman me bad me sowe in brede, - And cristyned yt the merour of your chaunce; - Drawith a strynge, and that shal streight yow leyde - Unto the verry path of your governaunce." - -That the verses were generally written in a roll may perhaps be gathered -from a passage in Douglas's Virgil:-- - - "With that he raucht me ane roll: to rede I begane, - The royetest ane ragment with mony ratt rime." - -Halliwell also quotes the following:-- - - "Venus, whiche stant withoute lawe, - In non certeyne, but as men drawe - Of Ragemon upon the chaunce, - Sche leyeth no peys in the balaunce." - ---Gower, MS. _Society of Antiquaries_, 134, 244. - -The term rageman is applied to the devil in "Piers Ploughman," 335. - - -Rag-stag - -See "Stag Warning." - - -Rakes and Roans - -A boys' game, in which the younger ones are chased by the larger boys, -and when caught carried home pick-a-back.--Halliwell's _Dictionary_. - -Moor (_Suffolk Words and Phrases_) says this game is often called -"Rakes" only, and is the same, probably, that is thus alluded to: "To -play Reaks, to domineer, to show mad pranks." The jest of it is to be -carried home a pig-back, by the less swift wight who you may catch. - - -Rakkeps - -A game among boys [undescribed].--Dickinson's _Cumberland Glossary_. - - -Range the Bus - -Sides are chosen, and a line made across the playground. One of the -sides goes up and the other goes down, and throws their bonnets on the -ground. Then one side tries to get one of the opposite side across the -line and crown him, and one of the opposite side tries to crown him -back. If another boy can catch this player before he gets near him, he -is crowned also. All the time the one side is trying to take the -bonnets.--Old Aberdeen (Rev. W. Gregor). - -See "French and English," "Scotch and English." - - -Rax, or Raxie-boxie, King of Scotland - -The players, except one, take their stand at one side, and one stands at -the other side in front of them. When all are ready, the one in front -calls out "Cock," or "Caron," when all rush across to the other side, -and he tries to catch one of them in crossing. The one caught helps to -catch the others as they run back. Each time the players run from the -one side to the other the word "Cock," or "Caron," is called out, and -the change is continued till all are caught--each one as caught becoming -a catcher. In Tyrie the game is called "Dyke King" when played by boys, -and "Queen" when played by girls. The word "King," or "Queen," is -called out before each run, according as the game is played by boys or -girls.--Ballindalloch (Rev. W. Gregor). - -This game is called "Red Rover" in Liverpool (Mr. C. C. Bell). "Red -Rover" is shouted out by the catcher when players are ready to rush -across. - -See "King Caesar." - - -Relievo - -This game is played by one child trying to catch the rest. The first -prisoner taken joins hands with the captor and helps in the pursuit, and -so on till all the playmates have been taken.--Anderby, Lincs. (Miss M. -Peacock). - -This game is the same as "Chickiddy Hand," "Stag Warning." - - -Religious Church - -The children stand in a line. One child on the opposite side, facing -them, says-- - - Have you been to a religious church? - -Row of children answer-- - - No! - Have I asked you? - No! - Put your fingers on your lips and follow me. - -All the row follow behind her to some other part of the ground, where -she stands with her back to them, and they form a new row. One child out -of the row now steps forward, and standing behind the first girl says-- - - Guess who stands behind you? - -If the first girl guesses right she keeps her old place, and they begin -again. If she is wrong the child who has come from the row takes her -place, and a new game is begun. Of course the child who asks the last -question alters its voice as much as possible, so as not to be -recognised.--Liphook, Hants. (Miss Fowler). - - -Rigs - -A game of children in Aberdeenshire, said to be the same as Scotch and -English, and also called Rockety Row.--Jamieson's _Dictionary_. - - -Ring - -See "Ring-taw." - - -Ring a Ring o' Roses - -[Music] - ---Marlborough (H. S. May). - -[Music] - ---Yorkshire (H. Hardy). - -[Music] - ---Sporle (Miss Matthews). - - I. Ring a ring o' roses, - A pocket-full o' posies; - One for me, and one for you, - And one for little Moses-- - Hasher, Hasher, Hasher, all fall down. - ---Winterton, Lincoln, and Leadenham (Miss M. Peacock). - - II. A ring, a ring o' roses, - A pocket-full o' posies; - One for Jack, and one for Jim, and one for little Moses-- - A-tisha! a-tisha! a-tisha! - ---Shropshire (Burne's _Shropshire Folk-lore_, p. 511). - - III. A ring, a ring o' roses, - A pocket-full o' posies; - A curchey in, and a curchey out, - And a curchey all together. - ---Edgmond (Burne's _Shropshire Folk-lore_, p. 571). - - IV. Ring, a ring o' roses, - A pocket full o' posies; - Up-stairs and down-stairs, - In my lady's chamber-- - Husher! Husher! Cuckoo! - ---Wakefield, Yorks. (Miss Fowler). - - V. Ring, a ring of roses, - Basket full of posies-- - Tisha! Tisha! all fall down. - ---Penzance, Cornwall (Mrs. Mabbott). - - VI. Ring, a ring a roses, - A pocketful of posies; - Hush, oh! hush, oh! - All fall down! - ---Colchester, Essex (Miss G. M. Frances). - - VII. Ring, a ring a rosy, - A pocket full of posies; - One for you, and one for me, - And one for little Moses-- - Atishm! Atishm! - ---Beddgelert (Mrs. Williams). - - VIII. A ring, a ring of roses, - A pocket full of posies-- - Hist! hush! last down dead! - ---Gainford, Durham (Miss A. Eddleston). - - IX. Ring, a ring a row-o, - See the children go-o, - Sit below the goose-berry bush; - Hark! they all cry Hush! hush! hush! - Sitty down, sit down. - - Duzzy, duzzy gander, - Sugar, milk, and candy; - Hatch-u, hatch-u, all fall down together. - ---South Shields (Miss Blair, aged 9). - - X. Ringey, ringey rosies, - A pocketful of posies-- - Hach-ho, hach-ho, all fall down. - -Another version-- - - Hash-ho! Tzhu-ho! all fall down. - ---Sporle, Norfolk (Miss Matthews). - - XI. Windy, windy weather, - Cold and frosty weather, - When the wind blows - We all blow together. - I saw Peter! - When did you meet him? - Merrily, cherrily [so pronounced] - All fall down. - - A ring, a ring of roses, - A pocketful of posies-- - Ashem, ashem, all fall down. - ---Sheffield (S. O. Addy). - -(_b_) A ring is formed by the children joining hands. They all dance -round, singing the lines. At the word "Hasher" or "Atcha" they all raise -their hands [still clasped] up and down, and at "all fall down" they sit -suddenly down on the ground. In Lancashire (Morton) they pause and -curtsey deeply. The imitation of sneezing is common to all. Miss Peacock -says, in Nottinghamshire they say "Hashem! Hashem!" and shake their -heads. In the Sheffield version the children sing the first eight lines -going round, and all fall down when the eighth is sang. They then form a -ring by holding hands, and move round singing the next three lines, and -then they all fall either on their knees or flat on their faces. - -(_c_) Versions of this game, identical with the Winterton one, have been -sent me by Miss Winfield, Nottingham; others, almost identical with the -second Norfolk version, from Monton, Lancashire (Miss Dendy), North -Staffs. Potteries, Norbury, Staffs., (Miss A. Keary), Earls Heaton, -Yorks. (H. Hardy). Addy, _Sheffield Glossary_, gives a version almost -identical with the last Sporle version. - -Addy, _Sheffield Glossary_, compares the old stories about rose-laughing -in Grimm's _Teut. Myth._ iii. 1101. "Gifted children of fortune have the -power to laugh roses, as Treyja wept gold. Probably in the first -instance they were Pagan beings of light, who spread their brightness in -the sky over the earth--'rose children,' 'sun children.'" This seems to -me to be a very apposite explanation of the game, the rhymes of which -are fairly well preserved, though showing in some of the variants that -decay towards a practical interpretation which will soon abolish all -traces of the mythical origin of game-rhyme. It may, however, simply be -the making, or "ringing," a ring or circle of roses or other flowers and -bowing to this. Mr. Addy's suggestion does not account for the imitation -of sneezing, evidently an important incident, which runs through all -versions. Sneezing has always been regarded as an important or -supernatural event in every-day life, and many superstitious beliefs and -practices are connected with it both in savage and civilised life. -Newell (_Games and Songs of American Children_, p. 127) describes "Ring -around the Rosie," apparently this game, but the imitation of sneezing -has been lost. - - -Ring by Ring - - Here we go round by ring, by ring, - As ladies do in Yorkshire; - A curtsey here, a curtsey there, - A curtsey to the ground, sir. - ---Hersham, Surrey (_Folk-lore Record_, v. 86). - -There is no description of the way this game is played, but it is -evidently a similar game to "Ring-a-Ring o' Roses." - - -Ringie, Ringie, Red Belt - -Take a small splint of wood, kindle it, and when it is burning turn it -rapidly round in a circle, repeating the words-- - - Ringie, ringie, Red Belt, rides wi' the king, - Nae a penny in's purse t'buy a gold ring. - Bow--ow--ow, fat dog art thou, - Tam Tinker's dog, bow--ow--ow. - ---Corgarff (Rev. W. Gregor). - -This goes by the name of "Willie Wogie" at Keith, but no words are -repeated as the splint is whirled. - -See "Jack's Alive." - - -Ring-me-rary - - I. Ring me (1), ring me (2), ring me rary (3), - As I go round (4) ring by ring (5), - A virgin (6) goes a-maying (7); - Here's a flower (8), and there's a flower (9), - Growing in my lady's garden (10). - If you set your foot awry (11), - Gentle John will make you cry (12); - If you set your foot amiss (13), - Gentle John (14) will give you a kiss. - - This [lady or gentleman] is none of ours, - Has put [him or her] self in [child's name] power; - So clap all hands and ring all bells, and make the wedding - o'er. - ---Halliwell's _Nursery Rhymes_, p. 67. - - II. As I go round ring by ring, - A maiden goes a-maying; - And here's a flower, and there's a flower, - As red as any daisy. - If you set your foot amiss, - Gentle John will give you a kiss. - ---Halliwell's _Nursery Rhymes_, p. 125. - -(_b_) A number of boys and girls stand round one in the middle, who -repeats the lines, counting the children until one is counted out by the -end of the verse. The child upon whom (14) falls is then taken out and -forced to select one of the other sex. The middle child then proceeds to -say the three last lines. All the children clap hands during the saying -(or singing) of the last line. If the child taken by lot joins in the -clapping, the selected child is rejected, and, I believe, takes the -middle place. Otherwise, I think there is a salute.--Halliwell. - -(_c_) This game is recorded by no authority except Halliwell, and no -version has reached me, so that I suppose it is now obsolete. It is a -very good example of the oldest kind of game, choosing partners or -lovers by the "lot," and may be a relic of the May-day festival, when -the worship of Flora was accompanied by rites of marriage not in accord -with later ideas. - - -Ring-taw - -A rough ring is made on the ground, and the players each place in it an -equal share in "stonies," or alleys. They each bowl to the ring with -another marble from a distance. The boy whose marble is nearest has the -first chance to "taw;" if he misses a shot the second boy, whose marble -was next nearest to the ring, follows, and if he misses, the next, and -so on. If one player knocks out a marble, he is entitled to "taw" at the -rest in the ring until he misses; and if a sure "tawer" not one of the -others may have the chance to taw. Any one's "taw" staying within the -ring after being tawn at the "shots," is said to be "fat," and the owner -of the "taw" must then replace any marbles he has knocked out in the -ring.--Earls Heaton, Yorks. (Herbert Hardy). Halliwell (_Dictionary_) -describes this game very much as above, except that a fine is imposed on -those who leave the taw in the ring. Ross and Stead (_Holderness -Glossary_) give this game as follows:--"Two boys place an equal number -of marbles in the form of a circle, which are then shot at alternately, -each boy pocketing the marbles he hits." Addy (_Sheffield Glossary_) -says, "Ring-taw" is a marble marked with a red ring used in the game -of marbles. This is commonly called "ring" for short. Evans -(_Leicestershire Glossary_) describes the game much the same as above, -but adds some further details of interest. "If the game be knuckle-up -the player stands and shoots in that position. If the game be -knuckle-down he must stoop and shoot with the knuckle of the first -finger touching the ground at taw. In both cases, however, the player's -toe must be on taw. The line was thus called taw as marking the place -for the toe of the player, and the marble a taw as being the one shot -from the taw-line, in contradistinction to those placed passively in the -ring-'line' in the one case, and 'marble' in the other being dropped as -superfluous."--Strutt (_Sports and Pastimes_, p. 384) alludes to the -game. - -In Ireland this game is also called "Ring," and is played with marbles -and buttons. A ring is marked out on a level hard place, and every boy -puts down a button. The buttons are lightly struck in the centre of the -ring, and all play their marbles to the buttons. The nearest to them -play first. The line from which they play is generally about eight feet -away, and everybody does his best to strike the buttons. Any put out are -kept by the boy putting them out, and if a boy strikes a button, or -buttons, out, he can play on until he misses.--Waterville, Cos. Kerry -and Cork, T. J. Dennachy (through Mrs. B. B. Green of Dublin). - - -Rin-im-o'er - -A game among children, in which one stands in the middle of a street, -road, or lane, while others run across it within a certain given -distance from the person so placed, and whose business it is to catch -one in passing, when he is released, and the captive takes his -place.--Teviotdale (Jamieson's _Dictionary_). - -It nearly resembles "Willie Wastle." - - -Robbing the Parson's Hen-Roost - -This game is played by every player, except one (the questioner), -choosing a word, and introducing it into his phrase whenever he gives an -answer. For example, X, Y, and Z have chosen the words elephant, -key-hole, and mouse-trap. - -Questioner. "What did you steal from the parson's hen-roost?" - -X. "An elephant." - -Q. "How did you get into the hen-roost?" - -Y. "Through the key-hole." - -Q. "Where did you put what was stolen?" - -Z. "Into a mouse-trap." - -And so on with the other players.--Lincoln [generally known] (Miss M. -Peacock). - -The players choose a name, and another player asks them questions, -beginning with, "The Parson's hen-roost was robbed last night, were you -there?" To all questions each player must answer by repeating his own -name only: if he forgets and says, "Yes" or "No," he has to take the -questioner's place.--Haxey, Lincolnshire (Mr. C. C. Bell). - - -Rockety Row - -A play in which two persons stand with their backs to each other, one -passing his arms under the shoulders of the other, they alternately lift -each other from the ground.--Jamieson's _Dictionary_. - -See "Bag o' Malt," "Weigh the Butter." - - -Roll up Tobacco - -See "Bulliheisle," "Eller Tree," "Wind up the Bush Faggot." - - -Roly-poly - -[Illustration] - -A game played with a certain number of pins and a ball, resembling half -a cricket ball. One pin is placed in the centre, the rest (with the -exception of one called the Jack) are placed in a circle round it; the -Jack is placed about a foot or so from the circle, in a line with the -one in the circle and the one in the centre. The centre one is called -the King, the one between that and the Jack, the Queen. The King counts -for three, the Queen two, and each of the other pins for one each, -except Jack. The art of the game lies in bowling down all the pins -except Jack, for if Jack is bowled down, the player has just so many -deducted from his former score as would have been added if he had not -struck the Jack (Holloway's _Dict. Provincialisms_). This game was -formerly called "Half-bowl," and was prohibited by a statute of Edward -IV. (Halliwell's _Dictionary_). Brockett (_North Country Words and -Phrases_) says it is a game played at fairs and races. It is, under the -name of "Kayles," well described and illustrated by Strutt (_Sports and -Pastimes_, p. 270, 271), which is reproduced here. It will be seen that -Jamieson describes it as played with a pole or cudgel. He says this game -no doubt gave origin to the modern one of "Nine-pins;" though -primitively the Kayle-pins do not appear to have been confined to any -certain number nor shape. . . . The Kayle-pins appear to have been -placed in one row only. He also says that "Half-bowl," played in -Hertfordshire, was called "Roly-poly." - -[Illustration] - -Jamieson (_Dictionary_) gives this as "Rollie-poly," a game of -nine-pins, called also _Kayles_. The name "Rollie-poly" was given to it -because it was played with a pole, or cudgel, by which the pins were -knocked over. In the West of Scotland, where this game was in great -repute in olden times, it formed one of the chief sports of -Fastern's-e'en, and was a favourite amusement at fairs and races. The -awards for successful throwing were generally in the form of small cakes -of gingerbread, which were powerful incentives to the game, and never -failed to attract players in response to the cry, "Wha'll try the lucky -Kayles?" - - -Ronin the Bee - -A rude game. A cazzie, or cassie, is unexpectedly thrown over the head -of a person. When thus blindfolded he is pressed down, and buckets of -water are thrown upon the cassie till the victim is thoroughly -saturated.--Jamieson's _Dictionary_. - -See "Carrying the Queen a Letter," "Ezzeka." - - -Rosy Apple, Lemon and Pear - -[Music] - ---Sporle, Norfolk (Miss Matthews). - - I. Rosy apple, lemon, or pear, - Bunch of roses she shall wear; - Gold and silver by her side, - I know who will be the bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her kisses,--one, two, three,-- - Mrs. (child's name) daughter. - ---Hersham, Surrey (_Folk-lore Record_, v. 58). - - II. Rosy apple, lemon, and pear, - A bunch of roses she shall wear; - Gold and silver by her side, - Choose the one shall be her bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her kisses,--one, two, three,-- - To old mother's runaway daughter. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 210). - - III. Rosy apple, lemon, and a pear, - A bunch of ribbons she shall wear; - Gold and silver by her side, - I know who will be her bride. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses,--one, two, three,-- - For Mrs. ---- daughter. - ---Maxey, Northants. (Rev. W. D. Sweeting). - - IV. Rosy apple, lemon, and a pear, - Bunch of roses you shall wear; - Gold and silver by your side, - I know who shall be a bride. - Take her by the lily-white hand, - Lead her 'cross the water; - Give her kisses,--one, two, three,-- - For Mrs. (So-and-so's) daughter. - ---Deptford, Kent (Miss Chase). - - V. Rosie had an apple and a pear, - A bunch of roses she shall wear; - Gold and silver by her side, - I knows who shall be her bride. - Take her by the lily-white hand, - Lead her across the water; - Give her a kiss, and one, two, three, - Old Mother Sack-a-biddy's daughter! - ---Ogbourne, Wilts. (H. S. May). - - VI. Rosy apples, mellow pears, - Bunch of roses she shall wear; - Gold and silver by her side, - Tell me who shall be her bride. - Take her by her lily-white hand, - Lead her across the ocean; - Give her a kiss, and one, two, three, - Mrs. ---- daughter. - ---Sporle, Norfolk (Miss Matthews). - - VII. A rosy apple, lemon, and a pear, - A bunch of roses she shall wear; - Gold and silver by your side, - Choose the one to be your bride. - Take her by her lily-white hand, - Lead her to the altar; - Give her a kiss by one, two, three, - Mrs. ---- daughter. - ---Cowes, I. of Wight (Miss E. Smith). - - VIII. Roses up, and roses down, - Roses in the garden; - I wadna gie ye a bunch o' flowers - For tenpence halfpenny farden. - Take her by the lily-white hand, - Lead her across the water; - Gie her a kiss, and one, two, three, - For she's a lady's daughter. - ---Berwickshire (A. M. Bell) _Antiquary_, xxx. 16. - - IX. Maggie Littlejohn, fresh and fair, - A bunch of roses in her hair; - Gold and silver by her side, - I know who is her bride. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses,--one, two, three,-- - For she's a lady's daughter. - Roses up, and roses down, - And roses in the garden; - I widna give a bunch of roses - For twopence ha'penny farthing. - ---Rev. W. Gregor. - - X. Roses up, and roses down, - And roses in the garden; - I widna gie a bunch o' roses - For tippence ha'penny farden. - So and so, fresh and fair, - A bunch o' roses she shall wear; - Gold and silver by her side, - Crying out, "Cheese and bride" (bread). - Take her by the lily-white hand, - Lead her on the water; - Give her kisses,--one, two, three,-- - For she's her mother's daughter. - ---Fraserburgh (Rev. W. Gregor). - - XI. Roses up, and roses down, - And roses in the garden; - I wadna gie a bunch o' roses - For twopence ha'penny farthin'. - ----, fresh and fair, - A bunch of roses she shall wear; - Gold and silver by her side, - I know who's her bride. - Take her by the lily-white hand, - And lead her o'er the water; - And give her kisses,--one, two, three,-- - For she's the princess' daughter. - ---Cullen (Rev. W. Gregor). - - XII. Maggie Black, fresh and fair, - A bunch of roses she shall wear; - I know who I'll take. - Give her kisses,--one, two, three,-- - For she's a lady's daughter. - Roses in, and roses out, - Roses in a garden; - I would not give a bunch of roses - For twopence halfpenny "farden." - ---Nairn (Rev. W. Gregor). - -(_c_) The players form a ring, one child stands in the centre, who -chooses a sweetheart from the ring when the fifth line is sung; the two -kiss, the first child takes her place in the ring, the second child -remains in the centre, and the game begins again. This is the method -adopted in most of the versions. The Symondsbury game is slightly -different; the first part is the same, but when the last line is sung -the child who was first in the middle must run away and take a place in -the ring as soon as she can. The second one remains in the centre. The -Maxey (Northants.) version is altogether different. All the children but -one stand in a row. The one stands in front of them and sings the lines -by herself; at the last line she selects one from the line by naming -her. These two then sing the lines, "swinging round," so described by -Mr. Sweeting's informant. They then select a third when singing the last -line, and the three then swing round. This is repeated till all the -children from the line come into the ring. - -In the Scotch versions the players all stand in a line, with one in -front, and sing. At the end of the fourth line the one in front chooses -one from the line, and all again sing, mentioning the name of the one -chosen (Fraserburgh). At Cullen, one child stands out of the line and -goes backwards and forwards singing, then chooses her partner, and the -two go round the line singing. - -(_d_) A version which I collected in Barnes is not so perfect as those -given here, only the four first lines being sung. A Kentish version sent -me by Miss Broadwood is almost identical with the Deptford game. Miss -Broadwood's version commences-- - - Rosy apple, miller, miller, pear. - -An Ipswich version is almost identical with that of Hersham, Surrey -(Lady C. Gurdon's _Suffolk County Folk-lore_, p. 64), except that it -begins "Golden apple" and ends with the marriage formula-- - - Now you're married, I wish you joy, - Father and mother you must obey; - Love one another like sister and brother, - And now's the time to kiss away. - -(_e_) This game is probably derived from the mode of dressing the bride -in the marriage ceremony, and is not very ancient. The line "Lead her to -the altar" probably indicates the earliest version, corrupted later into -"Lead her across the water," and this would prove a comparatively modern -origin. If, however, the "altar" version is a corruption of the "water" -version, the game may go back to the pre-Christian marriage ceremony, -but of this there is little evidence. - - -Roundabout, or Cheshire Round - -This is danced by two only, one of each sex; after leading off into the -middle of an imaginary circle, and dancing a short time opposite to each -other, the one strives by celerity of steps in the circumference of the -circle to overtake and chase the other round it; the other in the -meantime endeavouring to maintain an opposite situation by equal -celerity in receding.--Roberts' _Cambrian Popular Antiquities_, p. 46. - -Halliwell gives Round, a kind of dance. "The round dance, or the dancing -of the rounds."--_Nomenclator_, 1585, p. 299. There was a sort of song -or ballad also so called.--_Dict. Provincialisms._ - - -Round and Round the Village - -[Music] - ---Barnes, Surrey (A. B. Gomme). - -[Music] - ---Hanbury, Staff. (Edith Hollis). - - I. Round and round the village, - Round and round the village; - Round and round the village, - As we have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As we have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As we have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - As we have done before. - - Kiss her before you leave her, - Kiss her before you leave her; - Kiss her before you leave her, - As we have done before. - ---Barnes, Surrey (taken down from children of village school--A. B. -Gomme). - - II. Round and round the village, - Round and round the village; - Round and round the village, - As you have done before. - - In and out the window, - In and out the window; - In and out the window, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - ---Deptford, Kent (Miss Chase). - - III. Round and round the village, - In and out of the window; - Stand and face your lover, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Oh, stand and face your lover, - As you have done before. - - Follow me to London, - Follow me to London; - Oh, follow me to London, - As you have done before. - ---Wakefield, Yorks. (Miss Fowler). - - IV. Round and round the village, - In and out of the window; - Stand and face your lover, - As you have done before; - Oh, stand and face your lover, - As you have done before, O. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---Winterton and Bottesford, Lincolnshire (Miss M. Peacock). - - V. Round and round the village, - Round and round the village; - Round and round the village, - As you have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Shake hands with your lover, - Shake hands with your lover; - Shake hands with your lover, - As you have done before. - ---From girls of Clapham High School (Miss F. D. Richardson). - - VI. Out and in the villages, - Out and in the villages; - Out and in the villages, - As you have done before. - Out and in the windows, - Out and in the windows; - Out and in the windows, - As you have done before. - Stand before your lover, - Stand before your lover; - Stand before your lover, - As you have done before. - ---Cullen (Rev. W. Gregor). - - VII. Go round and round the village, - Go round and round the village, - As we have done before. - - Go in and out the window, - Go in and out the window, - As we have done before. - - Come in and face your lover, - Come in and face your lover, - As we have done before. - - I measure my love to show you, - I measure my love to show you, - As we have done before. - - I kneel because I love you, - I kneel because I love you, - As we have done before. - - Follow me to London, - Follow me to London, - As we have done before. - - Back again to Westerham, - Back again to Westerham, - As we have done before. - ---Crockham Hill, Kent (Miss Chase). - - VIII. Walking round the village, - Walking round the village; - Walking round the village, - As we have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Now they go off courting, - Now they go off courting; - Now they go off courting, - As they have done before. - - Chase her back to Scotland, - Chase her back to Scotland; - Chase her back to Scotland, - As you have done before. - ---Penzance, Cornwall (Mrs. Mabbott). - - IX. Round about the village, - Round about the village; - Round about the village, - As you have done before. - - In and out of the windows, - In and out of the windows; - In and out of the windows, - As you have done before. - - I stand before my lover, - I stand before my lover; - I stand before my lover, - As I have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - - Dance away to Fairyland, - Dance away to Fairyland; - Dance away to Fairyland, - As we have done before. - ---Stevenage, Herts. (Mrs. Lloyd, taught to a friend's children by a -nurse from Stevenage). - - X. All round the village, - All round the village; - All round the village, - As we have done before. - - In and out of the window, - In and out of the window; - In and out of the window, - As we have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As we have done before. - - Kiss her if you love her, - Kiss her if you love her; - Kiss her if you love her, - As we have done before. - - Take her off to London, - Take her off to London; - Take her off to London, - As we have done before. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XI. All round the village, - All round the village; - All round the village, - As you have done before. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - As you have done before. - ---Tean, North Staffs, (from a Monitor in the School). - - XII. Round and round the village, &c., - As you have done before. - - In and out the windows, as you have done before. - - Stand and face your lover, &c. - - Follow me to London, &c. - ---Roxton, St. Neots (Miss E. Lumley). - - XIII. Out and in the windows, - Out and in the windows; - Out and in the windows, - As you have done before. - - Stand before your lover, - Stand before your lover; - Stand before your lover, - As you have done before. - - Follow her to London, - Follow her to London; - Follow her to London, - Before the break of day. - ---Fraserburgh (Rev. W. Gregor). - - XIV. In and out of the window, - In and out of the window; - In and out of the window, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Give me a kiss, my darling, - Give me a kiss, my darling; - Give me a kiss, my darling, - As you have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---Hanbury, Staffordshire (Miss E. Hollis). - - XV. Marching round the ladies, - Marching round the ladies, as you have done before. - In and out the windows, - In and out the windows, as you have done before. - Stand and face your lover, - Stand and face your lover, as you have done before. - Follow me to London, - Follow me to London, as you have done before. - Bring me back to Belfast, - Bring me back to Belfast, as you have done before. - ---Belfast, Ireland (W. R. Patterson). - - XVI. Come gather again on the old village green, - Come young and come old, who once children have been. - Such frolics and games as ne'er before were seen, - We join in riots and play [? riotous]. - Take her off to London, - Take her off to London, - Take her off to London. - - In and out the windows, - In and out the windows; - In and out the windows, - As you have gone before. - - Round about the village, - Round about the village; - Round about the village, - As you have gone before. - - Soon we will get married, - Soon we will get married; - Soon we will get married, - And never more depart. - ---Sporle, Norfolk (Miss Matthews). - - XVII. Three jolly sailor boys - Lately come ashore, - Spend their time in drinking lager wine, - As they have done before. - - We go round, and round, and round, - As we have done before; - And this is a girl, and a very pretty girl, - A kiss for kneeling there. - - Go in and out the window, - Go in and out the window; - Go in and out the window, - As we have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As we have done before. - - Go back and face your lover, - Go back and face your lover; - Go back and face your lover, - As we have done before. - ---Brigg (from a Lincolnshire friend of Miss J. Barker). - - XVIII. Up and down the valley, - Up and down the valley; - Up and down the valley, - As I have done before. - - In and out the window, - In and out the window; - In and out the window, - As I have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As I have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As I have done before. - ---Settle, Yorks. (Rev. W. S. Sykes). - - XIX. In and out the willows, - In and out the willows; - In and out the willows, - As you have done before. - - Stand and face your lover, - Stand and face your lover; - Stand and face your lover, - As you have done before. - - Follow me to London, - Follow me to London; - Follow me to London, - As you have done before. - ---West Grinstead, Sussex (_Notes and Queries_, 8th Series, i. 249, Miss -Busk). - -[Illustration: Fig. 1 - -Fig. 2 - -Fig. 3 - -Fig. 4 - -Fig. 5] - -(_c_) The children join hands and form a ring with one child standing -outside. The ring stands perfectly still throughout this game and sings -the verses, the action being confined to at first one child, and then to -two together. During the singing of the first verse the outside child -dances round the ring on the outside. When the ring commences to sing -the second verse the children hold up their arms to form arches, and the -child who has been running round outside runs into the ring under one -pair of joined hands, and out again under the next pair of arms, -continuing this "in and out" movement until the third verse is -commenced. The child should try and run in and out under all the joined -hands. At the third verse the child stops in the ring and stands facing -one, whom she chooses for her lover, until the end of the verse; the -chosen child then leaves the ring, followed by the first child, and they -walk round the ring, or they walk away a little distance, returning at -the commencement of next verse. In the first three versions the second -child is chased back and caught by the first child. In the Clapham -version the two shake hands in the last verse. The Barnes version has -kissing for its finale. The Hanbury also has kissing, but it precedes -the following to London. In the Brigg, Lincolnshire (Miss Barker), a -child stands in the middle and points with her finger to each one she -passes; finally selects one, who leaves the ring and kneels in front of -the girl in the middle. At the end of the second verse the kneeling -child gets up and the first child goes in and out under the arms of the -players, followed by the other. At the fourth they reverse and go back -under the arms in the opposite direction, finally stopping in the middle -of the ring, when another child is chosen and the first one in goes out. -In the Winterton and Bottesford versions (Miss Peacock), at the words -"Stand and face your lover," the child who has been going "in and out" -stands before the one she chooses, beckons to her, and sings the next -verse. Then the chosen one chases her until she can catch her. In the -Crockham Hill version (Miss Chase) the love is measured out with a -handkerchief three times, and after kneeling in the road, the chosen -partner follows round the ring and reverses for the return. - -(_d_) The analysis of the game-rhymes is on pp. 134-39. This shows that -we are dealing with a game which represents a village, and also the -houses in it. The village only disappears in six out of the twenty -versions. In three of these (Hanbury, Fraserburgh, and West Grinstead) -the line has gone altogether. In the fourth (Lincolnshire) it becomes -"Round and round and round," no mention being made of the village. In -the fifth (Belfast) the line has become "Marching round the ladies." In -the sixth (Settle) it has become "Up and down the valley," which also -occurs in another imperfect version, of which a note was sent me by Miss -Matthews from the Forest of Dean, where the line has become "Round and -round the valley." The substitution of "ladies" for "village" is very -significant as evidence that the game, like all its compeers, is in a -declining stage, and is, therefore, not the invention of modern times. -The idea of a circle of children representing a village would -necessarily be the first to die out if the game was no longer supported -by the influence of any custom it might represent. The line of decadence -becomes in this way an important argument for the discovery of the -original form. - - +---+----------------------+----------------------+----------------------+ - |No.| Cornwall, Penzance. | Kent, Crockham Hill. | Herts, Stevenage. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Walking round the |Go round and round the|Round about the | - | |village. |village. |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out the |Go in and out the |In and out of the | - | |windows. |windows. |windows. | - |11.| -- | -- | -- | - |12.|As you have done |As we have done |As you have done | - | |before. |before. |before. | - |13.|Stand and face your | -- |Stand before my lover.| - | |lover. | | | - |14.| -- |Come in and face your | -- | - | | |lover. | | - |15.| -- | -- | -- | - |16.|As you have done |As we have done |As I have done before.| - | |before. |before. | | - |17.|Now they go off | -- | -- | - | |courting. | | | - |18.| -- |I measure my love to | -- | - | | |show you. | | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.|As they have done |As we have done | -- | - | |before. |before. | | - |24.| -- |I kneel because I love| -- | - | | |you. | | - |25.| -- |As we have done | -- | - | | |before. | | - |26.|Chase her back to | -- | -- | - | |Scotland. | | | - |27.| -- |Follow me to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.|As you have done |As we have done |As you have done | - | |before. |before. |before. | - |30.| -- | -- | -- | - |31.| -- |Back again to | -- | - | | |Westerham. | | - |32.| -- | -- |Dance away to | - | | | |fairyland. | - |33.| -- | -- | -- | - |34.| -- |As we have done |As we have done | - | | |before. |before. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Yorks, Earls Heaton. | N. Staffordshire, | Surrey, Clapham. | - | | | Tean. | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|All round the village.|All round the village.|Round and round the | - | | | |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the window.|In and out the window.| - | |window. | | | - |11.| -- | -- | -- | - |12.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - |13.|Stand and face your |Stand and face your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As we have done |As you have done |As you have done | - | |before. |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.|Kiss her if you love | -- | -- | - | |her. | | | - |20.| -- | -- |Shake hands with your | - | | | |lover. | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.|As we have done | -- |As you have done | - | |before. | |before. | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- |Follow her to London. | -- | - |28.|Take her off to | -- | -- | - | |London. | | | - |29.|As we have done |As you have done | -- | - | |before. |before. | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lincolnshire. | Surrey, Barnes. | Norfolk, Sporle. | - +---+----------------------+----------------------+----------------------+ - | 1.|Three jolly sailor | -- |Come gather again on | - | |boys. | |the old village green.| - | 2.| -- |Round and round the |Round about the | - | | |village. |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.|We go round and round | -- | -- | - | |and round. | | | - | 6.| -- | -- | -- | - | 7.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - | 8.|And this a girl and a | -- | -- | - | |very pretty girl. | | | - | 9.|A kiss for kneeling | -- | -- | - | |here. | | | - |10.|Go in and out the |In and out the |In and out the | - | |window. |windows. |windows. | - |11.| -- | -- | -- | - |12.|As we have done |As we have done |As you have done | - | |before. |before. |before. | - |13.| -- |Stand and face your | -- | - | | |lover. | | - |14.| -- | -- | -- | - |15.|Go back and face your | -- | -- | - | |lover. | | | - |16.|As we have done |As we have done | -- | - | |before. |before. | | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- |Kiss her before you | -- | - | | |leave her. | | - |20.| -- | -- | -- | - |21.| -- | -- |Soon we will get | - | | | |married. | - |22.| -- | -- | -- | - |23.| -- |As we have done | -- | - | | |before. | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow her to London. | -- | - |28.| -- | -- |Take her off to | - | | | |London. | - |29.|As we have done |As we have done | -- | - | |before. |before. | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Staffordshire, | Belfast. | Wakefield. | - | | Hanbury. | | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.| -- | -- |Round and round the | - | | | |village. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- |Marching round the | -- | - | | |ladies. | | - | 7.| -- |As you have done | -- | - | | |before. | | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the |In and out of the | - | |windows. |windows. |window. | - |11.| -- | -- | -- | - |12.|As you have done |As you have done | -- | - | |before. |before. | | - |13.|Stand and face your |Stand and face your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As you have done |As you have done |As you have done | - | |before. |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.|Give me a kiss, my | -- | -- | - | |darling. | | | - |23.|As you have done | -- | -- | - | |before. | | | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow me to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.|As you have done |As you have done |As you have done | - | |before. |before. |before. | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- |Bring me back to | -- | - | | |Belfast. | | - |34.| -- |As you have done | -- | - | | |before. | | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lincolnshire, | Deptford. | Cullen. | - | | Winterton. | | | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Round and round the |Round and round the | -- | - | |village. |village. | | - | 3.| -- | -- | -- | - | 4.| -- | -- |Out and in the | - | | | |villages. | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |As you have done |As you have done | - | | |before. |before. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out of the |In and out the |Out and in the | - | |window. |windows. |windows. | - |11.| -- | -- | -- | - |12.| -- |As you have done |As you have done | - | | |before. |before. | - |13.|Stand and face your |Stand and face your |Stand before your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.|As you have done |As you have done | -- | - | |before. |before. | | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. | -- | -- | - |28.| -- | -- | -- | - |29.|As you have done | -- | -- | - | |before. | | | - |30.| -- | -- | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Roxton. | Fraserburgh. | Settle. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Round and round the | -- | -- | - | |village. | | | - | 3.| -- | -- |Up and down the | - | | | |valley. | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.|As you have done | -- |As I have done before.| - | |before. | | | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|In and out the |Out and in the |In and out the window.| - | |windows. |windows. | | - |11.| -- | -- | -- | - |12.|As you have done |As you have done |As I have done before.| - | |before. |before. | | - |13.|Stand and face your |Stand before your |Stand and face your | - | |lover. |lover. |lover. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- |As you have done |As I have done | - | | |before. |before. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.| -- | -- | -- | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.|Follow me to London. |Follow her to London. |Follow me to London. | - |28.| -- | -- | -- | - |29.| -- | -- |As I have done before.| - |30.| -- |Before the break of | -- | - | | |day. | -- | - |31.| -- | -- | -- | - |32.| -- | -- | -- | - |33.| -- | -- | -- | - |34.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+ - |No.| West Grinstead. | - +---+----------------------+ - | 1.| -- | - | 2.| -- | - | 3.| -- | - | 4.| -- | - | 5.| -- | - | 6.| -- | - | 7.| -- | - | 8.| -- | - | 9.| -- | - |10.|In and out the | - | |windows. | - |11.| -- | - |12.|As you have done | - | |before. | - |13.|Stand and face your | - | |lover. | - |14.| -- | - |15.| -- | - |16.|As you have done | - | |before. | - |17.| -- | - |18.| -- | - |19.| -- | - |20.| -- | - |21.| -- | - |22.| -- | - |23.| -- | - |24.| -- | - |25.| -- | - |26.| -- | - |27.|Follow me to London. | - |28.| -- | - |29.|As you have done | - | |before. | - |30.| -- | - |31.| -- | - |32.| -- | - |33.| -- | - |34.| -- | - +---+----------------------+ - -The next incident, No. 10 of the analysis, goes through all the games -except one (West Grinstead), where the very obvious corruption of -"willows" for "windows" occurs. This incident takes us to the houses of -the village; and thus the two lines show us a procession, first, going -round outside the boundary of the village, and, secondly, proceeding in -serpentine fashion through the houses. Incident 13 has a few variations -which do not point to anything more than verbal alteration, due to the -changes which have occurred in the conception of the game. Incidents 17 -to 22 are not constant to all the versions, and their variations are of -an unimportant character. Incident 27 is an important element in the -game. The prevalence of London as the place of assignation is probably -due to the influence of that city in the popular mind; but the real -significance seems to be that the lover-husband follows his bride to her -own village. In only two versions is this incident varied (No. 28) to -indicate that the husband took his wife with him, and only three -versions have dropped out the incident altogether. - -Abnormal incidents occur in only seven versions, and they are not of -great significance. The Lincolnshire and Sporle versions have a line of -general introduction (No. 1) before the game proper begins. Incidents 8 -and 9 occur only in the Lincolnshire version, and do not disturb the -general movement beyond indicating that the game has become, or is -becoming, an indoor game. Incident 21 is obviously a modern line. Nos. -26 and 31 suggest a chase after a fugitive pair which, as they do not -occur in other versions, must be considered as later introductions, -belonging, however, to the period when runaway marriages were more -frequent than they are now, and thus taking us back to, at least, the -beginning of this century; while the significant and pretty variant No. -32 shows that the game has lost touch with the actual life of the -people. No. 30 in the Fraserburgh version has a suspicious likeness to a -line in the American song "I'm off to Charlestown," but as it occurs -only in this one version it cannot count as an important element in the -history of the game. - -(_e_) Miss Matthews notes a Forest of Dean version. The children form a -ring, singing, "Round and round the valley, where we have been before," -while one child walks round the outside. Then they stand with uplifted -hands, joined together, and sing, "In and out of the windows, as we have -done before," while the child threads her way in and out of the ring. -Then they sing, "Stand and face your lover, as we have done before;" the -child then stands in the centre of the ring and faces some one, whom she -afterwards touches, and who succeeds her. A version from North -Derbyshire (Mr. S. O. Addy) is practically the same as the Tean, North -Staffs. version, except that the third verse is "Run to meet your -lover," instead of "Stand and face your lover." The first child, during -the singing of the third verse, walks round outside the ring, and -touches one she chooses, who then runs away. While the fourth verse is -being sung she is chased and caught, and the game begins again with the -second child walking round the village. So far as Lancashire is -concerned, Miss Dendy says, "I have no good evidence as yet that it is a -Lancashire play. I think it has been imported here by board-school -mistresses from other counties." - -(_f_) The burden of this game-rhyme is undoubtedly the oldest part that -has been preserved to modern times. It runs through all the versions -without exception, though variations in the other lines is shown by the -analysis to occur. The words of the line, "As we have done before," -convey the idea of a recurring event, and inasmuch as that event is -undoubtedly marriage, it seems possible to suggest that we have here a -survival of the periodical village festival at which marriages took -place. If the incidents in the game compare closely with incidents in -village custom, the necessary proof will be supplied, and we will first -examine how far the words of the rhyme and the action of the game supply -us with incidents; and, secondly, how far these incidents have been kept -up in the village custom. - -There is nothing in the words to suggest that the incidents which the -game depicts belong to a fixed time, but it is an important fact that -they are alluded to as having previously taken place. If, then, we have -eventually to compare the game with a fixed periodical custom, we can -at least say that the rhymes, though not suggesting this, do not oppose -it. - -This game belongs to the group of "custom games." The first -characteristic which suggests this is that the children, who join hands -and form a circle, are always stationary, and do not move about as in -dance games. To the minds of the children who play the game, each child -in the circle represents something other than human beings, and this -"something" is indicated in the first and second verses, which speak of -the "windows," of houses, and a journey round "a village." In this game, -too, the children, who thus represent a village, also act as "chorus," -for they describe in the words they sing the various actions of those -who are performing their parts, as in the game of "Old Roger." - -With this evidence from the game itself, without reference to anything -outside, it is possible to turn to custom to ascertain if there is -anything still extant which might explain the origin of the game. -Children copy the manners and customs of their elders. If they saw a -custom periodically and often practised with some degree of ceremonial -and importance, they would in their own way act in play what their -elders do seriously. - -Such a custom is the perambulation of boundaries, often associated with -festive dances, courtship, and marriage. More particularly indicative of -the origin of the game is the Helston Furry Dance--"About the middle of -the day the people collect together to dance hand-in-hand round the -streets, to the sound of the fiddler playing a particular tune, which -they continue to do till it is dark. This is called a 'Faddy.' In the -afternoon the gentility go to some farmhouse in the neighbourhood to -drink tea, syllabab, &c, and return in a morrice-dance to the town, -where they form a Faddy and dance through the streets till it is dark, -claiming a right of going through any person's house, in at one door and -out at the other."--_Gent. Mag. Lib. Manners and Customs_, p. 217. "In -one, if not more, of the villages," says Mr. Gregor (_Folk-lore N.E. -Scotland_, p. 98), "when the marriage takes place in the home of the -bride the whole of the marriage party makes the circuit of the -village." In South-Eastern Russia, on the eve of marriage the bride -goes the round of the village, throwing herself on her knees before the -head of each house. In an Indian custom the bride and bridegroom are -conveyed in a particular "car" around the village.--Gomme, _Folk-lore -Relics_, pp. 214, 215. According to Valle, a sixteenth century -traveller, "At night the married couples passed by, and, according to -their mode, went round about the city with a numerous company."--Valle's -_Travels in India_ (Hakluyt Soc.), p. 31.[6] - -In these marriage customs there is ample evidence to suggest that the -Indo-European marriage-rite contained just such features as are -represented in this game, and the changes from rite to popular custom, -from popular custom to children's game, do much to suggest consideration -of the evidence that folk-lore supplies. - -This game is not mentioned by Halliwell or Chambers, nor, so far as I am -aware, has it been previously printed or recorded in collections of -English games. It appears in America as "Go round and round the Valley" -(Newell, _Games_, p. 128). - -See "Thread the Needle." - - [6] Among the Ovahereri tribe, at the end of the festive time, the - newly-married pair take a walk to visit all the houses of the - "Werst." The husband goes first and the wife closely follows - him.--_South African Folk-lore Journal_, i. 50. - - -Round and Round went the Gallant Ship - - I. Round and round went the gallant, gallant ship, - And round and round went she; - Round and round went the gallant, gallant ship, - Till she sank to the bottom of the sea, the sea, the sea, - Till she sank to the bottom of the sea. - -All go down as the ship sinks. - ---Cullen (Rev. W. Gregor). - - II. Three times round goes our gallant ship, - And three times round went she; - Three times round went our gallant ship, - Then she sank to the bottom of the sea. - -As the players all "bob" down they cry out "the sea, the sea, the sea." - ---Aberdeen Training College (Rev. W. Gregor). - - -Round Tag - -A large ring is formed, two deep, with wide right and left hand -intervals between each couple, and one child stands in the ring and -another outside. When the play begins the child in the middle runs and -places herself in front of one of the groups of two, thus forming a -group of three. Thereupon the third child, that is, the one standing on -the outer ring, has to run and try to get a place in front of another -two before the one outside the ring can catch her. Then she who is at -the back of this newly-formed three must be on the alert not to be -caught, and must try in her turn to gain a front place. The one catching -has all along to keep outside the ring, but those trying to escape her -may run in and out and anywhere; whoever is caught has to take the -catcher's place.--Sporle, Norfolk (Miss Matthews). - -[Illustration] - -This game, called "Short Terrace" at East Kirkby, is played in the same -way as that described from Sporle, with the exception that three players -stand together instead of one in the centre to start the game. The -player who stands immediately outside the circle is called the -"clapper;" it is his object to _hit_ the player who stands behind two -others.--East Kirkby, Lincolnshire (Miss K. Maughan). - -"Twos and Threes" is the name by which this game is known in Hampshire, -Monton in Lancashire (Miss Dendy), and other places. It is played in -precisely the same manner as at Sporle. - -Halliwell's _Dictionary_ says of this game as played in Devon, "A round -game, in which they all stand in a ring." - -See "Tag." - - -Rounders - -This is a boys' game. A round area is marked out by boundary sticks, and -at a chosen point of the boundary the base is fixed. This is marked out -independently of the boundary, but inside it. Sides are then chosen. One -side are the "ins," and strike the ball; the other side are the "outs," -and deliver the ball, scout, and endeavour to get their opponents, the -"ins," out as soon as possible. The ball (an indiarubber one) is -delivered by the "feeder," by pitching it to a player, who stands inside -the base armed with a short stick. The player endeavours to strike the -ball as far away as possible from the fielders or scouts. As soon as the -ball is struck away he runs from the base to the first boundary stick, -then to the second, and so on. His opponents in the meantime secure the -ball and endeavour to hit him with it as he is running from stage to -stage. If he succeeds in running completely round the boundary before -the ball is returned it counts as one rounder. If he is hit he is out of -the game. He can stay at any stage in the boundary as soon as the ball -is in hand, getting home again when the next player of his own side has -in turn hit the ball away. When a ball is returned the feeder can bounce -it within the base, and the player cannot then run to any new stage of -the boundary until after the ball has again been hit away by another -player. If a player misses a ball when endeavouring to strike at it he -has two more chances, but at the third failure he is bound to run to the -first boundary stick and take his chance of being hit with the ball. If -a ball is caught the whole side is out at once; otherwise, the side -keeps in until either all the players have been hit out with the ball or -until the base is crowned. This can be done by bouncing the ball in the -base whenever there is no player there to receive the delivery from the -feeder. When a complete rounder is obtained, the player has the -privilege either of counting the rounder to the credit of his side, or -of ransoming one of the players who have been hit out, who then takes -his part in the game as before. When all but one of the players are -"out," this last player in hitting the ball must hit it away so as to be -able to make a rounder, and return to the base before his opponents get -back the ball to crown the base. - -An elaborate form of this game has become the national game of the -United States. - - -Rounds - -See "Roundabout." - - -Row-chow-Tobacco - -See "Bulliheisle," "Eller Tree," "Snail Creep," "Wind up the Bush -Faggot." - - -Rowland-Ho - -A Christmas game.--Halliwell's _Dictionary_. - - -Rumps - -A game with marbles [undescribed].--Dickinson's _Cumberland Glossary_. - - -Rusty - -A boys' game, exactly the same as "Ships."--Addy's _Sheffield Glossary_. - - -Sacks - -A number of children place their closed fists on top of one another in a -pile. The leader asks, pointing to the topmost fist, "What's in that -sack?" Answer, Potatoes, or anything the child chooses. The leader tips -it off with her finger, saying, "Knock it away," and so to the very -undermost fist, when she asks, "What's in this sack?" The answer must -be, "Bread and cheese;" and then the following dialogue takes place:-- - - Where's my share? - The mouse eat it. - Where's the mouse? - The cat killed it. - Where's the cat? - The dog worried it. - Where's the dog? - The cow tossed it. - Where's the cow? - The butcher killed it. - Where's the butcher? - Behind the door. - -And who ever speaks the first word shall get a sound round box on the -ear.--Co. Cork (Mrs. B. B. Green). - - -Saddle the Nag - -An equal number of players is chosen on each side. Two chiefs are chosen -by lot. One of the chiefs takes his stand by a wall, and all his party -bend their backs, joined in a line. One of the opposite side leaps on -the back of the one farthest from the one standing at the wall, and -tries to make his way over the backs of all the stooping boys, up to the -one standing. Those stooping move and wriggle to cast him off, and if -they succeed in doing so, he stands aside till all his side have tried. -When all have tried and none succeed in crowning the one standing, the -sides change. If one or more succeed, then each such has a second chance -before the sides change. Each side commonly has six chances. The side -that succeeds in oftenest touching the chief's head wins the game.--Dyke -(Rev. W. Gregor). - -See "Skin the Goatie." - - -Saggy - -A game with marbles [undescribed].--Dickinson's _Cumberland Glossary_. - - -Sailor Lad - - A sailor lad and a tailor lad, - And they were baith for me; - I wid raither tack the sailor lad, - And lat the tailor be. - - What can a tailor laddie dee - Bit sit and sew a cloot, - When the bonnie sailor laddie - Can turn the ship aboot. - - He can turn her east, and he can turn her west, - He can turn her far awa'; - He aye tells me t' keep up my hairt - For the time that he's awa'. - - I saw 'im lower his anchor, - I saw 'im as he sailed; - I saw 'im cast his jacket - To try and catch a whale. - - He skips upon the planestanes, - He sails upon the sea; - A fancy man wi' a curly pow - Is aye the boy for me, - Is aye the boy for me; - A fancy man wi' a curly pow - Is aye the boy for me. - - He daurna brack a biscuit, - He daurna smoke a pipe; - He daurna kiss a bonnie lass - At ten o'clock at night. - - I can wash a sailor's shirt, - And I can wash it clean; - I can wash a sailor's shirt, - And bleach it on the green. - Come a-rinkle-tinkle, fal-a-la, fal-a-la, - Aboun a man-o'-war. - ---Rosehearty (Rev. W. Gregor). - -A circle is formed by joining hands. They dance round and sing. -Sometimes at Rosehearty two play the game by the one taking hold of the -other's left hand with her right. - - -Sally go Round the Moon - - Sally go round the moon, - Sally go round the stars; - Sally go round the moon - On a Sunday afternoon. - ---Deptford, Kent (Miss E. Chase). - -Three or more girls take hold of hands, forming a ring; as they spin -round they sing the lines. They then reverse and run round in the other -direction with an _O!_ or repeat over again. - -This game is mentioned in the _Church Reformer_, by the Rev. S. D. -Headlam, as one being played at Hoxton, but no account of how the game -is played is given. - - -Sally Water - -[Music] - ---Yorkshire (Mr. H. Hardy). - -[Music] - ---Lancashire (Miss Dendy). - -[Music] - ---Enborne (Miss Kimber). - -[Music] - ---Welford (Mrs. Stephen Batson). - -[Music] - ---Liverpool (Mr. C. C. Bell). - -[Music] - ---Beddgelert, Wales (Mrs. Williams). - -[Music] - ---Nottingham (Miss Youngman). - - I. Sally, Sally Water, - Sprinkle in the pan; - Rise, Sally, rise, Sally, - And choose a young man. - Choose [or bow] to the east, - Choose [or bow] to the west, - And choose [or bow to] the pretty girl [or young man] - That you love best. - -[Another version has: - - Choose for the best one, - Choose for the worst one, - Choose for the pretty girl - That you love best.] - - And now you're married I wish you joy; - First a girl and then a boy; - Seven years after son and daughter; - And now, young people, jump over the water. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 207). - - II. Sally, Sally Walker, sprinkle water in the pan; - Rise, Sally, rise, Sally, and seek your young man; - Turn to the east and turn to the west, - And choose the one that you love best. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after a son and a daughter, - So young lovers kiss together. - ---Chudleigh Knighton, Devon (Henderson's _Folk-lore of the Northern -Counties_, p. 27). - - III. Sally, Sally Water, - Sprinkle in the pan; - Hi! Sally; Ho! Sally, - Choose a young man; - Choose for the best, - Choose for the worst, - Choose for the very one you love best. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after sister and brother; - Kiss each other and come out of the water. - ---Somersetshire, _Notes and Queries_, 8th series, i. 249 (Miss R. H. -Busk). - - IV. Sally Waters, Sally Waters, come sprinkle in the pan; - Rise, Sally; rise, Sally, for a young man! - Choose for the best, choose for the worst, - Choose for the very one you love the best. - - Now you are married, we wish you joy; - First a girl and then a boy, - Seven years afterwards son and daughter; - Pray, young couple, kiss together. - ---London version (Miss Dendy). - - V. Sally, Sally Walker, - Sprinkling in a pan; - Rise, Sally; rise, Sally, - For a young man. - - Come, choose from the east, - Come, choose from the west, - Come, choose out the very one - That you love best. - - Now there's a couple - Married in joy; - First a girl, - And then a boy. - - Now you're married; - You must obey - Every word - Your husband says. - - Take a kiss - And walk away, - And remember the promise - You've made to-day. - ---Fochabers (Rev. W. M'Gregor). - - VI. Sally, Sally Waters, - Sprinkled in the pan; - Rise, Sally, rise, Sally, - For a young man, - Choose the best and choose the worst, - And choose the prettiest you love best. - ---Welford, Berks (Mrs. Stephen Batson). - - VII. Sally, Sally Wallflower, - Sprinkled in the pan, &c., - Now you're married, &c., - On the carpet you shall kneel, &c. - ---_Notes and Queries_, 5th series, iii. - - VIII. Sallie, Sallie Waters, - Sprinkled in a pan; - Rise, Sallie, rise, Sallie, - Choose a young man. - Choose the best, and - Choose the worst, and - Choose the one that you love best. - - Now that you are married, - I'm sure we wish you joy, - First a girl, then a boy; - Seven years after, - Son and daughter, - Pray, young couple, come kiss together. - ---Enborne, Berks; Marlborough, Wilts; Lewes, Sussex (Miss Kimber). - - IX. Sally, Sally Waters, - Sprinkle in a pan; - Cry, Sally, cry, Sally, - For a young man. - Come choose the worst, - Come choose the best, - Come choose the young man - That you like the best. - - And now you're married - I wish yer good joy, - Every year a girl and a boy. - Come love one another - Like sister and brother, - And kiss together for joy. - - Clash the bells, - Clash the bells. - ---Maxey, Northants; and Suffolk (Rev. W. D. Sweeting). - - X. Sally, Sally Water, sprinkle in the pan; - Rise, Sally, rise, Sally, for a young man. - Pick and choose, but choose not me, - Choose the fairest you can see. - - Now Sally is married, we wish her much joy, - First a girl and then a boy; - Seven years after a son and a daughter, - Please to come and kiss together. - ---Summertown, Oxford (A. H. Franklin in _Midland Garner_, N. S. ii. 32). - - XI. Sally, Sally Waters, sprinkle in the pan; - Rise, Sally, rise, Sally, for a young man. - Choose for the worst, choose for the best,[7] - Choose for the prettiest that you loves best. - Now you are married, &c. - ---Longcot, Berkshire, (Miss J. Barclay). - - XII. Sally, Sally Waters, - Sprinkle in a pan; - Cry, Sally, cry, Sally, - For a young man. - - Rise up, Sally, - Dry your tears; - Choose the one you love the best, - Sally, my dear. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XIII. Sally, Sally Water, sprinkle in the pan, - Is not ---- a nice young man? and - Is not (girl's name) as good as he? - They shall be married if they can agree. - I went to her house and I dropped a pin, - I asked if Mrs. ---- was in. - She is not within, she is not without, - She is up in the garret walking about. - Down she comes as white as milk, - With a rose in her bosom as soft as silk. - She off with her glove and showed me her ring, - To-morrow, to-morrow the wedding begins. - ---Surrey (_Folk-lore Record_, v. 88). - - XIV. Sally, Sally Walker, come sprinkle your pan, - For down in the meadows there's a nice young man; - Rise up, Sally, don't look sad, - For you shall have a husband, good or bad. - - On the carpet you shall kneel - Till the grass grows round your feet; - Stand up straightly on your feet, - And choose the one you love so sweet. - - Now Sally's married, we wish her joy, - First a girl, then a boy; - If it's a boy, we'll buy him a cap, - If it's a girl, we will buy her a hat. - If one won't do, will buy you two, - If two won't do, will buy you three, - If three won't do, will get you four, - If four won't do, will get no more, - So kiss and shake hands, and come out. - ---Tong, Shropshire (Miss C. F. Keary). - - XV. Sally, Sally Water, come sprinkle your pan (_or_ plants), - For down in the meadows there lies a young man. - Rise, Sally, rise, and don't you look sad, - For you shall have a husband, good or bad. - Choose you one, choose you two, - Choose the fairest you can see! - - The fairest one as I can see, - Is _Jenny Wood_, pray come to me! - - Now you are married, I wish you good joy, - First a girl and then a boy; - Seven years now, and seven to come, - Take her and kiss her, and send her off home. - ---_Shropshire Folk-lore_, p. 509. - - XVI. Sally, Sally Water (or Slauter), - Come sprinkle in your can, - Why do you get married - To a foolish young man? - Pick the worst, and pick the best, - And pick the one that you love best. - - . . . . . - - To a nice young man - - . . . . . - - So kiss and say good-bye. - - [My informant forgets the rest.] - - --Nottinghamshire (Miss M. Peacock). - - XVII. Sally Water, Sally Water, - Come sprinkle your can, - Why don't you rise, Sally, - And choose a young man? - Come choose of the wisest, - Come choose of the best, - Come choose of the young man - That lies in your breast. - ---Gloucestershire and Warwickshire (Northall, 378). - - XVIII. Sally Water, Sally Water, - Come, sprinkle your can; - Who do you lie mourning, - All for a young man? - Come, choose of the wisest, - Come, choose of the best, - Come, choose of the young men - The one you love best. - ---Addy's _Sheffield Glossary_. - - XIX. Sally, Sally Salter, - Sprinkle in some water; - Knock it in a mortar, - And send it in a silver saucer - To ---- ---- door. - ---Stixwould, Lincolnshire, seventy years ago (Miss M. Peacock). - - XX. Sally Water, Sally Water, - Springin' in a pan; - Cry, Sally, cry, Sally, - For a young man; - Choose for the worst 'un, - Choose for the best 'un, - Choose the little gell 'at you love the best. - - Now you're married - I wish you joy; - First a girl, and then a boy; - Seven years after - Son and daughter. - Pray, young couple, come kiss together. - ---Wakefield, Yorkshire (Miss Fowler). - - XXI. Sally, Sally Water, - Come, water your can, - Such a young lady before a young man; - Rise, Sally Water, - Don't look so sad, - For you shall have a husband, good or bad. - - Now you're married we wish you joy; - Father and mother, you need not cry; - Kiss and kiss each other again; - Now we're happy, let's part again. - ---Long Itchington, Warwickshire (_Northamptonshire Notes and Queries_, -ii. 105). - - XXII. Sally, Sally Slarter, - Sitting by the water, - Crying out and weeping - For a young man. - Rise, Sally, rise, - Dry up your eyes; - Turn to the east, - Turn to the west, - Turn to the young man - That you love the best. - So now you've got married - I hope you'll enjoy - Your sons and your daughters, - So kiss and good-bye. - ---Addy's _Sheffield Glossary_. - - XXIII. Sally, Sally Walker, sprinkled in a pan; - What did she sprinkle for? for a young man; - Sprinkle, sprinkle, daughter, and you shall have a cow; - I cannot sprinkle, mother, because I don't know how. - Sprinkle, sprinkle, daughter, and you shall have a man; - I cannot sprinkle, mother, but I'll do the best I can. - Pick and choose, but don't you pick me; - Pick the fairest you can see. - The fairest one that I can see is ----. Come to me. - Now you're married I wish you much joy; - Your father and mother you must obey; - Seven long years a girl and a boy; - So hush, a bush, bush, get out of the way. - ---Buckingham (Thos. Baker in _Midland Garner_, New Series, ii. 31). - - XXIV. Little Sally Walker sitting in a sigh, - Weeping and waiting for a young man. - Come choose you east, come choose you west, - The very one that you love best. - ---Nairn (Rev. W. Gregor). - - XXV. Little Sally Walker sitting on the sand, - Crying and weeping for a young man. - Rise, Sally, rise, Sally, wipe away your tears, - Try for the east, and try for the west, - Try for the (little) very one you love best. - - Now they're married I wish them joy, - Every year a girl and boy, - Loving each other like sister and brother, - I hope to see them meet again. - ---Fraserburgh (Rev. W. Gregor). - - XXVI. Little Sally Sander - Sitting in the sander, - Weeping and crying for her young man. - Rise, Sally, rise - And wipe away your tears; - Choose to the east, - Choose to the west, - And choose to the very one that you love best. - Now you're married we wish you joy, - First a girl and then a boy; - Twelve months after son and daughter, - All join hands and kiss together. - ---Penzance, Cornwall (Mrs. Mabbott). - - XXVII. Sally, Sally Walker, tinkle in a can; - Rise up, Sally, and choose a young man. - Look to the east, and look to the west, - Choose the one that you love the best. - ---Settle, Yorkshire (Rev. W. S. Sykes). - - XXVIII. Sally Water, Sally Water, - Come sprinkle your fan; - Sally, Sally Waters, sprinkle in a pan; - Rise, Sally, rise, Sally, for a young man. - Choose to the east, and choose to the west, - And choose the dearest one that you love best. - - Now you're married, we wish you joy, - First a girl and then a boy; - Love one another like sister and brother, - And never lose time by kissing one another. - ---West Haddon (_Northamptonshire Notes and Queries_, ii. 104). - - XXIX. Little Sally Waters, sitting in the sun, - Crying and weeping for her young man. - Rise, Sally, rise, wipe up your tears, - Fly to the east, fly to the west, - Fly to the one that you love the best. - ---Brigg, Lincolnshire (Miss Barker). - - XXX. Hie Sally Walker, hie Sally Ken, - Hie Sally Walker, follow young men. - Choose to the east, and choose to the west, - Choose to the very one you love best. - - Marriage comfort and marriage joy, - First a girl and then a boy. - Seven years after, seven years to come, - Fire on the mountain, kiss and run. - ---Belfast, Ireland (W. H. Patterson). - - XXXI. Little Alice Sander - Sat upon a cinder, - Weeping and crying for her young man. - Rise up, Alice, dry your tears, - Choose the one that you love best, - Alice my dear. - - Now they have got married - I hope they will joy, - Seven years afterwards, seven years ago, - Now is the time to kiss and go. - ---Earls Heaton, Yorks. (Herbert Hardy). - - XXXII. Rise, Sally Walker, - Rise if you can, - Rise, Sally Walker, and follow your good man; - Choose to the east, and choose to the west, - Choose to the one you love best. - There is a couple married in joy, - Past a girl and then a boy, - Seven years after, seven years to come, - Kiss you couple, kiss and be done. - A' the many hours to us a happy life, - Except ---- and he wants a wife. - A wife shall he have, - And a widower shall he be, - Except ---- that sits on his knee, - A guid fauld hoose and a blacket fireside, - Draw up your gartens and show all your bride. - ---(Rev. W. Gregor). - - XXXIII. Arise, Sally Walker, arise, if you can, - Arise, Sally Walker, and follow your good man; - Come choose to the east, come choose to the west, - Come choose to the very one you love best. - - This is a couple married with joy; - First a girl and then a boy, - Seven years after and seven years to come, - This young couple married and begun. - [The Christian name of a girl] made a pudding so nice and - sweet, - [Boy's Christian name] took a knife and tasted it. - Taste love, taste love, don't say No, - The next Sunday morning - To church we shall go. - Clean the brazen candlesticks, - And clean the fireside, - Draw back the curtains. - And lat's see the bride. - A' the men in oor toon leads a happy life, - Except [a boy's full name], and he wants a wife. - A wife shall he hae, and a widow she shall be; - For look at [a girl's full name] diddling on's knee. - He paints her cheeks and he curls her hair, - And he kisses the lass at the foot o' the stair. - ---Tyrie (Rev. W. Gregor). - -[The form of words at Cullen is the same for the first seven lines, and -then the words are:--] - - XXXIV. This young couple be married and be done, - A' the men in oor toon leads a happy life, - Except ---- and he wants a wife. - A wife he shall have, and a widow she shall be, - Except [a girl's name] that sits on his knee, - Painting her face and curling her hair, - Kissing [a girl's name] at the foot o' the stair. - ---Cullen (Rev. W. Gregor). - - XXXV. Rise, Sally Walker, rise if you can, - Rise, Sally Walker, follow your gudeman. - Come choose to the east, come choose to the west, - Come choose to the very one that you love best. - - Now they're married I wish them joy, - Every year a girl or boy, - Loving each other like sister and brother, - And so they may be kissed together. - - Cheese and bread for gentlemen, - And corn and hay for horses, - A cup of tea for a' good wives, - And bonnie lads and lassies. - When are we to meet again? - And when are we to marry? - Raffles up, and raffles down, and raffles a' a dancin', - The bonniest lassie that ever I saw, - Was [child in the centre] dancin'. - ---Aberdeen Training College (Rev. W. Gregor.) - - XXXVI. Sally, Sally Walker, sitting in the sun, - Weeping and wailing for a young man, - Rise, Sally, rise, and wipe away your tears, - Fly to the east, fly to the west, - And fly to the very one that you love best. - - Uncle John is very sick, - He goes a courting night and day; - Sword and pistol by his side, - Little Sally is his bride. - He takes her by the lily white hand, - He leads her over the water; - Now they kiss and now they clap, - Mrs. Molly's daughter. - ---Nairn, Perth, Forfar (Rev. W. Gregor). - - XXXVII. Sally, Sally Waters, why are you so sad? - You shall have a husband, either good or bad; - Then rise, Sally Waters, and sprinkle your pan, - For you're just the young woman to get a nice man. - - Now you're married, we wish you joy, - Father and mother and little boy, - Love one another like sister and brother, - And now, good people, kiss each other. - ---Halliwell, _Popular Rhymer_, p. 229. - - XXXVIII.Rise, Sally Walker, - Rise if you can (Northumberland), - Sprinkle in the pan (Yorks. and Midlands), - Rise, Sally Walker, - For a young man. - Choose to the east, - Choose to the west, - Choose to the { very one (Northumberland), - { pretty girl (Yorks., &c.) - You love best. - - Now you're married, - I wish you joy, - First a girl, - And then a boy. - - Seven years after, } - Seven years over, }(Northumberland). - Now's the time to } - Kiss and give over. } - - Five years after } - A son and daughter, } (Yorks., &c.) - Pray, young couple, } - Kiss away. } - ---Hexham (Miss J. Barker). - - XXXIX. Sally Waters, Sally Waters, come rise if you can, - Come rise in the morning, all for a young man; - Come choose, come choose, come choose if you can, - Come choose a good one or let it alone. - ---Monton, Lancashire (Miss Dendy). - - XL. Sally Waters, Sally Waters, - Come rise if you can, - Come rise in the morning, - All for a young man. - First to the east, then to the west, - Then to the bonny lass that you love best. - - Now, Sally, you are married, - I hope you'll agree, - Seven years at afterwards, seven years ago, - And now they are parted with a kiss and a blow. - ---Monton, Lancashire (Miss Dendy). - -The last two lines were supplied by a girl in a very poor district of -Manchester (note by Miss Dendy). - - XLI. Rise, Sally Walker, rise, if you can, - Rise, Sally Walker, and follow your gueedman, - Choose to the east, and choose to the west, - Choose to the one that you love best. - There is a couple married in joy, - First a girl and then a boy, - Seven years after, seven years to come. - ---Rosehearty (Rev. W. Gregor). - - XLII. Little Polly Sanders sits on the sand, - Weeping and crying for her young man; - Rise up, Polly, wipe your tears, - Pick the one you love so sweet. - Now Polly's got married, we hope she'll have joy, - For ever and ever a girl or a boy. - If one won't do, she must have two, - So I pray you, young damsels, to kiss two and two. - ---Liverpool (C. C. Bell). - - XLIII. Here sits poor Sally on the ground, - Sighing and sobbing for her young man. - Arise, Sally, rise, and wipe your weeping eyes, - And turn to the east, and turn to the west, - And show the little boys that you love best. - - A bogie in, a bogie out, - A bogie in the garden, - I wouldn't part with my young man - For fourpence ha'penny farthing. - ---Long Eaton, Nottingham (Miss Youngman). - -[In London the above is:]-- - - XLIV. A beau in front and a beau behind, - And a bogie in the garden oh! - I wouldn't part with my sweetheart - For tuppence (two) ha'penny farthing. - ---London (Mrs. Merck). - - XLV. Sally Walker, Sally Walker, - Come spring time and love, - She's lamenting, she's lamenting, - All for her young man. - Come choose to the east, come choose to the west, - Come choose the one that you love best. - - Here's a couple got married together, - Father and mother they must agree, - Love each other like sister and brother, - I pray this couple to kiss together. - ---Morpeth (Henderson's _Folk-lore of Northern Counties_, p. 26). - - XLVI. Rise, Sally Walker, rise if you can, - Rise, Sally Walker, and choose your good man, - Choose to the east, and choose to the west, - And choose the very one you love best. - Now they're married, wish them joy, - First a girl, and then a boy, - Seven years after, seven years to come, - Now's the time to kiss and be done. - ---Gainford, Durham (Miss A. Edleston). - - XLVII. Little Alexander sitting on the sand, - Weeping and crying for a young man; - Rise up, Sally, and wipe your tears, - Pick the very one that you like best. - Now, Sally, now married, I hope she'll (or you'll) enjoy, - For ever and ever with that little boy - (or with her or your young boy). - ---Beddgelert, Wales (Mrs. Williams). - - XLVIII. Rice, Sally Water, rice if you can, - Rice, Sally Water, and choose your young man; - Choose to the east, choose to the west, - Choose to the prettiest that you love. - - Now you're married, we wish you good joy, - First a little girl, and then a little boy; - Seven years after, seven years to come, - Seven years of plenty, and kiss when you done. - ---Norfolk (Mrs. Haddon). - -(_c_) A ring is formed by the children joining hands. One girl kneels or -sits down in the centre, and covers her face with her hands as if -weeping. The ring dances round and sings the words. The child in the -centre rises when the command is given, and chooses a boy or girl from -the ring, who goes into the centre with her. These two kiss together -when the words are said. The child who was first in the centre then -joins the ring, the second remaining in the centre, and the game -continues. - -All versions of this game are played in the same way, except slight -variations in a few instances. Kissing does not prevail in all the -versions. In the Earls Heaton game, the child who kneels in the centre -also pretends to weep and dries her tears before choosing a partner. -Miss Burne, in _Shropshire Folklore_, says the girl kneels -disconsolately in the middle of the ring. In the Stixwould version, the -child stands in the centre holding in her hands something resembling a -saucer; she then pretends to "knock it in a mortar," and gives the -saucer to the one whom she chooses. This one exchanges places with her. -In the Northants version, at the words "clash the bells," the children -dash down their joined hands to imitate ringing bells. Addy, _Sheffield -Glossary_, says one girl sits in the middle weeping. When the girl has -chosen, the young man remains in the centre, and the word "Sally" is -changed to "Billy," or some other name, and "man" to "girl." In the -Beddgelert version, the centre child wipes her eyes with a handkerchief -in the beginning of the game. Several other versions have been sent me, -all being the same as those printed here, or varying so slightly, it is -unnecessary to repeat them. - -(_d_) The analysis of the game-rhymes is as follows:-- - - +---+----------------------+----------------------+----------------------+ - |No.| Dorsetshire. | Devonshire. | Somersetshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. | -- |Sally Water. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in pan. |Sprinkle water in the |Sprinkle in the pan. | - | | |pan. | | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise and choose a |Rise and seek a young |Hi, choose a young | - | |young man. |man. |man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Turn east, west. | -- | - |19.| -- | -- |Choose best, worst. | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, |Now you're married, |Now you're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| London. | Fochabers. | Berkshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- |Sally Waters. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in the pan. |Sprinkling in a pan. |Sprinkled in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a young man. |Rise for a young man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- |Choose east, west. | -- | - |19.|Choose best, worst. | -- |Choose best, worst. | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, | -- | -- | - | |&c. | | | - |23.| -- |You must obey, &c. | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Crockham Hill, Kent. | Wiltshire. | Northants. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Waters. |Sally Waters. | - | 2.| -- | -- | -- | - | 3.|Sally Wallflowers. | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkled in the pan. |Sprinkled in a pan. |Sprinkle in a pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose a | -- | - | | |young man. | | - |14.| -- | -- |Cry for a young man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- |Choose best, worst. |Choose best, worst. | - |20.| -- | -- | -- | - |21.| -- |Choose the best loved.|Choose the best loved.| - |22.| -- |Now you're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Oxford. | Yorkshire. | Surrey. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Waters. |Sally Water. | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in the pan. |Sprinkle in a pan. |Sprinkle in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. | -- | -- | - |14.| -- |Cry for a young man. | -- | - |15.| -- | -- |Is not -- a nice young| - | | | |man. | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- | -- | - |20.|Choose fairest. | -- | -- | - |21.| -- |Choose the best loved.| -- | - |22.|Now she's married, &c.| -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- |They shall be married | - | | | |if they agree, &c. | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Shropshire (1). | Shropshire (2). | Notts. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Water. |Sally Water. | - | 2.|Sally Walker. | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkle in your pan. |Sprinkle in your pan. |Sprinkle in your can. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise,for you shall | -- | - | | |have a husband. | | - |14.| -- | -- | -- | - |15.|Down in the meadow | -- |Why do you marry a | - | |there's a nice young | |foolish young man. | - | |man. | | | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.| -- | -- |Pick worst, best. | - |20.| -- |Choose fairest. | -- | - |21.| -- | -- |Choose the best loved.| - |22.| -- |Now you're married, | -- | - | | |&c. | | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.|On the carpet she | -- | -- | - | |shall kneel, &c. | | | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Gloucestershire. | Sheffield. | Lincolnshire. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Water. | -- | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- |Sally Salter. | - | 5.| -- | -- | -- | - | 6.|Sprinkle your can. |Sprinkle your can. | -- | - | 7.| -- | -- |Sprinkle in some | - | | | |water. | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Why don't you rise for| -- | -- | - | |a young man. | | | - |14.| -- |Who do you lie | -- | - | | |mourning for a young | | - | | |man. | | - |15.| -- | -- | -- | - |16.| -- | -- |Send it in a silver | - | | | |saucer to [ ]. | - |17.| -- | -- | -- | - |18.| -- | -- | -- | - |19.|Choose wisest, best. |Choose wisest, best. | -- | - |20.| -- | -- | -- | - |21.|Choose the one that |Choose the best loved.| -- | - | |lies in your breast. | | | - |22.| -- | -- | -- | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Wakefield. | Warwickshire. | Sheffield. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Water. |Sally Water. | -- | - | 2.| -- | -- | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- |Sally Slarter. | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- |Water your can. |Sitting by the water. | - | 8.|Springin' in a pan. | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise for a husband. | -- | - |14.|Cry for a young man. | -- |Crying for a young | - | | | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.| -- | -- |Turn east, west. | - |19.|Choose worst, best. | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.| -- |Choose the best loved.| - |22.|Now you're married, |Now you're married, |Now you're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Bucks. | Nairn. | Fraserburgh. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Sally Walker. |Sally Walker. |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.|Sprinkled in a pan. | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- |Sitting in a sigh. | -- | - |10.| -- | -- |Sitting on the sand. | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- | -- | -- | - |14.| -- |Weeping for a young |Weeping for a young | - | | |man. |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.|Sprinkle for a young | -- | -- | - | |man. | | | - |18.| -- |Choose east, west. |Try east, west. | - |19.| -- | -- | -- | - |20.|Choose fairest. | -- | -- | - |21.| -- |Choose the best |Choose the best loved.| - | | |loved. | | - |22.|Now you're married, | -- |Now they're married, | - | |&c. | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Cornwall. | Settle. | Northants. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- |Sally Water. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.|Sally Sander. | -- | -- | - | 6.| -- | -- |Sprinkle in a pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.|Sitting in the sander.| -- | -- | - |11.| -- |Tinkle in a can. | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose a |Rise for a young man. | - | | |young man. | | - |14.|Weeping for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Look east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now you're married, | -- |Now you're married, | - | |&c. | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Brigg. | Belfast. | Earls Heaton. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- | -- | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- |Alice Sander. | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- |Sat upon a cinder. | - |11.| -- | -- | -- | - |12.|Sitting in the sun. | -- | -- | - |13.| -- |Hi for a young man. | -- | - |14.|Crying for a young | -- |Weeping for a young | - | |man. | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Fly east, west. |Choose east, west. | -- | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.| -- |Married, &c. |Now they're married, | - | | | |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Scotland. | Tyrie. | Aberdeen. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- | -- | - | 2.|Sally Walker. |Sally Walker. |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a young man. |Rise for a young man. | - |14.| -- | -- | -- | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Choose east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the best loved.| - |22.|Now they are married, |Now they're married, |Now they're married, | - | |&c. |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Nairn. | Halliwell. | Hexham. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- |Sally Water. | -- | - | 2.|Sally Walker. | -- |Sally Walker. | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- |Sprinkle in the pan. | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.|Sitting in the sun. | -- | -- | - |13.| -- | -- |Rise for a young man. | - |14.|Weeping for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- |Sprinkle for a young | -- | - | | |man. | | - |18.|Fly east, west. | -- |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Fly to the best loved.| -- |Choose the best loved.| - |22.| -- |Now you're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.|Goes courting, &c. | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Lancashire. | Rosehearty. | Notts. | - +---+----------------------+----------------------+----------------------+ - | 1.|Sally Waters. | -- |Sallie [ ]. | - | 2.| -- |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- |Sitting on the ground.| - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.|Rise for a young man. |Rise for a good man. | -- | - |14.| -- | -- |Sobbing for a young | - | | | |man. | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|First east, west. |Choose east, west. |Turn east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Then to the bestloved.| -- |Turn to the best | - | | | |loved. | - |22.|Now you're married, |There's a couple, &c. | -- | - | |&c. | | | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- |A bogie in, &c. | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+----------------------+----------------------+ - |No.| Morpeth. | Gainford. | Norfolk. | - +---+----------------------+----------------------+----------------------+ - | 1.| -- | -- |Sallie [ ]. | - | 2.|Sally Walker. |Sally Walker. | -- | - | 3.| -- | -- | -- | - | 4.| -- | -- | -- | - | 5.| -- | -- | -- | - | 6.| -- | -- | -- | - | 7.| -- | -- | -- | - | 8.| -- | -- | -- | - | 9.| -- | -- | -- | - |10.| -- | -- | -- | - |11.| -- | -- | -- | - |12.| -- | -- | -- | - |13.| -- |Rise and choose your |Rise and choose. | - | | |good man. | | - |14.|Lamenting for a young | -- | -- | - | |man. | | | - |15.| -- | -- | -- | - |16.| -- | -- | -- | - |17.| -- | -- | -- | - |18.|Choose east, west. |Choose east, west. |Choose east, west. | - |19.| -- | -- | -- | - |20.| -- | -- | -- | - |21.|Choose the best loved.|Choose the best loved.|Choose the prettiest. | - |22.|Here's a couple, &c. |Now they're married, |Now you're married, | - | | |&c. |&c. | - |23.| -- | -- | -- | - |24.| -- | -- | -- | - |25.| -- | -- | -- | - |26.| -- | -- | -- | - |27.| -- | -- | -- | - +---+----------------------+----------------------+----------------------+ - - +---+----------------------+ - |No.| Beddgelert. | - +---+----------------------+ - | 1.|Sallie [ ]. | - | 2.| -- | - | 3.| -- | - | 4.| -- | - | 5.| -- | - | 6.| -- | - | 7.| -- | - | 8.| -- | - | 9.| -- | - |10.|Sitting in sand. | - |11.| -- | - |12.| -- | - |13.| -- | - |14.|Crying for a young | - | |man. | - |15.| -- | - |16.| -- | - |17.| -- | - |18.| -- | - |19.| -- | - |20.| -- | - |21.|Pick the one you like | - | |best. | - |22.|Now you're married, | - | |&c. | - |23.| -- | - |24.| -- | - |25.| -- | - |26.| -- | - |27.| -- | - +---+----------------------+ - -The first thing to note from this analysis are the words Sally and -Water. In twenty-three versions they are Sally Water or Waters, in -seventeen versions it is Sally Walker, in six versions it is another -name altogether, while in two versions it is Sallie only. The most -constant name, therefore, points to Sally Water as the oldest version; -and it is noticeable that in the Lincolnshire and Sheffield versions, -where the name is not Sally Water, the word water is introduced later on -in the line which directs the action of sprinkling water. Is it -possible, then, that Sally Water may be a corruption from an earlier -form where Sally is some other word, not the name of a girl, as it is -usually supposed to be, and the word water is connected, not with the -name of the maiden, but with the action of sprinkling which she is -called upon to perform? If we could surmise that the early form was -"Sallie, Sallie, water sprinkle in the pan," the accusative being placed -before the verb, the problem would be solved in this manner; but there -is no warrant for this poetical licence in popular verses, and I prefer -to suggest that "water" got attached as a surname by simple -transposition, such as the Norfolk and Beddgelert versions allow as -evidence. It follows from this that Walker and other names appear as -degraded forms of the original, and do not enter into the question of -origins, a point which may readily be conceded, considering that the -general evidence of all these singing games is, that no special names -are ever used, but that names change to suit the players. The next -incident in the analysis is the ceremony of "sprinkling the water," -which is constant in twenty-one versions, while the Wakefield "Springin' -in the pan," the Settle "Tinkle in a can," Halliwell's "Sprinkle for a -young man," and the eight versions in which this incident is wholly -absent in any form, are evident corruptions. The tendency of the -corruption is shown by this to be that the "sprinkling of water" came to -be omitted from the verse, and therefore the other variants-- - - Sitting by the water (Sheffield), - Water your can (Warwickshire), - Sitting in a sigh (Nairn), - Sitting on the sand (Fraserburgh and Beddgelert). - Sitting in the sander (Cornwall), - Sitting in the sun (Brigg and Nairn), - Sat upon a cinder (Earls Heaton), - Sitting on the ground (Notts.), - -are but the steps through which the entire omission of the water -incident was finally attained. The third incident is "Rise and choose" a -young man, the alternative being "Crying for a young man." The first -indicates a kneeling and reverential attitude before the water, and -occurs in twenty-one versions, while the second only occurs in fourteen -versions. - -The expression "crying" is really to "announce a want," as "wants" were -formerly cried by the official "crier" of every township, and indeed as -children still in games "cry" the forfeits; but losing this meaning, the -expression came to mean crying in the sense of "weeping," and appearing -to the minds of children as a natural way of expressing a want, would -therefore succeed in ousting any more archaic notion. The incident of -crying for a lover appears in other singing games, as, for instance, in -"Poor Mary." Especially may this be considered the process which has -been going on when it is seen that "choosing" is an actual incident of -the game, even in those cases where "crying" has replaced the kneeling. -The choosing incident also assumes two forms, namely, with respect to -"east and west" in twenty-two versions, and "best and worst" in nine -versions. Now, the expression, "for better for worse," is an old -marriage formula preserved in the vernacular portion of the ancient -English marriage service (see Palgrave, _English Commonwealth_, ii., p. -cxxxvi.); and I cannot but think that we have the same formula in this -game, especially as the final admonition in nearly all the versions is -to choose "the one loved best." Following upon this comes the very -general marriage formula noted so frequently in these games. It is -slightly varied in some versions, and is replaced by a different -formula, but one that also appears in other games, in two or three -versions. One feature is very noticeable in the less common versions of -this game, viz., the assumption of the marriage being connected with the -birth of children, and the indulgences of the lovers, as in the Tong -and Scottish versions xxxii., xxxiii., and xxxiv. - -(_e_) In considering the probable origin of the game, the first thing -will be to ascertain as far as possible what ideas the words are -intended to convey. Taking note of the results of the analysis, so far -as they show the corruptions which have taken place in the words, it -seems clear that though it is not possible to restore the original -words, their original meaning is still preserved. This is, that they -accompanied the performance of a marriage ceremony, and that a chief -feature of this ceremony was connected with some form of water-worship, -or some rite in which water played a chief part. Now it has been noted -before that the games of children have preserved, by adaptation, the -marriage ceremony of ancient times (_e.g._, "Merry ma Tansa," "Nuts in -May," "Poor Mary," "Round and Round the Village"); but this is the first -instance where such an important particularisation as that implied by -water-worship qualifies the marriage ceremony. It is therefore necessary -to see what this exactly means. Mr. Hartland, in his _Perseus_ (i. -167-9), draws attention to the general significance of the water -ceremonial in marriage customs, and Mr. F. B. Jevons, in his -introduction to Plutarch's _Romane Questions_, and in the _Transactions -of the Folk-lore Congress_, 1891, deals with the subject in reference to -the origin of custom obtaining among both Aryan and non-Aryan speaking -people. In this connection an important consideration arises. The -Esthonian brides, on the morning after the wedding, are taken to make -offerings to the water spirit, and they throw offerings into the spring -(or a vessel of water), overturn a vessel of water in the house, and -sprinkle their bridegrooms with water. The Hindoo offerings of the bride -were cast into a water vessel, and the bride sprinkles the court of the -new house with water by way of exorcism, and also sprinkles the -bridegroom (Jevons, _loc. cit._, p. 345). Here the parallel between the -non-Aryan Esthonian custom and the Aryan Hindoo custom is very close, -and it is a part of Mr. Jevons' argument that, among the Teutons, with -whom alone of Aryan speaking peoples the Esthonians came into contact, -the custom was limited to the bride simply stepping over a vessel of -water. There is certainly something a great deal more than the parallel -to the Teutonic custom in the game of "Sally, Sally Water," and as it -equates more nearly to Hindoo and Esthonian custom, the question is, -Does it help Mr. Jevons in the important point he raises? I think it -does. A custom is very low down among the strata of survivals when it is -only to be recognised as part of a children's singing game, and the -proposition it suggests is that children have preserved more of the old -custom than was preserved by the people who adopted a portion of it into -their marriage ceremony. A custom so treated must be older than the -marriage ceremony with which it thus came into contact, and if this is a -true conclusion, we have in this children's game a relic of the -pre-Celtic peoples of these islands--a relic therefore going back many -centuries for its origin, and which is of inestimable service in -discussing some important problems of the ethnic significance of -folk-lore. These conclusions are entirely derived from the significant -position which this game occupies in relation to Esthonian (non-Aryan) -and to Teutonic (Aryan) marriage customs respectively, and therefore it -is of considerable importance to note that it entirely fits in with the -conclusion which my husband has drawn as to the non-Aryan origin of -water-worship (see Gomme's _Ethnology of Folk-lore_, pp. 79-105). - -There is, however, something further which seems to bring this game into -line with non-Aryan marriage customs. The marriage signified by the game -is acknowledged and sanctioned by the presence of witnesses; is made -between two people who choose each other without any form of compulsion; -is accompanied by blessings upon the young couple and prognostications -of the birth of children. These points show that the marriage ceremony -belongs to a time when the object of the union was to have children, and -when its duration was not necessarily for life. It is curious to note -that water worship is distinctly connected with the desire to have -children (_Proc. Roy. Irish Acad._, 3rd ser., ii. 9); and that the idea -of the temporary character of the marriage status of the lower classes -of the people is still extant I have certain evidence of. Early in -November of 1895, a man tried for bigamy gave as his defence that he -thought his marriage was ended with his first wife, as he had been away -seven years. It is a frequently told story. A year and a day and seven -years are the two periods for which the popular mind regards marriage -binding. "I was faithful to him for seven years, and had more than my -two children," a woman said to me once, as if two children were the -required or expected number to be born in that period. If there is a -popular belief of this kind, it is strangely borne out by this -game-rhyme. "First a girl, and then a boy," may also be shown to be a -result to be desired and prayed for, in the popular belief that a man's -cycle of life is not complete until he is the father of a daughter, who, -in her turn, shall have a son. Miss Hawkins Dempster obtained evidence -of such a belief from the lips of a man who considered he was entitled -to marry another woman, as his wife had only borne him sons, and -therefore his life was not (like hers) complete. - -The free choice of both woman and man is opposed to the theory of our -present marriage ceremony, where permission or authority to marry is -only necessary for the woman, the man being able to do as he pleases. -This is now regarded as a sign of women's early subjection to the -authority of men and their subordinate place in the household. But it -does not follow that this was the relative position of men and women -when a ceremony was first found needful and instituted. I am inclined to -think it must have been, rather, the importance attached to the woman's -act of ratification, in the presence of witnesses, of her formal promise -to bear children to a particular man. Marriage would then consist of -contracts between two parties for the purpose of, and which actually -resulted in, the birth of children; of concubinage, or the wife -consenting to children being born to her husband by another woman in her -stead, if she herself failed in this respect (such children being hers -and her husband's jointly); of marriage without ceremony or set purpose, -resulting from young people being thrown together at feast times, -gathering in of harvests, &c., which might or might not result in the -birth of children. These conditions of the marriage rite are at variance -with what we know of the Aryan marriage generally and its results; and -that they flow from the customs preserved in the game under -consideration is further proof of the origin of the game from a marriage -rite of the pre-Celtic people of these islands. The "kissing together" -of the married couple is the token to the witnesses of their mutual -consent to the contract. - -Attention has already been directed to the fact that parts of the -formula preserved in this game are also found in other games, and it may -possibly be assumed therefrom that the same origin must be given to -these games as to "Sally Water." The objection to such a conclusion is -mainly that it is impossible to decide to which game the popular -marriage formula originally belonged, and from which it has been -borrowed by the other games. Seeing how exactly it fits the -circumstances of "Sally Water," it might not be too much to suggest that -it rightly belongs to this game. Another point to be noted is that the -tune to which the words of the marriage formula are sung is always the -same, irrespective of that to which the previous verses are sung, and -this rule obtains in all those games in which this formula appears--a -further proof of the antiquity of the formula as an outcome of the early -marriage ceremony. - - [7] Redruth version-- - - Fly for the east, fly for the west, - Fly for the very one you love best. - - -Sally Sober - -A game among girls [undescribed].--Dickinson's _Cumberland Glossary_ -(_Supplement_). - - -Salmon Fishers - - I. Cam' ye by the salmon fishers, - Cam' ye by the roperee? - Saw ye a sailor laddie - Sailing on the raging sea? - Oh, dear ----, are ye going to marry? - Yes, indeed, and that I am. - Tell to me your own true lover, - Tell to me your lover's name? - _He's_ a bonnie lad, _he's_ a bonnie fellow, - Oh, he's a bonnie lad, - Wi' ribbons blue and yellow, - Stockings of blue silk; - Shoes of patent leather, - Points to tie them up. - A gold ring on his finger. - Did you see the ship he came in? - Did you see it comin' in? - Every lassie wi' her laddie, - Every widow wi' her son. - Mother, struck eight o'clock, - Mother, may I get out? - For my love is waiting - For to get me out. - First he gave me apples, - Then he gave me pears, - Then he gave me a sixpence - To kiss him on the stairs. - Oh, dear me, I wish I had my tea, - To write a letter to my love - To come back and marry me. - ---Rosehearty (Rev. W. Gregor). - - II. Cam' ye by the salmon fishers? - Cam' ye by the roperee? - Saw ye a sailor laddie - Waiting on the coast for me? - I ken fahr I'm gyain, - I ken fahs gyain wi' me; - I ha'e a lad o' my ain, - Ye daurna tack 'im fae me. - Stockings of blue silk, - Shoes of patent leather, - Kid to tie them up, - And gold rings on his finger. - Oh for six o'clock! - Oh for seven I weary! - Oh for eight o'clock! - And then I'll see my dearie. - ---Fochabers (Rev. W. Gregor). - - III. Come ye by the salmon fishers? - Come ye by the roperee? - Saw ye my dear sailor laddie - Sailing on the raging sea? - Tip for gold and tip for silver, - Tip for the bonnie laddie I do adore; - My delight's for a sailor laddie, - And shall be for evermore. - Sit you down, my lovely Elsie, - Take your baby on your knee; - Drink your health for a jolly sailor, - He will come back and marry you. - He will give you beads and ear-rings, - He will give you diamonds free; - Sailors they are bonnie laddies, - Oh, but they are neat and clean! - They can kiss a bonnie lassie - In the dark, and A, B, C; - When the sailors come home at evening - They take off their tarry clothes, - They put on their light blue jackets, - That is the way the sailors go. - ---Rev. W. Gregor. - -A circle is formed, and the children dance round singing. Before -beginning they agree which of the players is to be named in the fifth -line of the Rosehearty version. - -Jamieson's _Dictionary_ (_sub voce_), "Schamon's Dance," says, "Some -particular kind of dance anciently used in Scotland." - - Blaw up the bagpyp than, - The schamon's dance I mon begin, - I trow it sall not pane. - ---"Peblis to the Play," _Chronicles of Scottish Poetry_, i. 135. - -Pinkerton defines salmon as "probably _show-man_, _shaw-man_." - -See "Shame Reel, or Shamit Dance." - - -Salt Eel - -This is something like "Hide and Find." The name of Salt Eel may have -been given it from one of the points of the game, which is to baste the -runaway individual, whom you may overtake, all the way home with your -handkerchief, twisted hard for that purpose. Salt Eel implies on board -ship a rope's ending, and on shore an equivalent process.--Moor's -_Suffolk Words and Phrases_. - - -Save All - -Two sides are chosen in this game. An even number of boys, say eight on -each side. Half of these run out of the line, and are chased by half of -the boys from the other side. If two out of four get "home" to door or -lamp-post, they _save all_ the prisoners which have been made; if two -out of four are caught before the others get "home," the side catching -them beats.--Deptford (Miss Chase). - - -Say Girl - -A game undescribed, recorded by the Rev. S. D. Headlam as played by some -Hoxton school children.--_Church Reformer_, 1894. - - -Scat - -A paper-knife, or thin slip of wood, is placed by one player on his open -palm. Another takes it up quickly, and tries to "scat" his opponent's -hand before he can draw it away. Sometimes a feint of taking the -paper-knife is made three or four times before it is really done. When -the "scat" is given, the "scatter" in his turn rests the knife on his -palm. Scat is the Cornish for "slap."--_Folk-lore Journal_, v. 50. - - -Scop-peril, or Scoperel - -Name for teetotum ordinarily manufactured by sticking a pointed peg -through a bone button.--Easther's _Almondbury Glossary_; also in SW. -Lincolnshire, Cole's _Glossary_. - -See "Totum." - - -Scotch-hoppers - -In _Poor Robin's Almanack_ for 1677, in the verses to the reader, on the -back of the title-page, concerning the chief matters in the volume, -among many other articles of intelligence, the author professes to -show-- - -"The time when school boys should play at _Scotch-hoppers_." - -Another allusion occurs in the same periodical for 1707--"Lawyers and -Physitians have little to do this month, and therefore they may (if they -will) play at _Scotch-hoppers_. Some men put their hands into peoples' -pockets open, and extract it clutch'd, of that beware. But counsel -without a cure, is a body without a soul." And again, in 1740--"The -fifth house tells ye whether whores be sound or not; when it is good to -eat tripes, bloat herrings, fry'd frogs, rotten eggs, and monkey's tails -butter'd, or an ox liver well stuck with fish hooks; when it is the most -convenient time for an old man to play at _Scotch-hoppers_ amongst the -boys. In it also is found plainly, that the best armour of proof against -the fleas, is to go drunk to bed." - -See "Hopscotch," "Tray-Trip." - - -Scots and English - -Boys first choose sides. The two chosen leaders join both hands, and -raising them high enough to let the others pass through below, cry-- - - Brother Jack, if ye'll be mine, - I'll gie ye claret wine; - Claret wine is good and fine, - Through the needle ee, boys. - -Letting their arms fall they enclose a boy and ask him to which side he -will belong, and he is disposed of according to his own decision. The -parties being at length formed, are separated by a real or imaginary -line, and place at some distance behind them, in a heap, their hats, -coats, &c. They stand opposite to each other, the object being to make a -successful incursion over the line into the enemy's country, and bring -off part of the heap of clothes. It requires both address and swiftness -of foot to do so without being taken by the foe. The winning of the game -is decided by which party first loses all its men or its property. At -Hawick, where the legendary mimicry of old Border warfare peculiarly -flourishes, the boys are accustomed to use the following rhymes of -defiance:-- - - King Covenanter, come out if ye daur venture! - Set your foot on Scots' ground, English, if ye daur! - ---Chambers' _Popular Rhymes_, p. 127. - -The following version was written down in 1821 under the name of Scotch -and English:--Two parties of boys, divided by a fixed line, endeavoured -to pull one another across this line, or to seize by bodily strength or -nimbleness a "wad" (the coats or hats of the players) from the little -heap deposited in the different territories at a convenient distance. -The person pulled across or seized in his attempt to rob the camp was -made a prisoner and conducted to the enemy's station, where he remained -under the denomination of "stinkard" till relieved by one of the same -side, or by a general exchange of prisoners.--_Blackwood's Magazine_, -August 1821, p. 25. The _Denham Tracts_, i. 150, gives a version of the -game much the same as these, except that the words used by the English -are, "Here's a leap into thy kingdom, dry-bellied Scot." See also -Hutton's _History of Roman Wall_ (1804), p. 104. Brockett's account, -under the title of "Stealy Clothes, or Watch Webs," is as follows:--The -players divide into two parties and draw a line as the boundary of their -respective territories. At an equal distance from this line each player -deposits his hat or some other article of his dress. The object of the -game is to seize and convey these singly to your own store from that of -the enemy, but if you are unfortunately caught in the attempt, you not -only restore the plunder but become a prisoner yourself. This evidently -takes its origin from the inroads of the English and Scotch; indeed, it -is plainly proved from the language used on the occasion, which consists -in a great measure of the terms of reproach still common among the -Borderers.--Brockett's _North Country Words_. - -Jamieson, also, describes the game under the title of "English and -Scotch," and says the game has originated from the mutual incursions of -the two nations. - -See "French and English," "Prisoner's Base," "Rigs." - - -Scratch Cradle - -The game of "Cat's Cradle." - - -Scrush - -A game much like Shinty between two sides of boys, each with bandies -(scrushes) trying to knock a roundish stone over the other's -line.--Barnes' _Dorset Glossary_. See "Shinney." - - -Scurran-Meggy - -A game much in vogue in Cumberland during the last century, and in which -a peculiar form of top called a "scurran top" was used.--Halliwell's -_Dictionary_. - - -See-Saw - -[Music] - ---London (A. B. Gomme). - - I. Titty cum tawtay, - The ducks in the water; - Titty cum tawtay, - The geese follow after. - ---Halliwell's _Nursery Rhymes_, p. 213. - - II. See-saw, Margery Daw, - Sold her bed to lie upon straw; - Wasn't she a dirty slut - To sell her bed to lie upon dirt? - ---London (A. B. Gomme). - - III. See-saw, Margery Daw, - Johnny shall have a new master; - He shan't have but a farthing a day, - Because he can't work any faster. - ---London (G. L. Gomme). - - IV. See-saw, sacradown, - Which is the way to London town? - One boot up, and the other down, - And that is the way to London town. - ---Halliwell's _Nursery Rhymes_, No. cccxxx. - - V. The poor man was digging, - To and fro, to and fro; - And his spade on his shoulder, - To and fro, to and fro. - - The poor man was digging, - To and fro, to and fro; - And he caught the black cross, - To and fro, to and fro. - ---Isle of Man (A. W. Moore). - -A common game, children sitting on either end of a plank supported on -its centre, and made to rock up and down. While enjoying this -recreation, they sing the verse. Addy, _Sheffield Glossary_, gives Ranty -or Rantypole, a plank or pole balanced evenly, upon which children rock -up and down in see-saw fashion. Jamieson, _Etymological Dictionary_, -gives Coup-the-Ladle as the name for See-saw in Aberdeen. Moor, _Suffolk -Words and Phrases_, describes this game, and gives the same words to be -sung while playing as Halliwell's above. Grose gives "Weigh," to play at -See-saw. Holloway, _Dictionary of Provincialisms_, says, in Norfolk -See-saw is called Titti cum Totter; and in Gainford, Durham, Ewiggy -Shog. Halliwell gives versions of Nos. II. and III. in his _Nursery -Rhymes_, and also other verses with the opening words "See-saw," namely, -"See-saw, Jack-a-Daw," "See-saw, Sack-a-day;" but these are not -connected with the game by Halliwell, and there is nothing in the words -to indicate such a connection. Mactaggart, _Gallovidian Encyclopaedia_, -calls the game "Coggle-te-Carry," but gives no verses, and Strutt calls -it "Titter Totter."--_Sports_, p. 303. He does not give any rhymes, -except to quote Gay's poem, but it is possible that the rhyme to his -game may be No. I. Brogden gives "Hightte" as the game of See-saw. The -Manx version has not before been published, and Mr. Moore says is now -quite forgotten in the Isle. The game is called "Shuggy-shoo" in Irish, -and also "Copple-thurrish," evidently "Horse and Pig," as if the two -animals were balancing against each other, and alternately becoming -elevated and depressed.--_Ulster Journ. Arch._, vi. 102. The child who -stands on the plank in the centre and balances it, is frequently called -the "canstick" or "candlestick." - - -See-Sim - -A children's game. If one of the party is blindfolded, it is -"Blind-Sim."--Spurden's _East Anglian Glossary_. - - -Shame Reel, or Shamit Dance - -In several counties of Scotland this was the name of the first dance -after the celebration of marriages. It was performed by the bride and -best man and the bridegroom and best maid. The bride's partner asked -what was to be the "sham spring," and she commonly answered, "Through -the world will I gang wi' the lad that lo'es me," which, on being -communicated to the fiddlers, was struck up, and the dance went on -somewhat punctiliously, while the guests looked on in silence, and -greeted the close with applause. This dance was common in Forfarshire -twenty years ago.--Jamieson's _Dictionary_. - -See "Cushion Dance," "Salmon Fishers." - - -She Said, and She Said - -This game requires two confederates; one leaves the room, and the other -in the secret asks a player in the room to whisper to him whom she (or -he) loved; he then calls in his companion, and the following dialogue is -carried on:-- - - "She said, and she said! - And what did she say?" - "She said that she loved." - "And whom did she love? - Suppose she said she loved ----?" - "No! she never said that, whatever she said." - -An indefinite number of names are mentioned before the right one. When -that came, to the surprise of the whisperer, the answer is-- - - "Yes! she said that." - -The secret was very simple; the name of a widow or widower known to both -players was always given before that whispered.--Cornwall (_Folk-lore -Journal_, v. 50). - - -Shepherd and Sheep - -Children choose, by "counting out," or otherwise, a Shepherd and a Wolf -(or Mother Sheep, and Wolf). The Wolf goes away, and the rest of the -players are the Sheep (or Lambs) and stand in a row. The Shepherd counts -them--Sunday, Monday, Tuesday, &c. Then-- - -_Shepherd_--"What shall I bring home for you for dinner, Sunday, I'm -going to market?" - -Sunday chooses something--roast veal, apple tart, or anything else that -she likes. Then Monday, Tuesday, and the rest choose also. Shepherd goes -away, saying-- - - "Mind you are all good children." - -The Wolf comes directly the Shepherd goes out of sight, and takes away -one of the Sheep. Shepherd comes back and begins to distribute the -different things-- - - "Sunday, Monday,----why, where's Tuesday?" (or Wednesday, as the - case may be.) - -The Children cry in chorus-- - - "Old Wolf came down the chimney and took him (or her) away." - -This formula is repeated till all the children (sheep) are stolen. - -The Shepherd now goes to the Wolf's house to look for his sheep-- - - _Shepherd_--"Good morning, have you seen my sheep?" - - _Wolf_--"Yes, they went down Red Lane." - - [Shepherd looks down Red Lane.] - - _Shepherd_--"I've been down Red Lane, and they're not there." - - _Wolf_--"I've just seen them pass, they're gone down Green Lane," - &c. These questions and answers continue as long as the children's - fancy holds out; then the Shepherd comes back. - - _Shepherd_--"I've looked everywhere, and can't find them. I b'lieve - you've got them? I smell meat; may I go up and taste your soup?" - - _Wolf_--"You can't go upstairs, your shoes are too dirty." - - _Shepherd_--"I'll take off my shoes" (pretends to take them off). - - _Wolf_--"Your stockings are too dirty." - - _Shepherd_--"I'll take off my stockings" (suits the action). - - _Wolf_--"Your feet are too dirty." - - _Shepherd_--"I'll cut my feet off" (pretends to cut them off). - - (Milder version, "I'll wash my feet.") - - _Wolf_--"Then the blood'll run about." - - (Milder version, "Then they'll wet my carpet.") - - _Shepherd_--"I'll tie up my feet." - - (Or, "I'll wipe my feet") - - _Wolf_---"Well, now you may go up." - - _Shepherd_--"I smell my sheep." - -The Shepherd then goes to one child, pretends to taste--using fingers of -both hands as though holding a spoon and fork--on the top of the child's -head, saying, "That's my sheep," "That's Tuesday," &c., till he comes to -the end of the row, then they all shout out and rush home to the fold, -the Wolf with them. A fresh Shepherd and Wolf are chosen, and the game -starts once more.--Cornwall (Miss I. Barclay). - -One player is chosen to be the Shepherd, another the Thief, and the rest -the sheep, who are arranged in a long row. The Shepherd pretends to be -asleep; the Thief takes away one of the sheep and hides it; he then -says-- - - _Thief_--"Shepherdy, shepherdy, count your sheep!" - - _Shepherd_--"I can't come now, I'm fast asleep." - - _Thief_--"If you don't come now, they'll all be gone, - So shepherdy, shepherdy, come along!" - -The Shepherd counts the sheep, and missing one, asks where it is gone. -The Thief says, "It is gone to get fat!" The Shepherd goes to sleep -again, and the same performance is repeated till all the sheep are -hidden; the Shepherd goes in search of them, and when found they join -him in the pursuit of the Thief.--Oswestry (Burne's _Shropshire -Folk-lore_, p. 520). - -Mr. Northall (_Folk Rhymes_, p. 391) gives a version from Warwickshire, -and says he believes the Shepherd's dog to be the true thief who hides -his propensity in the dialogue-- - - Bow, wow, wow, What's the matter now? - A leg of a louse came over my house, - And stole one of my fat sheep away. - -The game is played as in Shropshire. The dialogue in the Cornish game is -similar to that of "Witch." See "Wolf." - - -Shepherds - -One child stands alone, facing the others in a line opposite. The single -child shouts, "Shepherds, shepherds, give warning." The others reply, -"Warn away! warn away!" Then she asks, "How many sheep have you got?" -They answer, "More than you can carry away." She runs and catches -one--they two join hands and chase the rest; each one, as caught, -joining hands with the chasers until all are caught.--Liverpool (Mr. C. -C. Bell.) See "Stag," "Warney." - - -Shinney, or Shinty, or Shinnops - -A writer in _Blackwood's Magazine_, August 1821, p. 36, says: The boys -attempt to drive with curved sticks a ball, or what is more common, part -of the vertebral bone of a sheep, in opposite directions. When the -object driven along reaches the appointed place in either termination, -the cry of hail! stops the play till it is knocked off anew by the boy -who was so fortunate as to drive it past the gog. In the Sheffield -district it is played as described by Halliwell. During the game the -boys call out, "Hun you, shin you." It is called Shinny in -Derbyshire.--Addy's _Sheffield Glossary_. Halliwell's description does -not materially differ from the account given above except that when the -knur is down over the line it is called a "bye."--(_Dictionary_). In -_Notes and Queries_, 8th series, viii. 446; ix. 115 _et seq._, the game -is described as played in Lincolnshire under the name of "Cabsow," which -perhaps accounts for the Barnes game of Crab-sowl. - -In Perthshire it is described as a game in which bats somewhat -resembling a golf club are used. At every fair or meeting of the country -people there were contests at racing, wrestling, putting the stone, &c., -and on holidays all the males of a district, young and old, met to play -at football, but oftener at shinty.--_Perthshire Statistical Account_, -v. 72; Jamieson's description is the same. - -Mactaggart's _Gallovidian Encyclopaedia_ says: A game described by Scotch -writers by the name of Shintie; the shins, or under parts of the legs, -are in danger during the game of being struck, hence the name from -shin.--Dickinson, _Cumberland Glossary_, mentions Shinny as a boyish -game, also called Scabskew, catty; it is also the name of the -crook-ended stick used in the game. Patterson, _Antrim and Down -Glossary_, under name Shinney, says, This game is played with shinneys, -_i.e._, hooked sticks, and a ball or small block of wood called the -"Golley," or "Nag." - -In London this game is called Hockey. It seems to be the same which is -designed _Not_ in Gloucestershire; the name being borrowed from the -ball, which is made of a knotty piece of wood.--Grose's _Glossary_. - -It has been said that Shinty and Hockey differ in this respect, that in -the latter two goals are erected, each being formed by a piece of stick -with both ends stuck in the ground. The players divide into two parties; -to each of these the care of one of the goals belongs. The game consists -in endeavouring to drive the ball through the goal of the opposite -party.--_Book of Sports_ (1810), pp. 11-13. But in Shinty there are also -two goals, called hails; the object of each party being to drive the -ball beyond their own hail, but there is no hole through which it must -be driven. The ball, or knot of wood, is called Shintie. - -See "Bandy," "Camp," "Chinnup," "Crab-sowl," "Doddart," "Hockey," -"Scrush." - - -Ship - -A boy's game. It is played in two ways--(1) Of a single character. One -boy bends down against a wall (sometimes another stands pillow for his -head), then an opponent jumps on his back, crying "Ships" simply, or -"Ships a-sailing, coming on." If he slips off, he has to bend as the -other; but if not, he can remain as long as he pleases, provided he does -not laugh or speak. If he forgets to cry "Ships," he has to bend down. -(2) Sometimes sides are chosen; then the whole side go down heads and -tails, and all the boys on the other side have to jump on their backs. -The game in each case is much the same. The "naming" was formerly "Ships -and sailors coming on."--Easther's _Almondbury Glossary_. Mr. H. Hardy -sends an account from Earls Heaton, which is practically the same as -these. - - -Ship Sail - -A game usually played with marbles. One boy puts his hand into his -trousers pocket and takes out as many marbles as he feels inclined; he -closes his fingers over them, and holds out his hand with the palm down -to the opposite player, saying, "Ship sail, sail fast. How many men on -board?" A guess is made by his opponent; if less he has to give as many -marbles as will make up the true number; if more, as many as he said -over. But should the guess be correct he takes them, and then in his -turn says, "Ship sail," &c.--Cornwall (_Folk-lore Journal_, v. 59). - -See "Handy Dandy," "Neivvie-nick-nack." - - -Shiver the Goose - -A boys' game. Two persons are trussed somewhat like fowls; they then hop -about on their "hunkers," each trying to upset the other.--Patterson's -_Antrim and Down Glossary_. - -See "Curcuddie." - - -Shoeing the Auld Mare - -A dangerous kind of sport. A beam of wood is slung between two ropes, a -person gets on to this and contrives to steady himself until he goes -through a number of antics; if he can do this he shoes the auld mare, if -he cannot do it he generally tumbles to the ground and gets hurt with -the fall.--Mactaggart's _Gallovidian Encyclopaedia_. - - -Shue-Gled-Wylie - -A game in which the strongest acts as the Gled or Kite, and the next in -strength as the mother of a brood of birds; for those under her -protection, perhaps to the number of a dozen, keep all in a string -behind her, each holding by the tail of one another. The Gled still -tries to catch the last of them, while the mother cries "Shue! Shue!" -spreading out her arms to keep him off. If he catch all the birds he -wins the game.--Fife, Teviotdale (Jamieson). - -See "Fox and Geese," "Gled-Wylie," "Hen and Chickens." - - -Shuttlefeather - -This game is generally known as "Battledore and Shuttlecock." The -battledore is a small hand bat, formerly made of wood, then of a skin -stretched over a frame, and since of catgut strings stretched over a -frame. The shuttlecock consists of a small cork into which feathers of -equal size are fixed at even distances. The game may be played by one, -two, or more persons. If by one person, it merely consists of batting up -the shuttlecock into the air for as long a time as possible; if by two -persons, it consists of batting the shuttlecock from one to the other; -if by more than two, sides are chosen, and a game has been invented, and -known as "Badminton." This latter game is not a traditional game, and -does not therefore concern us now. - -Strutt (_Sports and Pastimes_, p. 303) says this is a sport of long -standing, and he gives an illustration, said to be of the fourteenth -century, from a MS. in the possession of Mr. F. Douce. This would -probably be the earliest mention of the game. It appears to have been a -fashionable pastime among grown persons in the reign of James I. In the -_Two Maids of Moreclacke_, 1609, it is said, "To play at Shuttlecock -methinkes is the game now," and among the anecdotes related of Prince -Henry, son to James I., is the following: "His Highness playing at -shittle-cocke with one farr taller than himself, and hittyng him by -chance with the shittle-cock upon the forehead" (_Harl. MS._, 6391). -Among the accounts of money paid for the Earl of Northumberland while he -was prisoner in the Tower for supposed complicity in the Gunpowder Plot, -is an item for the purchase of shuttlecocks (_Hist. MSS. Com._, v. p. -354). - -But the popular nature of the game is not indicated by these facts. For -this we have to turn to the doings of the people. In the villages of the -West Riding the streets may be seen on the second Sunday in May full of -grown-up men and women playing "Battledore and Shuttlefeathers" -(Henderson's _Folk-lore of the Northern Counties_, p. 80). In Leicester -the approach of Shrove Tuesday (known amongst the youngsters as -"Shuttlecock Day") is signalised by the appearance in the streets of a -number of children playing at the game of "Battledore and Shuttlecock." -On the day itself the streets literally swarm with juveniles, and even -grown men and women engage in the pastime. Passing through a by-street -the other day I heard a little girl singing-- - - Shuttlecock, shuttlecock, tell me true - How many years have I to go through? - One, two, three, four, &c. - ---_Notes and Queries_, 3rd series, iii. 87. - -The occurrence of this rhyme suggests that there is some sort of -divination in the oldest form of the game, and it appears to me that the -origin of the game must be sought for among the ancient practices of -divination. An example is found among the customs of the children of -Glamorganshire during the cowslip season. The cowslip heads are strung -on a piece of thread and tied into a "posty," and the play is to throw -it up a tolerable height, catching it on the distended palm with a blow -that sends it up again, while the player sings:-- - - Pisty, posty, four and forty, - How many years shall I live? - One, two, three, four, &c. - -Of course, if it falls to the ground uncaught, or even if caught in the -clenched hand, there is an end of the player's "life." There is a good -deal of emulation amongst the children as to who shall live the longest -(_Notes and Queries_, 3rd ser., iii. 172). Miss Burne (_Shropshire -Folk-lore_, p. 530) mentions the same custom, giving the rhyme as-- - - Toss-a-ball, toss-a-ball, tell me true - How many years I've got to go through, - -and she says the cowslip is thence called a "tissy-ball." In this custom -we have no artificial aids to form a game, but we have a significant -form of divination from natural flowers, accompanied by a rhyming -formula exactly parallel to the rhymes used in the Leicestershire game -of "Shuttlecock," and I conclude therefore that we have here the true -origin of the game. This conclusion is confirmed when it is found that -divinatory verses generally accompany the popular form of the game. - -At Wakefield the children playing "Battledore and Shuttlecock" take it -in turn, and say the following sentences, one clause to each bat, and -repeated until the shuttlecock falls:-- - -1st. This year, next year, long time, never. - -2nd. Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday. - -3rd. Tinker, tailor, soldier, sailor, rich man, poor man, beggar-man, -thief. - -4th. Silk, satin, cotton, rags. - -5th. Coach, carriage, wheelbarrow, donkey-cart.--Miss Fowler - -At Deptford the rhymes were-- - - Grandmother, grandmother, - Tell me the truth, - How many years have I been to school? - One, two, three, &c. - - Grandmother, grandmother, - Tell me no lie, - How many children - Before I die? - One, two, three, &c. - -In the same way the following questions are put and answered:-- - - How old am I? - How long am I going to live? - How many children shall I have? - - Black currant, - Red currant, - Raspberry tart, - Tell me the name - Of my sweetheart. - A, B, C, D, &c. - -Tinker, tailor, soldier, sailor, potter's boy, flour boy, thief. - -Silk, satin, cotton, muslin, rags. - -Coach, carriage, wheelbarrow, dungcart. - -On their buttons they say: "Bought, given, stolen," to show how -acquired.--Miss Chase. - -In London the rhymes were-- - - One, two, buckle my shoe, - Three, four, knock at the door, - Five, six, pick up sticks, - Seven, eight, lay them straight, - Nine, ten, a good fat hen, - Eleven, twelve, ring the bell, - Thirteen, fourteen, maids a courting, - Fifteen, sixteen, maids in the kitchen, - Seventeen, eighteen, mistress waiting, - Nineteen, twenty, my plate's empty. - - One, two, three, four, - Mary at the cottage door, - Eating cherries off a plate, - Five, six, seven, eight. - - Up the ladder, down the wall, - A twopenny loaf to serve us all; - You buy milk and I'll buy flour, - And we'll have pudding in half an hour. - One, two, three, four, five, six, &c. - -This year, next year, some time, never, repeated. - -A, B, C, D, E, &c., repeated for the initial letter of the future -husband's name. - -Tinker, tailor, soldier, sailor, apothecary, ploughboy, thief, for -future husband's vocation. - -Monday, Tuesday, &c., for the wedding day. - -Silk, satin, cotton, rags, for the material of the wedding gown. - -Coach, carriage, wheelbarrow, dungcart, for conveyance on wedding day. - -Big house, little house, pigsty, barn, for future home.--(A. B. Gomme.) - -It will be seen that many of these divination formulae are used in other -connections than that of "Shuttlecock," but this rather emphasises the -divinatory character of the game in its original form.--See "Ball," -"Teesty-tosty." - - -Shuvvy-Hawle - -A boys' game at marbles. A small hole is made in the ground, and marbles -are pushed in turn with the side of the first finger; these are won by -the player pushing them into the shuvvy-hawle.--Lowsley's _Berkshire -Glossary_. - - -Silly Old Man - -[Music] - ---Leicester (Miss Ellis). - -[Music] - ---Monton, Lancashire (Miss Dendy). - - I. Silly old man, he's all alone, - He wants a wife and can't get one; - Round and round and choose a good one, - Or else choose none. - - This young couple are married together, - Their fathers and mothers they must obey; - Love one another like sister and brother, - And down on their knees and kiss one another. - ---Leicester (Miss Ellis). - - II. Silly old man, he walks alone, - He walks alone, he walks alone; - Silly old man, he walks alone, - He wants a wife and can't get one. - - All go round and choose your own, - Choose your own, choose your own; - All go round and choose your own, - And choose a good one or else choose none. - - Now young couple you're married together, - Married together, married together; - Now young couple you're married together, - Your father and mother you must obey. - So love one another like sister and brother, - And now young couple pray kiss together. - ---Lancashire (_Notes and Queries_, 5th series, iv. 157). - - III. Silly old maid (_or_ man), she walks alone, - She walks alone, she walks alone; - Silly old maid, she walks alone, - She wants a man (_or_ wife) and she can't get one. - - Go around and choose your own, - Choose your own, choose your own; - Go around and choose your own, - And take whoever you like in. - - Now these two are married together, - Married together, married together; - Now these two are married together, - I pray love, kiss again. - ---Isle of Man (A. W. Moore). - - IV. Here's a silly ould man that lies all alone, - That lies all alone, that lies all alone; - Here's a silly ould man that lies all alone, - He wants a wife and he can get none. - - Now young couple you're married together, - You're married together, you're married together; - You must obey your father and mother, - And love one another like sister and brother. - I pray, young couple, you'll kiss together. - ---Carleton's _Traits and Stories of the Irish Peasantry_, p. 107. - - V. Silly old man, he walks alone, - Walks alone, walks alone; - Silly old man, he walks alone, - Wants a wife and he canna get one. - - All go round and choose your own, - Choose your own, choose your own; - All go round and choose your own, - Choose a good one or let it alone. - - Now he's got married and tied to a peg, - Tied to a peg, tied to a peg; - Now he's got married and tied to a peg, - Married a wife with a wooden leg. - ---Monton, Lancashire (Miss Dendy). - - VI. Silly old maid, she lives alone, - She lives alone, she lives alone; - [Silly old maid, she lives alone,] - Wants a husband but can't get one. - - So now go round and choose your own, - Choose your own, choose your own; - Now go round and choose your own, - Choose the very one you love best. - - Now young couple, you're married for ever, - Your father and mother you must obey; - Love another like sister and brother, - And now young couple, pray kiss together. - ---Dublin (Mrs. Lincoln). - -(_c_) The children form a ring, joining hands. A child, usually a boy, -stands in the middle. The ring dances round and sings the verses. The -boy in the centre chooses a girl when bidden by the ring. These two then -stand in the centre and kiss each other at the command. The boy then -takes a place in the ring, and the girl remains in the centre and -chooses a boy in her turn. In the Dublin and Isle of Man versions a girl -is first in the centre; in the Manx version (A. W. Moore) the two -children hold hands when in the centre. - -(_d_) In the _Traits and Stories of the Irish Peasantry_, Mr. Carleton -gives this game as one of those played by young people of both sexes at -funeral wakes. It is played in the same way as the game now is; boys and -girls stand alternately in a ring holding hands, choosing each other in -turn, and kissing. The other versions do not differ materially from each -other, except that the Lancashire version described by Miss Dendy has -evidently been corrupted quite lately, because a purer form is quoted -from the same county in _Notes and Queries_. The game seems to be one of -the group of marriage games arising from the fact that at any gathering -of people for the purpose of a ceremonial, whether a funeral or a -festival, it was the custom to form matrimonial alliances. The words are -used for kiss-in-the-ring games, and also in some marriage games when -the last player is left without a partner. - - -Skin the Goatie - -One boy takes his stand in an upright position at a wall. Another boy -stoops with his head in the breast of the one standing upright. A third -boy jumps stride-leg on his back, and tries to "crown," _i.e._, put his -hand on the head of the boy at the wall. The boy on whose back he is -tries every means by shifting from side to side, and by throwing up his -back, to prevent him from doing so, and to cast him off. If he succeeds -in doing so, he takes his stand behind the stooping boy in the same -position. Another boy then tries to do the same thing over the two -stooping boys. If he succeeds in crowning the standing boy, he takes his -station at the wall. If not, he takes his stand behind the two stooping -boys. The game goes on till a boy "crowns" the one standing at the -wall.--Banchory (Rev. W. Gregor). - -See "Saddle the Nag." - - -Skipping - -Strutt says (_Sports_, p. 383), "This amusement is probably very -ancient. Boys often contend for superiority of skill in this game, and -he who passes the rope about most times without interruption is the -conqueror. In the hop season a hop-stem, stripped of its leaves, is used -instead of a rope, and, in my opinion, it is preferable." On Good Friday -on Brighton beach the fisher folk used to play at skipping, six to ten -grown-up people skipping at one rope. - -Apart from the ordinary, and probably later way of playing, by one child -holding a rope in both hands, turning it over the head, and either -stepping over it while running, or standing still and jumping until the -feet catch the rope and a trip is made, skipping appears to be performed -in two ways, jumping or stepping across with (1) more or less -complicated movements of the rope and feet, and (2) the ordinary jumping -over a turned rope while chanting rhymes, for the purpose of deciding -whether the players are to be married or single, occupation of future -husband, &c. - -Of the first class of game there are the following variants:-- - -"Pepper, salt, mustard, cider, vinegar."--Two girls turn the rope slowly -at first, repeating the above words, then they turn it as quickly as -possible until the skipper is tired out, or trips. - -"Rock the Cradle."--In this the holders of the rope do not throw it -completely over, but swing it from side to side with an even motion like -the swinging of the pendulum of a clock. - -"Chase the Fox."--One girl is chosen as a leader, or fox. The first runs -through the rope, as it is turned towards her, without skipping; the -others all follow her; then she runs through from the other side as the -rope is turned from her, and the others follow. Then she runs in and -jumps or skips once, and the others follow suit; then she skips twice -and runs out, then three times, the others all following in turn until -one trips or fails. The first one to do this takes the place of one of -the turners, the turner taking her place as one of the skippers. - -"Visiting."--One girl turns the rope over herself, and another jumps in -and faces her, while skipping in time with the girl she visits. She then -runs out again without stopping the rope, and another girl runs in. - -"Begging."--Two girls turn, and two others run and skip together side by -side. While still skipping they change places; one says, as she passes, -"Give me some bread and butter;" the other answering, "Try my next door -neighbour." This is continued until one trips. - -"Winding the Clock."--Two turn the rope, and the skipper counts one, -two, three, up to twelve, turning round each time she jumps or skips. - -"Baking Bread."--Two girls turn, and another runs in with a stone in her -hand, which she puts down on the ground, and picks up again while -skipping. - -"The Ladder."--The girls run in to skip, first on one foot and then the -other, with a stepping motion. - -Two other games are as follows:--(1.) Two ropes are used, and a girl -holds either end in each hand, turning them alternately; the skipper has -to jump or skip over each in turn. When the rope is turned inwards, it -is called "double dutch," when turned outwards, "French dutch." (2.) The -skipper has a short rope which she turns over herself, while two other -girls turn a longer rope over her head. - -The second class of games consists of those cases where the skipping is -accompanied by rhymes, and is used for the purpose of foretelling the -future destiny of the skipper. These rhymes are as follows (all -collected by Miss Chase):-- - - Ipsey, Pipsey, tell me true - Who shall I be married to? - A, B, C, &c. - -Letters--initial of one to whom you'll be married.--Hurstmonceux, -Sussex. - - Half pound tuppeny rice, - Half a pound of treacle, - Penny 'orth of spice - To make it nice, - Pop goes the weazle. - ---Crockham Hill, Kent. - - When I was young and able, - I sat upon the table; - The table broke, - And gave me a poke, - When I was young and able. - -[The children now add that when singing - - Pass the baker,[8] - Cook the tater, - -is the full couplet.]--Deptford. - - Every morning at eight o'clock, - You all may hear the postman's knock. - 1, 2, 3, 4. There goes "Polly." - -Girl named running out, and another girl running in -directly.--Marylebone. - - Up and down the ladder wall, - Ha'penny loaf to feed us all; - A bit for you, and a bit for me, - And a bit for Punch and Judy. - ---Paddington Green. - -As they run thus, each calls in turn, "Red, yellow, blue, white." Where -you are tripped, the colour stopped on marks that of your wedding -gown.--Deptford. - -Each of the two girls turning the rope takes a colour, and as the line -of children run through, they guess by shouting, "Red?" "Green?" When -wrong nothing happens; they take the place of turner, however, if they -hit upon her colour. Another way is to call it "Sweet stuff shop," or -"green grocers," and guess various candies and fruits until they choose -right.--Deptford. - -When several girls start running in to skip, they say, - - "All in, a bottle of gin," - -and as they leave at a dash, they cry-- - - "All out, a bottle of stout." - -While "in" jumping, the turners time the skippers' movements by a sing -song. - - Up and down the city wall, - Ha'penny loaf to feed us all; - I buy milk, you buy flour, - You shall have _pepper_ in half an hour. - ---Deptford. - -At pepper turn swiftly. - - Up and down the ladder wall, - Penny loaf to feed us all; - A bit for you, and a bit for me, - And a bit for all the familee. - ---Marylebone. - - Up and down the city wall, - In and out "The Eagle," - That's the way the money goes, - Pop goes the weazel. - ---From "A London Maid." - - Dancing Dolly had no sense, - For to fiddle for eighteenpence; - All the tunes that she could play, - Were "Sally get out of the donkey's way." - ---Deptford. - - My mother said - That the rope must go - Over my head. - ---Deptford. - - Andy Pandy, - Sugardy candy, - French almond - Rock. - ---Deptford. - - B-L-E-S-S-I-N-G. - Roses red, roses white, - Roses in my garden; - I would not part - With my sweetheart - For tuppence hapenny farthing. - -A, B, C, &c., to X, Y, Z.--Deptford. - - Knife and fork, - Lay the cloth,[9] - Don't forget the salt, - Mustard, vinegar, - Pepper! - ---Deptford. - -They sometimes make a girl skip back and forth the long way of the rope, -using this dialogue-- - -Girl skipping.--"Father, give me the key." - -Father.--"Go to your mother." - -Girl jumping in opposite direction.--"Mother, give me the key." - -Mother.--"Go to your father." - - Lady, lady, drop your handkerchief, - Lady, lady, pick it up. - -Suiting action to the words, still skipping. - -Rhyme to time the jumps-- - - Cups and saucers, - Plates and dishes, - My old man wears - Calico breeches. - - [8] To change from left to right side, crossing a second skipper, is - called "Pass the Baker." - - [9] In Marylebone add here, "Bring me up a leg of pork." - - -Skyte the Bob - -This game might be played by two, three, or more. A small stone of a -squarish form, called the "bob," was placed on a level piece of ground. -On this stone each player placed an old button, for buttons were the -stakes. A point was fixed several yards from the stone, and a line was -drawn. Along this line, "the stance," the players took their stand, each -holding in his hand a small flat stone named "the pitcher." This stone -was thrown so as to strike "the bob" and make the buttons fall on "the -pitcher," or nearer it than "the bob." The button or buttons that lay -nearer "the pitcher" than "the bob" fell to the lot of the player. The -second player did the same, but he had to guard against driving any of -the buttons nearer the first player's stone. If a button was nearer his -stone than "the bob," or the first player's stone, he claimed it. The -third player followed the same course if all the buttons had not been -won by the two players. If the buttons were not all won at the first -throw, the first player had a second chance, and so on till all the -buttons were won. If two played, if each won a button, they alternately -began, but if one gained the two buttons, the other began. When three -played, if one had two for his share he played last in the following -game, and the one that had nothing played first. If the players, when -three played, were experts, the one whose lot it was to play second, who -was called the "poust," lost heavily, and to be "pousted" was always -looked upon as a misfortune, for the reason that the first player often -by the first throw gained the whole stake, and then in the following -game the last player became the first, and the gainer in the foregoing -game became the last. If this player carried off the whole stake, he in -the next game took the last place, and the last took the first, and so -between the two good players the "poust" had no chance.--Aberdeenshire -(Rev. W. Gregor).--See "Buttons." - - -Smuggle the Gig - -Mr. Ballantyne describes the game as played in his young days at Biggar -as follows:--Two boys would each select his own side. "First pick" was -decided by lot. A third boy took two straws, one shorter than the other, -and held them between his finger and thumb in such a way that only -equal lengths were visible. Each leader drew a straw. The one who drew -the longest had "first pick" of all the intended players, the other -leader had the next; alternate choice was then made by them until both -sides were complete, and were ranged by their leaders. Then lots were -again drawn as to which side should go out first. The side going out had -to show the Gig; anything easily carried in the hand sufficed. The -"outs" went out from the den twenty or thirty yards, sometimes round the -end of a house, to "smuggle the Gig"--that is, to give one of their -number the Gig to carry, care being taken that the "ins" did not know -who had it. During this time the leader of the ins called "out" in a -loud voice-- - - Zimerie, twaerie, hickeri seeven, - Aucherie, daucherie, ten and eleven; - Twall ran musha dan - Tweedledum, twadledum, twenty-one. Time's up! - -Outs had all to appear by "Ready" when the chase began. Boundary limits -were fixed, beyond which outs could not run and ins could not stand, -within a fixed distance of the den. This den was a place marked by a -mark or rut in the ground, about four feet by six feet. The outs -endeavoured (particularly the one carrying the Gig) to get into the den -before any one could catch and "crown" him. The pursued, when caught, -was held by the pursuer, his cap taken off, and the palm of the hand was -placed on the crown of his head. As he did so the pursuer would say, -"Deliver up the Gig." If he had it not, the pursuer went off after -another player. If he had the Gig, and succeeded in getting into the den -without being "crowned," outs won the game; but if the Gig was caught -and "crowned," ins won. - -At Fraserburgh the players are divided equally. A spot is marked off, -called the Nestie. Any small object known to all is chosen as the Gig. -One half of the players receive the Gig and retire, so as not to be seen -distinctly by the other half that remains in and near the Nestie. The -Gig is concealed on the person of one of the players that retire. When -everything is ready those having the Gig move towards the Nestie, and -those in the Nestie come to meet them. The aim is to catch the player -who has the Gig before reaching the Nestie. If this is done the same -players again hide the Gig, but if the Gig is discovered, the players -discovering it now hide it. - -At Old Aberdeen sides are chosen, then a small article (such as a knife) -is made the _gig_. Then one side, determined by a toss, goes out and -smuggles the gig and cries out, "Smuggle the gig." Then the other side -rushes in and tries to catch the one that has the "gig." If the one that -has the gig is free, the same side goes out again.--Rev. W. Gregor. - -See "Gegg." - - -Snail Creep - -In Mid-Cornwall, in the second week of June, at St. Roche, and in one or -two adjacent parishes, a curious dance is performed at their annual -"feasts." It enjoys the rather undignified name of "Snail Creep," but -would be more properly called the "Serpent's Coil." The following is -scarcely a perfect description of it:--"The young people being all -assembled in a large meadow, the village band strikes up a simple but -lively air and marches forward, followed by the whole assemblage, -leading hand-in-hand (or more closely linked in case of engaged -couples), the whole keeping time to the tune with a lively step. The -band, or head of the serpent, keeps marching in an ever-narrowing -circle, whilst its train of dancing followers becomes coiled around it -in circle after circle. It is now that the most interesting part of the -dance commences, for the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter movement with almost military precision."--W. C. Wade (_Western -Antiquary_, April 1881). - -A game similar to the above dance is often played by Sunday school -children in West Cornwall, at their out-of-door summer treats, called by -them "Roll tobacco." They join hands in one long line, the taller -children at their head. The first child stands still, whilst the others -in ever-narrowing circles dance around singing until they are coiled -into a tight mass. The outer coil then wheels sharply in a contrary -direction, followed by the remainder, retracing their steps.--Courtney's -_Cornish Feasts and Folk-lore_, p. 39. A Scottish game, "Row Chow -Tobacco," described by Jamieson, is played in the same way, the boy at -the extremity being called the "Pin." A clamorous noise succeeds -the "winding up," the players crying out "Row Chow Tobacco" while -giving and receiving the fraternal hug. The words are pronounced -Rowity-chowity-bacco. The naming of this game in connection with tobacco -is curious. It is undoubtedly the same as "Snail Creep." I am inclined -to think that all these games are connected with an ancient form of -Tree-worship, and that the analogy of tobacco-rolling is quite modern. - -See "Bulliheisle," "Eller Tree," "Tuilyie-waps," "Wind up the Bush -Faggot." - - -Snapping Tongs - -See "Musical Chairs." - - -Snatch Apple - -A game similar to "Bob Cherry," but played with an apple.--Halliwell's -_Dictionary_. - - -Snatch Hood - -An undescribed boy's game mentioned in a statute of Edward III.'s -time.--Halliwell's _Dictionary_. - - -Soldier - - I am an old soldier, I come from the war, - Come from the war; - I am an old soldier, I come from the war, - And my age it is sixty-and-three. - - I have but one son and he lies alone, lies alone, - I have but one son and he lies alone; - And he's still making moan for lying alone. - - Son, go choose a wife of your own, - Choose a good one or else choose none, - Or bring none home to me. - - Now they're got married, they're bound to obey, - Bound to obey in every degree; - And as you go round kiss all but me. - ---Belfast, Ireland (W. H. Patterson). - -The players form a ring and sing the first three verses. Then one of the -players chooses a girl from the ring. The first three verses are again -sung until the whole ring is arranged in couples; then the first couple -kneels in the middle, and the rest dance round them singing the marriage -formula; then the second couple, and so on, each couple kissing. - - -Solomon - -The players knelt in a line; the one at the head, in a very solemn tone, -chaunted, "Solomon had a great dog;" the others answered in the same -way, "Just so" (this was always the refrain). Then the first speaker -made two or three more ridiculous speeches, ending with, "And at last -this great dog died, and fell down," giving at the same time a violent -lurch against his next neighbour, who, not expecting it, fell against -his, and so on, to the end of the line.--Cornwall (_Folk-lore Journal_, -v. 50). - -See "Obadiah," "Quaker's Wedding." - - -Sort'em-billyort'em - -A Lancashire game, very similar to "Hot Peas and Bacon."--Halliwell's -_Dictionary_. - - -Sow-in-the-Kirk - -A large hole is made in the ground, surrounded by smaller ones, -according to the number of the players, every one of whom has a shintie, -or hooked stick. The middle hole is called the kirk. He who takes the -lead in the game is called the sow-driver. His object is to drive a -small piece of wood or bone, called the sow, into the large hole or -kirk; while that of his opponents, every one of whom keeps his shintie -in one of the smaller holes, is to frustrate his exertions by driving -back the sow. If he succeeds, either in knocking it into one of the -small holes, while one of his antagonists is in the act of striking it -back, he is released from the drudgery of being driver. In the latter -case, the person whose vacancy he has occupied takes the servile station -which he formerly held.--Lothian (Jamieson). This is said to be the same -game with "Church and Mice" in Fife. Jamieson's description is not very -lucid. It appears that each player must hold his shintie with its end in -his hole, and it is only when he takes it out to prevent the sow-driver -getting his sow into or towards the kirk, that the sow-driver has the -chance of putting the sow into the player's hole, and so causing that -player to take the place of sow-driver. - -See "Kirk the Gussie." - - -Span Counter - -A common game among boys. "You shall finde me playing at Span -Counter."--Dekker's _Northward Hoe_. Toone, _Etymological Dictionary_, -mentions this as a juvenile game played with counters. - - Boys shall not play - At span counter or blow pipe. - ---Donne (_Satire_ iv.). - -Dr. Grosart, in noting this passage, says, "I rather think the game is -still played by boys when they directly, or by rebound, endeavour to -play their button or marble into a hole." Strutt briefly notes the game -as being similar to "Boss Out."--_Sports_, p. 384. Halliwell -(_Dictionary_) simply gives the quotation from Donne's Poems, p. 131, -mentioning the game. - -See "Boss Out." - - -Spang and Purley - -A mode resorted to by boys of measuring distances, particularly at the -game of marbles. It means a space and something more.--Brockett's _North -Country Words_. - - -Spangie - -A game played by boys with marbles or halfpence. A marble or halfpenny -is struck against the wall. If the second player can bring his so near -that of his antagonist as to include both within a _span_, he claims -both as his.--Jamieson. - -This is the same game as "Banger," "Boss Out." Probably the Old English -game of "Span Counter," or "Span Farthing," was originally the -same.--See Johnson's _Dictionary_. - - -Spannims - -A game at marbles played in the eastern parts of England.--Halliwell's -_Dictionary_. - - -Spawnie - -The same game as "Spangie."--Keith (Rev. W. Gregor). - - -Spinny-Wye - -The name of a game among children at Newcastle-upon-Tyne. I suspect this -is nearly the same with "Hide and Seek." "I spye" is the usual -exclamation at a childish game called "Hie, spy, hie."--Brand, ii. 442. - - -Splints - -A game at marbles, in which they are dropped from the hand in -heaps.--Easther's _Almondbury Glossary_. - - -Spurn point - -An old game (undescribed) mentioned in the play _Apollo Shroving_, -London, 1627, p. 49. - - -Spy-arm - -A game of Hide-and-Seek, with this difference, that when those are found -who are hid the finder cries Spy-arm; and if the one discovered can -catch the discoverer, he has a ride upon his back to the -dools.--Mactaggart's _Gallovidian Encyclopaedia_. - -See "Hide and Seek" (1). - - -Stacks - -A stack in the centre of the stackyard was selected, and round a part of -one side a rut was marked in the earth usually by the toe-bit of the -ploughman's boot. This enclosure, not over four feet wide at the -broadest part, was called the den. One of the players, selected to be -the catcher, stood within this den, and when all the players were ready -turned his face to the stack, and counted out loud the numerals from one -to twenty, the last with a great shout. During the count the players ran -round the stacks out of sight, but no hiding nor leaving the stackyard, -this was "not fair." When twenty was heard one would shout back "Ready!" -Then out came the catcher. He was not permitted to stand in or near the -den, but went out among the stacks and caught as many players as he -could before they reached the den. The great aim of those "out" was to -get into the den unseen and untouched. If all the players got in, then -the catcher had to try again; but when all were caught (which was seldom -or never), the last one caught was catcher for the next game. When one -player was touched by the catcher he or she had to remain in the den -till the rest were all in.--Biggar (Wm. Ballantyne). - -Mr. Ballantyne says, "This game usually ended in a promiscuous -'catching' and 'touching' game, each lad trying to catch the lass he -liked best, and some lads, for the fun of the thing, would try and get a -particular girl first, her wishes and will not being considered in the -matter; and it seemed to be an unwritten law among them for the lass to -'gang wi' the lad that catched her first,' yet I have known lassies take -this opportunity to favour the lad they preferred. It was the correct -thing for the people to visit each other's farms in rotation to play -'the stacks.'" This game was played when all the crops of grain were in -the stackyard under thack and rape (?nape). Then it was customary for -the servant lads and lasses of neighbours' "ferm toons" to gather -together and play at this game. Mr. Ballantyne considers it was the -third of three festivals formerly held at the ingathering of the crops. - -See "Barley Break." - - -Stag - -A boys' game. One boy issues forth and tries to "tig" another, -previously saying this nominy, or the first two lines-- - - Stag, stag arony, - Ma' dog's bony, - Them 'at Aw catch - 'Ill ha' to go wi' me. - -When one boy is tigged (or "tug") the two issue forth hand in hand, and -when more, all hand in hand. The other players have the privilege of -breaking the chain, and if they succeed the parties forming it are -liable to be ridden back to the den. At Lepton, where the game was -publicly played, the boundaries were "Billy tour end, Penny Haas end, -and I' Horsin step." So played in 1810, and is still.--Easther's -_Almondbury Glossary_. - -In the Sheffield district it is called "Rag Stag," and is usually -played in the playground, or yard, attached to a school. Any number can -play. A place is chalked out in a corner or angle formed by the walls or -hedges surrounding the playground. This is called the den, and a boy -stands within the den. Sometimes the den is formed by chalking an area -out upon a footpath, as in the game of "Bedlams." The boy in the den -walks or runs out, crying, "Rag-stag, jinny I over, catching," and -having said this he attempts to catch one of the boys in the playground -who have agreed to play the game. Having caught him he takes him back -into the den. When they have got into the den they run out hand-in-hand, -one of them crying, "Rag-stag, jinny I over, touching," whilst the other -immediately afterwards calls out, "Rag-stag, jinny I over, catching." -They must keep hold of each other's hands, and whilst doing so the one -who cried out "Touching" attempts to touch one of the boys in the -playground, whilst the one who cried "Catching" attempts to catch one of -such boys. If a boy is caught or touched, the two boys who came out of -the den, together with their prisoner, run back as quickly as possible -into the den, with their hands separated. If whilst they are running -back into the den any boy in the playground can catch any one of the -three who are running back, he jumps on his back and rides as far as the -den, but he must take care not to ride too far, for when the boys who -are already caught enter the den they can seize their riders, and pull -them into the den. In this case the riders too are caught. The process -is repeated until all are caught.--Addy's _Sheffield Glossary_. - -Another name for the game is "Stag-out." One player is Stag, and has a -place marked out for his bounds. He stands inside, and then rushes out -with his hands clasped together, and endeavours to touch one of the -other players, which being accomplished, he has the privilege of riding -on the boy's back to his bounds again.--_Book of Sports._ In a London -version the hands were held above the head, and joined by interlacing -the thumbs, the fingers being outspread, the boy had to touch another -while in this position. - -In Shropshire it is called "Stag-warning." One boy is chosen Stag; he -runs about the playground with his clasped hands held palms together in -front of him, trying to tick (= touch) others. Each whom he touches -joins hands with him, and they run together in an ever-lengthening -chain, sweeping the playground from end to end, the boys at each end of -the chain "ticking" others with their disengaged hands, till all are -caught but one, who becomes the next "Stag." The Stag gives notice of -his start by exclaiming-- - - Stag-warning, stag-warning, - Come out to-morrow morning! - ---Shrewsbury. - - Stag a-rag a-rorning - Very frosty morning! - What I cannot catch to-night I'll catch to-morrow morning! - ---Chirbury (Burne's _Shropshire Folk-lore_, p. 523). - -The game is mentioned by Mr. Patterson in his _Antrim and Down -Glossary_. Northall's _English Folk Rhymes_, p. 392, gives a -Warwickshire and Staffordshire version, in which the first player -"ticked" or "tagged" becomes Stag when the first game is concluded, all -having been caught. The words used are-- - - Stag aloney, - My long poney, - Kick the bucket over. - -Halliwell (_Dictionary_) also describes the game, and indicates its -origin. The boy chosen for the game clasps his hands together, and, -holding them out, threatens his companions as though pursuing them with -horns, and a chase ensues in which the Stag endeavours to strike one of -them, who then becomes Stag in his turn. Unfortunately, Halliwell does -not, in this instance, give his authority, but if it is taken from the -players themselves, it is a sufficient account of the origin of the -game, apart from the evidence of the name. All this group of games is -evidently to be traced to one original, though in different places the -detail of the game has developed somewhat differently. It evidently -comes down from the time when stags were hunted not so much for sport as -for food. - -See "Chickidy Hand," "Hornie," "Hunt the Stagie," "Shepherds," -"Warney." - - -Stagging - -A man's game. Two men have their ankles tied together and their wrists -tied behind their backs. They then try to knock each other -down.--Patterson's _Antrim Glossary_. - -See "Hirtschin Hairy." - - -Steal the Pigs - -The game represents the stealing of a woman's children and the recovery -of them. The mother, before beginning to wash, disposes of her children -in a safe place. She proceeds to do her washing. While she is busy a -child-snatcher comes and takes away one. The others begin to cry. The -mother hears them crying. She goes and asks the reason of their crying, -and is told that a woman came and took away one of them. She scolds and -beats them all; tells them to be more careful for the time to come, and -returns to her washing. Again the children cry, and the mother goes to -see what is the matter with them, and is told the same thing. She -repeats her admonition and bodily correction, and returns to her work. -This process is repeated till all the children are stolen. After -finishing her washing, she goes to her children and finds the last one -gone. She sets out in search of them, and meets a woman whom she -questions if she had seen her children. She denies all knowledge of -them. The mother persists, and at last discovers all her stolen -children. She demands them back. The stealer refuses, and puts them -behind her and stands on her defence. A tussel takes place. The mother -in the long run rescues her children.--Fraserburgh (Rev. W. Gregor). - -See "Mother, Mother, Pot boils over," "Witch." - - -Stealy Clothes - -See "Scots and English." - - -Steik and Hide - -The game of Hide and Seek.--Aberdeen (Jamieson). - - -Sticky-stack - -A game among young people in running up the face or cut part of a -hay-stack to try who can put in a stick the highest.--Brockett's _North -Country Words_. - - -Sticky Toffey - -Name of a game (undescribed) recorded by the Rev. S. D. Headlam, as -played by Hoxton School children at Hoxton.--_Church Reformer_, 1894. - - -Stiff Police - -A game (undescribed) recorded by the Rev. S. D. Headlam, as played by -Hoxton School children.--_Church Reformer_, 1894. - - -Stik-n Snael (Stick and Snell) - -Game of cat.--Elworthy, _West Somerset Words_. The short stick, pointed -at both ends, is called a snell. - - -Stocks - -A schoolboys' game. Two boys pick a side, and there is one den only, and -they toss to see which side shall keep it. The side which wins the toss -then goes out, and when two boys have got a good distance off they cry -"Stocks." The boys who keep the den run after them to catch them. When -one is caught his capturer counts ten while he holds him (in a more -primitive but less refined state, spat over his head) and cries -_Stocks_. This prisoner is taken into the den. If they are all caught -the other side turns out. But if one of the outer side can manage to run -through the den and cry "Stocks," all the prisoners are relieved, and -can go out again.--Easther's _Almondbury Glossary_. See "Stacks." - - -Stones - -A circle of stones is formed according to the number of players, -generally five or seven each side. One of the out party stands in the -centre of the circle, and lobs at the different stones in rotation; each -hit a player gives all his side must change stations, in some places -going round to the left and in others to the right. The stones are -defended by the hand or a stick, according as a ball or stick is lobbed. -All the players are out if the stone is hit, or the ball or stick -caught, or one of the players is hit while running. In different -counties or places these games are more or less modified.--Dublin, -_Folk-lore Journal_, ii. 264-265. - -Mr. Kinahan, who describes this game, adds a very instructive note, -which is worth quoting:-- - -"These games I have seen played over half a century ago, with a -lob-stick, but of later years with a ball, long before a cricket club -existed, in Trinity College, Dublin, and when the game was quite unknown -in a great part of Ireland. At the same time, they may have been -introduced by some of the earlier settlers, and afterwards degenerated -into the games mentioned above; but I would be inclined to suspect that -the Irish are the primitive games, they having since been improved into -cricket. At the present day these games nearly everywhere are succeeded -by cricket, but often of a very primitive form, the wickets being stones -set on end, or a pillar of stones; while the ball is often wooden, and -very rudely formed." - - -Stool-ball - -The first mention of this game is by Smyth in his _Berkeley -Manuscripts_. In the reign of Elizabeth, the Earl of Leicester, with an -extraordinary number of attendants and multitudes of country people, and -"whom my neighbours parallel to Bartholomew faire in London, came to -Wotton, and thence to Michaelwood Lodge, castinge down part of the -pales, which like a little park then enclosed the Lodge (for the gates -were too narrow to let in his Trayne), and thence went to Wotton Hill, -where hee plaid a match at stoball."--_Gloucestershire County -Folk-lore_, p. 26. - -The earliest description of the game, however, is by Aubrey. He says "it -is peculiar to North Wilts, North Gloucestershire, and a little part of -Somerset near Bath. They smite a ball, stuffed very hard with quills and -covered with soale leather, with a staffe, commonly made of withy, about -three feet and a half long. Colerne down is the place so famous and so -frequented for stobball playing. The turfe is very fine and the rock -(freestone) is within an inch and a halfe of the surface which gives the -ball so quick a rebound. A stobball ball is of about four inches -diameter and as hard as a stone. I do not heare that this game is used -anywhere in England but in this part of Wiltshire and Gloucestershire -adjoining." (Aubrey's _Natural History of Wiltshire_, p. 117; -_Collections for North Wilts_, p. 77). It is no doubt the same game as -Stool-ball, which is alluded to by Herrick in 1648 (_Hesperides_), and -in Poor Robin's Almanack for 1677 (see Halliwell's _Dictionary_). -D'Urfey's _Don Quixote_, written in 1694, alludes to it as follows:-- - - "Down in a vale, on a summer's day, - All the lads and lasses met to be merry; - A match for kisses at stool-ball to play, - And for cakes and ale, and cider and perry." - -_Chorus;_ - - "Come all, great, small, short, tall-- - Away to stool-ball." - -It is also alluded to in Poor Robin's Almanack for 1740: - - "Now milkmaids pails are deckt with flowers, - And men begin to drink in bowers, - The mackarels come up in shoals, - To fill the mouths of hungry souls; - Sweet sillabubs, and lip-lov'd tansey, - For William is prepared by Nancy. - Much time is wasted now away, - At pigeon-holes, and nine-pin play, - Whilst hob-nail Dick, and simpring Frances, - Trip it away in country dances; - At _stool-ball_ and at barley-break, - Wherewith they harmless pastime make." - -It is described by Strutt in _Sports and Pastimes_, p. 103, as a variety -of game more commonly known as "goff" or "bandy ball," the paganica of -the Romans, who also stuffed their balls with feathers. According to Dr. -Johnson, the balls are driven from stool to stool, hence the name. - -In spite of Aubrey's opinion as to the limited range of this game, it -appears to have been pretty generally played. Thus, Roberts' _Cambrian -Antiquities_ says, "Stool-ball, resembling cricket, except that no bats -are used and that a stool was substituted for the wicket, was in my -memory also a favourite game on holydays, but it is now seldom or ever -played. It generally began on Easter Eve" (p. 123). It was also an old -Sussex game. Mr. Parish's account is that it was "similar in many -respects to cricket, played by females. It has lately been revived in -East Sussex by the establishment of stool-ball clubs in many villages. -The elevens go long distances to play their matches; they practise -regularly and frequently, display such perfection of fielding and -wicket-keeping as would put most amateur cricketers to shame. The rules -are printed and implicitly obeyed."--Parish's _Dictionary of Sussex -Dialect_. - -Miss Edith Mendham says of the Sussex game, it is supposed to derive its -name from being played by milkmaids when they returned from milking. -Their stools were (I think) used as wickets, and the rules were as -follows:-- - -1. The wickets to be boards one foot square, mounted on a stake, which, -when fixed in the ground, must be four feet nine inches from the ground. - -2. The wickets to be sixteen yards apart, the bowling crease to be eight -yards from the wicket. - -3. The bowler to stand with one foot behind the crease, and in bowling -must neither jerk nor throw the ball. - -4. The ball to be of that kind known as "Best Tennis," No. 3. - -5. The bats to be of wood, and made the same size and shape as -battledores. - -6. The striker to be out if the ball when bowled hits the wicket, or if -the ball be caught in the _hands_ of any of the opposing side, or if in -running, preparing to run, or pretending to run, the ball be thrown or -touch the wicket before the striker reaches it, and the ball in all -cases must strike the face of the wicket, and in running the striker -must at each run strike the wicket with her bat. - -7. There should be eleven players on each side. - -8. Overs to consist of eight balls. - -Miss F. Hagden, in her short History of Alfriston, Sussex, says, "In the -Jubilee year the game of stool-ball was revived and played in the Tye -field. The rules resemble those of cricket, but the wickets are square -boards on posts; the bowler stands in the centre of the pitch, the bats -used are round boards with a handle. The game in Alfriston seems now to -have died out again, but in many villages there are regular clubs for -the girls," p. 43. It also appears to be a game among Lancashire -children to this day. A stool is used as a wicket, at which it is -attempted to throw the ball; a player stands near the stool, and using -his or her hand as a bat, wards off the blow. If the ball hits the stool -the thrower takes the place at wicket; or if the ball is caught the -catcher becomes the guardian of the stool. Stool-ball, like all ball -games, was usually played at Easter for tansy cakes. Mr. Newell (_Games -and Songs_) says this game is recorded by the second governor of -Massachusetts as being played under date of the second Christmas of the -colony. - -See "Bittle-battle," "Cricket," "Stool-ball." - - -Strik a Licht - -A version of hide and seek. One player is chosen to be "it." The other -players go away to a distance and "show a light," to let "it" understand -they are ready. They then hide, and the first one found has to be "it" -in place of the previous seeker.--Aberdeen (Rev. W. Gregor). - -See "Hide and Seek." - - -Stroke - -A game at marbles, where each player places a certain number on a line -and plays in turns from a distance mark called "scratch," keeping such -as he may knock off.--Lowsley's _Berkshire Glossary_. - - -Stroke Bias - -Brome, in his _Travels over England_, 1700, p. 264, says: "The Kentish -men have a peculiar exercise, especially in the eastern parts, which is -nowhere else used in any other country, I believe, but their own; it is -called 'Stroke Bias,' and the manner of it is thus. In the summer time -one or two parishes convening make choice of twenty, and sometimes more, -of the best runners which they can cull out in their precincts, who send -a challenge to an equal number of racers within the liberties of two -other parishes, to meet them at a set day upon some neighbouring plain; -which challenge, if accepted, they repair to the place appointed, -whither also the county resort in great numbers to behold the match, -when having stripped themselves at the goal to their shirts and drawers, -they begin the course, every one bearing in his eye a particular man at -which he aims; but after several traverses and courses on both sides, -that side, whose legs are the nimblest to gain the first seven strokes -from their antagonists, carry the day and win the prize. Nor is this -game only appropriated to the men, but in some places the maids have -their set matches too, and are as vigorous and active to obtain a -victory." - - -Sun and Moon - -"A kinde of play wherein two companies of boyes holding hands all -on a rowe, doe pull with hard hold one another, till one be -overcome."--Quoted by Halliwell (_Dictionary_), from _Thomasii -Dictionarium_, London, 1644. - - -Sunday Night - - I. Sunday night an' Nancy, oh! - My delight and fancy, oh! - All the world that I should know - If I had a Katey, oh! - - "He! ho! my Katey, oh! - My bonny, bonny Katey, oh! - All the world that I should keep - If I had a Katey, oh!" - ---Liphook, Hants (Miss Fowler). - - II. Sunday night and brandy, O! - My life and saying so, - My life and saying so, - Call upon me Annie, O! - I Annie, O! - Bonnie, bonnie Annie, O! - She's the girl that I should like - If I had an Annie, O! - ---Earls Heaton, Yorks. (H. Hardy). - -(_b_) The children stand in a row with backs against a wall or fence, -whilst one stands out and stepping backwards and forwards to the tune -sings the first verse. Then she rushes to pick out one, taking her by -the hands and standing face to face with her, sings the other verse. -Then the two separate their hands, and standing side by side sing the -first verse over again, taking another girl from the row, and so on -again. - -"Monday night," or "Pimlico," is the name of a singing game mentioned by -the Rev. S. D. Headlam, in _The Church Reformer_, as played by children -in the schools at Hoxton, which he says was accompanied by a kind of -chaunt of a very fascinating kind. - - -Sun Shines - - The sun shines above and the sun shines below, - And a' the lasses in this school is dying in love I know, - Especially (girl's name) she's beautiful and fair; - She's awa wi' (a boy's name) for the curl o's hair. - In comes (girl's name) mother with the glass in her han', - Says--My dearest daughter, I'm glad you're gettin a man, - I'm glad you're gettin a man and a cooper to trade, - And let a' the world say he is a rovin' blade. - ---Fraserburgh (Rev. W. Gregor). - -All sing to "especially," boy chooses girl, and then the two whirl -round, and all sing to the end. - - -Sweer Tree - -Two persons sit down feet to feet and catch a stick with their hands; -then whoever lifteth the other is the strongest.--Mactaggart's -_Gallovidian Encyclopaedia_. - -Compare "Honey pots." - - -Swinging - -Rhymes were said or sung by children and young people when swinging. -They were of the same character, and in many instances the same as those -given in "See-saw" and "Shuttlefeather," and were used formerly for -purposes of divination. The following extract, from the _Pall Mall -Gazette_ of Sept. 19th, 1895, seems to indicate an early notion -connected with swinging. It is taken from one of the articles in that -paper upon Jabez Balfour's diary during his residence in the Argentine -Republic:--"On the 2nd November he (Balfour) mentions a curious Bolivian -custom on All Souls' Day, when 'they erect high swings, and old and -young swing all day long, in the hope that while they swing they may -approach the spirits of their departed friends as they fly from -Purgatory to Paradise.' Two days later he adds: 'I have to-day heard -another explanation of the Bolivian practice of swinging on All Souls' -Day. They swing as high as they can so as to reach the topmost branches -of the trees, and whenever they are thereby able to pull off a branch -they release a soul from Purgatory.'"--_Notes and Queries_, 8th series, -vi. 345. With this may be compared one of the methods and words used -while swinging which I remember playing, namely, that while swinging, -either in a room or garden, the object was to endeavour to touch either -a beam in the ceiling or the top branches of a tree, singing at the same -time a rhyme of which I only recollect this fragment: - - One to earth and one to heaven, - And _this_ to carry my soul to heaven. - -The last was said when the effort was made to touch the ceiling or tree -with the feet.--(A. B. Gomme.) - -Miss Chase has sent me the following rhymes: - - I went down the garden - And there I found a farth'ng; - I gave it to my mother - To buy a little brother; - The brother was so cross - I sat him on the horse; - The horse was so bandy - I gave him a drop (_or_ glass) of brandy; - The brandy was so strong - I set him on the pond; - The pond was so deep - I sent him off to sleep; - The sleep was so sound - I set him on the ground; - The ground was so flat - I set him on the cat; - The cat ran away - With the boy on his back; - And a good bounce [A great push here] - Over the high gate wall. - -Said while swing stops itself:-- - - Die, pussy, die, - Shut your little eye, - When you wake, - Find a cake; - Die, pussy, die. - ---Deptford. - - Wingy, wongy, - Days are longy, - Cuckoo and the sparrow; - Little dog has lost his tail, - And he shall be hung to-morrow. - ---Marylebone. - -The Deptford version is practically the same as known in several parts -of the country, and Mr. Gerish has printed a Norfolk version in -_Folk-lore_ (vi. 202), which agrees down to the line "sent him off to -sleep," and then finishes with-- - - With a heigh-ho! - Over the bowling green. - -When they came to the "heigh-ho" a more energetic push than usual was -given to the occupant of the swing, who was then expected to vacate the -swing and allow another child a turn. Thus the rhyme served as an -allowance of time to each child. - -An amusement of boys in Galloway is described as on the slack rope, -riding and shoving one another on the curve of the rope: they recite -this to the swings-- - - Shuggie show, druggie draw, - Haud the grip, ye canna fa'; - Haud the grup or down ye come, - And danceth on your braid bum. - ---Mactaggart's _Gallovidian Encyclopaedia_. - -Brockett (_North Country Words_) describes as a swing: a long rope -fastened at each end, and thrown over a beam, on which young persons -seat themselves and are swung backwards and forwards in the manner of a -pendulum. - -See "Merritot." - - -Tait - -The Dorset game of "See-saw."--Halliwell's _Dictionary_. - - -Teesty-Tosty - -The blossoms of cowslips collected together tied in a globular form, and -used to toss to and fro for an amusement called "Teesty-Tosty," or -simply sometimes "Tosty."--Somerset (Holloway's _Dict. of -Provincialisms_). - -A writer in _Byegones_ for July 1890, p. 142, says, "Tuswball" means a -bunch. He gives the following rhyme, used when tossing the ball:-- - - Tuswball, tuswball, tell unto me - What my sweetheart's name shall be. - -Then repeating letters of the alphabet until the ball falls, and the -letter last called will indicate the sweetheart's name. - -See "Ball," "Shuttlefeather," "Trip Trout." - - -Teter-cum-Tawter - -The East Anglian game of "See-saw."--Halliwell's _Dictionary_. - - -Tee-to-tum. - -See "Totum." - - -Thimble Ring - - I come with my ringle jingles - Under my lady's apron strings. - First comes summer, and then comes May, - The queen's to be married on midsummer day. - Here she sits and here she stands, - As fair as a lily, as white as a swan; - A pair of green gloves to draw on her hands, - As ladies wear in Cumberland. - I've brought you three letters, so pray you read one, - I can't read one unless I read all, - So pray, Miss Nancy, deliver them all. - ---Sheffield (S. O. Addy). - -A number of young men and women form themselves into an oval ring, and -one stands in the centre. A thimble is given to one of those who form -the ring, and it is passed round from one to another, so that nobody -knows who has it. Then the one who stands in the centre goes to the man -at the top of the oval ring and says, "My lady's lost her gold ring. -Have you got it?" He answers "Me, sir? no, sir." The one in the middle -says, "I think you lie, sir, but tell me who has got it." Then he points -out the one who has the thimble, of which he takes possession, and then -says the above lines. Then the one who was found to have had the thimble -takes the place of the one inside the ring, and the game is repeated. - -Halliwell gives a version of this game under the name of Diamond Ring -(_Nursery Rhymes_, p. 223), but the words used consist only of the -following lines:-- - - My lady's lost her diamond ring, - I pitch upon you to find it. - -In the two following games from Yorkshire and Lincolnshire there are no -words used in rhymes or couplets. - -One child stands in the centre of a ring, which is formed by each member -clasping the wrist of his or her left hand neighbour with the left hand, -thus leaving the right hand free. A thimble is provided, and is held by -one of the players in the right hand. No circular movement is necessary, -but as the tune is sung, the right hand of each member is placed -alternately in that of their right and left hand neighbour, each -performing the action in a swinging style, as if they had to pass the -ring on, and in such a manner, that the one standing in the centre -cannot detect it. The thimble may be detained or passed on just as the -players think fit. The words are the following:-- - - The thimble is going, - I don't know where. - -Varied with - - It's first over here, - -Or - - It's over there, - -as the case may be, or rather may not be, in order to throw the victim -in the centre off the scent.--West Riding of Yorkshire (Miss Bush). - -The players sit in a row or circle, with their hands held palm to palm -in their laps. The leader of the game takes a thimble, and going to -every member of the company in turn, pretends to slip it between their -fingers, or to hide it in their pinafores, saying as she does so--"I -bring you my lady's thimble, you must hold it fast, and very fast -indeed." Whereon each child thus addressed should assume an air of -triumph suitable to the possession of such a treasure. After the whole -party have gone through the farce of receiving the thimble, the girl who -carried it round calls a player from the circle to discover who holds -it. For every wrong guess a fine must be paid. When the searcher -discovers the thimble she begins a new round of the game by taking the -place of leader; and so on, till the accumulation of forfeits is -sufficient to afford amusement in "loosing the tines." The game is -called "Lady's Thimble."--Lincoln, Scawby and Stixwould 76 years ago -(Miss M. Peacock). - -The rhyme used in the Sheffield game is that used in "Queen Anne," but -it appears to have no relevance to this game. - - -Thing done - -A game described by Ben Jonson in his play of _Cynthia's Revels_ (act -iv. scene 1). The passage is as follows:-- - - "PHANTASTE. Nay, we have another sport afore this, of 'A thing done, - and who did it,' &c. - - "PHILANTIA. Ay, good Phantaste, let's have that: distribute the - places. - - "PHANTASTE. Why, I imagine A thing done; Hedon thinks who did it; - Maria, with what it was done; Anaides, where it was done; Argurion, - when it was done; Amorphus, for what cause was it done; you, - Philantia, what followed upon the doing of it; and this gentleman, - who would have done it better. . . ." - -Gifford thinks that this sport was probably the diversion of the age, -and of the same stamp with our modern "Cross Purposes," "Questions," and -"Commands," &c. - - -Thread the Needle - -[Music] - ---Miss Dendy. - -[Music] - ---Harpenden (Miss Lloyd). - - I. Thread my grandmother's needle! - Thread my grandmother's needle! - Thread my grandmother's needle! - Open your gates as wide as high, - And let King George and me go by. - It is so dark I cannot see - To thread my grandmother's needle! - _Who stole the money-box?_ - ---London (Miss Dendy). - - II. Open your gates as wide as I, [high?] - And let King George's horses by; - For the night is dark and we cannot see, - But thread your long needle and sew. - ---Belfast (W. H. Patterson). - - III. Thread the tailor's needle, - The tailor's blind, so he can't see; - So open the gates as wide as wide, - And let King George and his lady pass by. - ---Bocking, Essex (_Folk-lore Record_, iii. 170). - - IV. Thread my grandmother's needle, - Thread my grandmother's needle; - It is too dark we cannot see - To thread my grandmother's needle. - ---Harpenden (Mrs. Lloyd). - - V. Thread the needle, - Thread the needle, - Nine, nine, nine, - Let King George and I pass by. - ---Liphook, Hants (Miss Fowler). - - VI. Open the gates as wide as wide, - And let King George go through with his bride; - It is so dark, we cannot see - To threaddle the tailor's needle. - ---Parish _Dictionary of the Sussex Dialect_. - - VII. Brother Jack, if ye were mine, - I would give you claret wine; - Claret wine's gude and fine-- - Through the needle-e'e, boys! - ---_Blackwood's Magazine_, August 1821. - - VIII. Through the needle-e'e, boys, - One, two, three, boys. - ---Ross-shire (Rev. W. Gregor). - - IX. Hop my needle, burn my thread, - Come thread my needle, Jo-hey. - ---Lincoln (C. C. Bell). - - X. Come thread a long needle, come thread, - The eye is too little, the needle's too big. - ---Hanbury, Staffs. (Miss Edith Hollis). - - XI. Thread the needle thro' the skin, - Sometimes out and sometimes in. - ---Warwickshire, Northall's _Folk Rhymes_, 397. - - XII. Open the gates as wide as the sky, - And let King George and his lady go by. - ---Ellesmere, Burne's _Shropshire Folk-lore_, p. 321. - -(_b._) The children stand in two long rows, each holding the hands of -the opposite child, the two last forming an arch. They sing the lines, -and while doing so the other children run under the raised arms. When -all have passed under, the first two hold up their hands, and so on -again and again, each pair in turn becoming the arch. Mrs. Lloyd -(Harpenden version) says the two first hold up a handkerchief, and the -children all run under, beginning with the last couple. In the London -version (Miss Dendy) the "last line is called out in quite different -tones from the rest of the rhyme. It is reported to have a most -startling effect." The Warwickshire version is played differently. The -players, after passing under the clasped hands, all circle or wind round -one of their number, who stands still. - -(_c._) In some cases the verse, "How many miles to Babylon?" is sung -before the verses for "Thread the needle," and the reference made -(_ante_, vol. i., p. 238) to an old version seems to suggest the origin -of the game. This, at all events, goes far to prove that the central -idea of the game is not connected with the sewing needle, but with an -interesting dance movement, which is called by analogy, Thread the -needle. It is, however, impossible to say whether the verses of this -game are the fragments of an older and more lengthy original, which -included both the words of "How many miles to Babylon" and "Thread the -needle," or whether these two were independent games, which have become -joined; but, on the whole, I am inclined to think that "Thread the -needle," at all events, is an independent game, or the central idea of -an independent game, and one of some antiquity. - -This game is well illustrated by custom. At Trowbridge, in Wilts, a -game, known as "Thread the needle," used to be the favourite sport with -the lads and lasses on the evening of Shrove Tuesday festival. The vocal -accompaniment was always the following:-- - - Shrove Tuesday, Shrove Tuesday, when Jack went to plough, - His mother made pancakes, she didn't know how; - She tipped them, she tossed them, she made them so black, - She put so much pepper she poisoned poor Jack. - ---_Notes and Queries_, 5th series, xi. p. 227. - -At Bradford-on-Avon, as soon as the "pancake bell" rang at eleven A.M., -the school children had holiday for the remainder of the day, and when -the factories closed for the night, at dusk the boys and girls of the -town would run through the streets in long strings playing "Thread the -needle," and whooping and hallooing their best as they ran, and so -collecting all they could together by seven or eight o'clock, when they -would adjourn to the churchyard, where the old sexton had opened the -churchyard gates for them; the children would then join hands in a long -line until they encompassed the church; they then, with hands still -joined, would walk round the church three times; and when dismissed by -the old sexton, would return to their homes much pleased that they -"Clipped the Church," and shouting similar lines to those said at -Trowbridge. - -At South Petherton, in South Somerset, sixty or seventy years ago, it -was the practice of the young folk of both sexes to meet in or near the -market-place, and there commence "Threading the needle" through the -streets, collecting numbers as they went. When this method of recruiting -ceased to add to their ranks, they proceeded, still threading the -needle, to the church, which they tried to encircle with joined hands; -and then, whether successful or not, they returned to their respective -homes. Old people, who remember having taken part in the game, say that -it always commenced in the afternoon or evening of Shrove Tuesday, -"after having eaten of their pancakes." In _Leicestershire County -Folk-lore_, p. 114, Mr. Billson records that it was formerly the custom -on Shrove Tuesday for the lads and lasses to meet in the gallery of the -Women's Ward in Trinity Hospital to play at "Thread the Needle" and -similar games. - -At Evesham the custom is still more distinctly connected with the game, -as the following quotation shows:--"One custom of the town is connected -with a sport called 'Thread my needle,' a game played here by the -children of the town throughout the various streets at sunset upon -Easter Monday, and at no other period throughout the year. The players -cry while elevating their arms arch-wise-- - - Open the gates as high as the sky, - And let Victoria's troops pass by." - ---May's _History of Evesham_, p. 319. - -As all these customs occur in the early spring of the year, there is -reason to think that in this game we have a relic of the oldest sacred -dances, and it is at least a curious point that in two versions -(Bocking and Ellesmere) the Anglo-Saxon title of "Lady" is applied to -the Queen. - -The writer in _Blackwood's Magazine_, who quotes the rhymes as -"immemorial," says: "Another game played by a number of children, with a -hold of one another, or 'tickle tails,' as it is technically called in -Scotland, is 'Through the needle-e'e.'" Moor (_Suffolk Words and -Phrases_) mentions the game. Patterson (_Antrim and Down Glossary_) -gives it as "Thread the needle and sew." Barnes (_Dorset Glossary_) -calls it "Dred the wold woman's needle," in which two children join -hands, and the last leads the train under the lifted arms of the first -two. Holloway (_Dictionary of Provincialisms_) says the children form a -ring, holding each other's hands; then one lets go and passes under the -arms of two who still join hands, and the others all follow, holding -either by each other's hands or by a part of their dress. "At -Ellesmere," Miss Burne says, "this game was formerly called 'Crew Duck.' -It now only survives among little girls, and is only played on a special -day." It is alluded to in _Poor Robin's Almanack_ for 1738: "The summer -quarter follows spring as close as girls do one another when playing at -Thread my needle; they tread upon each other's heels." Strutt calls this -"Threading the Taylor's needle." Newell (_Games of American Children_) -gives some verses, and describes it as played in America. - -See "How many miles to Babylon," "Through the Needle 'ee." - - -Three Days' Holidays - -Two players hold up their joined hands, the rest pass under one by one, -repeating, "Three days' holidays, three days' holidays!" They pass under -a second time, all repeating, "Bumping day, bumping day!" when the two -leaders strike each player on the back in passing. The third time they -say, "Catch, catch, catch!" and the leaders catch the last in the train -between their arms. He has the choice of "strawberries or grapes," and -is placed behind one of the leaders, according to his answer. When all -have been "caught," the two parties pull against each other.--Berrington -(Burne's _Shropshire Folk-lore_, p. 522). - -"Holidays," says Miss Burne, "anciently consisted of three days, as at -Easter and Whitsuntide, which explains the words of this game;" and the -manorial work days were formerly three a week. See "Currants and -Raisins." - - -Three Dukes - -[Music] - ---Madeley, Shropshire (Miss Burne). - -[Music] - ---Biggar, Lanarkshire (W. Ballantyne). - -[Music] - ---Sporle, Norfolk (Miss Matthews). - -[Music] - ---Isle of Man (A. W. Moore). - - I. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a rancy, tancy, tay! - - What is your good will, sirs? - Will, sirs? will, sirs? - What is your good will, sirs? - With a rancy, tancy, tay! - - Our good will is to marry, - To marry, to marry; - Our good will is to marry, - With a rancy, tancy, tay! - - Marry one of us, sirs, - Us, sirs, us, sirs; - Marry one of us, sirs, - With a rancy, tancy, tay! - - You're all too black and greasy [or dirty], - Greasy, greasy; - You're all too black and greasy, - With a rancy, tancy, tay! - - We're good enough for you, sirs, - You, sirs, you, sirs; - We're good enough for you, sirs, - With a rancy, tancy, tay! - - You're all as stiff as pokers, - Pokers, pokers; - You're all as stiff as pokers, - With a rancy, tancy, tay! - - We can bend as much as you, sirs, - You, sirs, you, sirs; - We can bend as much as you, sirs, - With a rancy, tancy, tay! - - Through the kitchen and down the hall, - I choose the fairest of you all; - The fairest one that I can see - Is pretty Miss ----, walk with me. - ---Madeley, Salop (Miss Burne), 1891. - -[Another Shropshire version has for the fourth verse-- - - Which of us will you choose, sirs? - -Or, - - Will you marry one of my daughters?] - - II. Here comes three dukes a-riding, a-riding, - With a ransome dansome day! - - Pray what is your intent, sirs, intent, sirs? - With a ransome dansome day! - - My intent is to marry, to marry! - - Will you marry one of my daughters, my daughters? - - You are as stiff as pokers, as pokers! - - We can bend like you, sir, like you, sir! - - You're all too black and too blowsy, too blowsy, - For a dilly-dally officer! - - Good enough for _you_, sir! for _you_, sir! - - If I must have any, I will have this, - So come along, my pretty miss! - ---Chirbury (_Shropshire Folk-lore_, p. 517). - - III. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a rancy, tancy, tee! - - Pray what is your good will, sirs? - Will, sirs, will, sirs? - Pray what is your good will, sirs? - With a rancy, tancy, tee! - - My will is for to marry you, - To marry you, to marry you; - My will is for to marry you, - With a rancy, tancy, tee! - - You're all so black and blousey (blowsy?), - Sitting in the sun so drowsy; - With silver chains about ye, - With a rancy, tancy, tee! - -Or, - - [With golden chains about your necks, - Which makes you look so frowsy.] - - Walk through the kitchen, and through the hall, - And pick the fairest of them all. - - This is the fairest I can see, - So pray, Miss ----, walk with me. - ---Leicester (Miss Ellis). - - IV. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes riding, riding, riding; - Ransam, tansam, tisum ma tea (_sic_). - - Pray what is your good will, sir, will, sir, will, sir? - Pray what is your good will, sir? - Ransam, tansam, tisum ma tea! - - My will is for to marry, to marry, to marry, - My will is for to marry; - Ransam, tansam, tisum ma tea! - - Pray who will you marry, you marry, you marry? - Pray who will you marry? - Ransam, tansam, tisum ma tea! - - You're all too black and too brown for me, - You're all too black and too brown for me, - Ransam, tansam, tisum ma tea! - - We're quite as white as you, sir; as you, sir; as you, sir; - We're quite as white as you, sir; - Ransam, tansam, tisum ma tea! - - You are all as stiff as pokers, as pokers, as pokers, - You are all, &c., - Ransam, tansam, tisum ma tea! - - We can bend as well as you, sir; as you, sir; as you, sir; - We can bend as well as you, sir; - Ransam, tansam, tisum ma tea! - - Go through the kitchen, and through the hall, - And take the fairest of them all; - - The fairest one that I can see is "----," - So come to me. - ---Oxfordshire version, brought into Worcestershire (Miss Broadwood). - - V. Here come three dukes a-riding, a-riding, a-riding; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - And pray what do you want, sirs? want, sirs? want, sirs? - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - I want a handsome wife, sir; wife, sir; wife, sir; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - I have three daughters fair, sir; fair, sir; fair, sir; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - They are all too black and too browny, - They sit in the sun so cloudy; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - Go through my kitchen and my hall, - And find the fairest of them all; - With a ransom, tansom, titty foll-la! - With a ransom, tansom, tay! - - The fairest one that I can see, - Is little ---- ----, so come to me. - ---Monton, Lancashire (Miss Dendy). - - VI. Here come three dukes a-riding, a-riding, a-riding; - Here come three dukes a-riding, with a ransom, tansom, te! - - Pray what is your intention, sir [repeat as above]. - - My intention is to marry, &c. - - Which of us will you choose, sir, &c. - - You're all too black and too browsy, &c. - - We're good enough for you, sir, &c. - - Through the kitchen and over the wall, - Pick the fairest of us all. - - The fairest is that I can see, pretty Miss ----, come to me. - ---East Kirkby, Lincolnshire (Miss K. Maughan). - - VII. Here come three dukes a-riding, - A-riding, a-riding; - Here come three dukes a-riding, - With a dusty, dusty, die! - - What do you want with us, sirs? [repeat as above]. - - We've come to choose a wife, Miss, &c. - - Which one of us will you have, sirs? &c. - - You're all too black and too browsy, - You sit in the sun so drowsy; - With a golden chain about your neck, - You're all too black and too browsy. - - Quite good enough for you, sirs, &c. - - We walk in our chamber, - We sit in our hall, - We choose the fairest of you all; - The fairest one that we can see - Is little ---- ----, come to me. - ---Wakefield, Yorks. (Miss Fowler). - - VIII. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes a-riding; - A randy, dandy, very fine day! - - And pray what is your will, sirs? &c. [as above]. - - We come for one of your daughters, &c. - - Which one will you have, sir? &c. - - They are all as black as a browsie, browsie, browsie, &c. - - One can knit, and one can sew, - One can make a lily-white bow; - One can make a bed for a king, - Please take one of my daughters in. - - The fairest one that I can see - Is [ ], come to me. - ---Gainford, co. Durham (Miss A. Edleston). - - IX. Here comes a poor duke a-riding, a-riding, - Here comes a poor duke a-riding; - With the ransom, tansom, tee! - - Pray who will you have to marry, sir? &c. - - You're all so black and so dirty, &c. - - We are quite as clean as you, sir, &c. - - Through the kitchen, and through the hall, - Pick the fairest one of all. - - The fairest one that I can see - Is ----, - The fairest one that I can see, - With a ransom, tansom, tee! - ---Sporle, Norfolk (Miss Matthews). - - X. Here comes one duke a-riding, - A-riding, a-riding; - Here comes one duke a-riding, - With a ransom, tansom, terrimus, hey! - - What is your intention, sir? &c. [as above]. - - My intention is to marry, &c. - - Marry one of us, sir? &c. - - You're all too black and dirty (or greasy), &c. - - We're good enough for you, sir, &c. - - You're all as stiff as pokers, &c. - - We can bend as much as you, sir, &c. - - Through the kitchen and through the hall, - I choose the fairest of you all; - The fairest one as I can see - Is pretty ---- ----, come to me. - - Now I've got my bonny lass, - Bonny lass, bonny lass; - Now I've got my bonny lass - To help us with our dancing. - ---Barnes, Surrey (A. B. Gomme). - - XI. Here comes one duke a-riding, a-riding, a-riding; - Here comes one duke a-riding - On a ransom, dansom bay! - - You're all so black and dirty, &c. - - Pray which of us will you choose, sir, &c. - - Up in the kitchen, down in the hall, - And choose the fairest one of all. - The fairest one that I can see - Is pretty Miss ----, so come to me. - ---Bocking, Essex (_Folk-lore Record_, vol. iii., pt. ii., pp. 170-171). - - XII. Here comes one duke a-riding, a-riding, a-riding, - Here comes one duke a-riding, with a ransom, tansom, ta! - - Pray which of us will you choose, sir? &c. - - You're all so black and so blousey, &c. - - We're quite as white as you, sir, &c. - - Up of the kitchen, down of the hall, - Pick the fairest girl of all; - The fairest one that I can see - Is ---- ----, come to me. - ---Suffolk (Mrs. Haddon). - - XIII. Here comes the Duke of Rideo, - Of Rideo, of Rideo; - Here comes the Duke of Rideo, - Of a cold and frosty morning. - - My will is for to get married, &c. - - Will any of my fair daughters do? &c. - [The word "do" must be said in a drawling way.] - - They are all too black or too proudy, - They sit in the sun so cloudy; - With golden chains around their necks, - That makes them look so proudy. - - They're good enough for you, sir! &c. - - I'll walk the kitchen and the hall, - And take the fairest of them all; - The fairest one that I can see - Is Miss ---- - So Miss ----, come to me. - - Now we've got this pretty girl, - This pretty girl, this pretty girl; - Now we've got this pretty girl, - Of a cold and frosty morning. - ---Symondsbury, Dorsetshire (_Folk-lore Journal_, vii. 222-223). - - XIV. Here come three dukes a-riding, a-riding, a-riding, - Here come three dukes a-riding; - With a ransom, tansom, tisamy, tea! - - What is your good will, sirs? &c. - - My good will is to marry, &c. - - One of my fair daughters? &c. - - You're all too black and browsy, &c. - - Quite as good as you, sirs, &c. - - [The dukes select a girl who refuses to go to them.] - - O, naughty maid! O, naughty maid! - You won't come out to me! - You shall see a blackbird, - A blackbird and a swan; - You should see a nice young man - Persuading you to come. - ---Wrotham, Kent (Miss Dora Kimball). - - XV. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding, to my nancy, pancy, disimi, oh! - - Which of us will you have, sir? &c. - - You're all so fat and greasy, &c. - - We're all as clean as you, sir, &c. - - Come down to my kitchen, come down to my hall, - I'll pick the finest of you all. The fairest is that girl - I shall say, "Come to me." - - I will buy a silk and satin dress, to trail a yard as we go - to church, - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - - I will buy you a gold watch and chain, to hang by your side - as we go to church; - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - - I will buy you the key of the house, to enter in when my - son's out; - Madam, will you walk? madam, will you talk? - Madam, will you marry me? - ---Earls Heaton, Yorks. (H. Hardy). - - XVI. Here comes one duke a-riding, - With a rancey, tancey, tiddy boys, O! - Rancey, tancey, tay! - - Pray which will you take of us, sir? &c. - - You're all as dark as gipsies, &c. - - Quite good enough for you, &c. - - Then we'll take this one, &c. - -[After all are taken, the dukes say]-- - - Now we've got this bonny bunch, &c. - ---Hurstmonceux, Sussex, about 1880 (Miss E. Chase). - -[A Devon variant gives for the third verse-- - - You are all too black and ugly, and ugly, and ugly. - -And-- - - You are all too black and _browsie_, &c. - -With the additional verse-- - - I walked through the kitchen, - I walked through the hall, - For the prettiest and fairest - Of you all. - -Ending with-- - - Now I have got my bonny lass, &c. - -And something like-- - - Will you come and dance with me? - ---Devon (Miss E. Chase)]. - - XVII. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding to the ransy, tansy, tay! - - Pray what do you come riding for? &c. - - For one of your fairy [? fair] daughters, &c. - - Will either one of these do? &c. - - They're all too black and too dirty, &c. - - They're quite as clean as you, sir, &c. - - Suppose, then, I take you, Miss, &c. - ---Clapham, London (Mrs. Herbertson). - -[Another version is played by the duke announcing that he wants a wife. -The circle of maids and duke then reply to each other as follows:-- - - Open the door and let him in. - - They're all as stiff as pokers. - - Quite as good as you, sir. - - I suppose I must take one of them? - - Not unless you like, sir. - - I choose the fairest of you all, - The fairest one that I can see - Is ----, come to me. - ---Clapham Middle-class Girls School (Mrs. Herbertson)]. - - XVIII. Here comes the duke a-riding, - With my rantum, tantum, tantum, tee! - Here comes the duke a-riding, - With my rantum, tantum, tee! - - What does the duke a-riding want? - With his rantum, tantum, tantum, tee, &c. - - The youngest and fairest daughter you've got, &c. - ---Dublin (Mrs. Coffey). - - XIX. Here comes a duke a-riding, a-riding, a-riding; - Here comes a duke a-riding, a ransom, tansom, tee! - - What is your good will, sir, &c. - - My will is for to marry, &c. - - Will ever a one of us do? &c. - - You're all so black and so browsy. - You sit in the sun and get frowsy, - With golden chains about your necks, - You're all so black and so browsy. - - Quite as good as you, sir, &c. - -[There is more of this, but it has been forgotten by my authority.] - ---Thos. Baker, junr. (_Midland Garner_, N. S., ii. 32). - - XX. Here comes a duke a-riding, - With a ransom, tansom, titta passee! - Here comes a duke a-riding, - With a ransom, tansom, tee! - - Pray what is your good will, sir? - With a ransom, tansom, titta passee! - Pray what is your good will, sir? - With a ransom, tansom, tee! - - My will is for to marry you (as above). - - Pray which of us will you have, sir? &c. - - Through the gardens and through the hall, - With a ransom, tansom, titta passee! - I choose the fairest of you all, - With a ransom, tansom, tee! - ---Settle, Yorks. (Rev. W. G. Sykes). - - XXI. There came three dukes a-riding, ride, ride, riding; - There came three dukes a-riding, - With a tinsy, tinsy, tee! - - Come away, fair lady, there is no time to spare; - Let us dance, let us sing, - Let us join the wedding ring. - ---West of Scotland (_Folk-lore Record_, iv. 174). - - XXII. Here come three dukes a-riding, - A-riding, a-riding. - - . . . . . - - They will give you pots and pans, - They will give you brass; - They will give you pots and pans - For a pretty lass. - ---Penzance, Cornwall (Mrs. Mabbott). - - XXIII. Here come four dukes a-riding, - Ring a me, ding a me, ding. - - What is your good will, sirs? - Ring a me, ding a me, ding. - - Our good will's to marry, &c. - - Marry one of us then, &c. - - You're too poor and shabby, &c. - - We're quite as good as you are, &c. - - Suppose we have one of you then, &c. - - Which one will you have, &c. - - We'll have ---- to marry, &c. - - Who will you send to fetch her, &c. - - We'll send ---- to fetch her. - ---Roxton, St. Neots (Miss E. Lumley). - - XXIV. Here come three dukes a-riding, - With me rancy, tansy, tissimy tee, - Here come three dukes a-riding, - With a ransom, tansom, tissimy tee. - Here come three dukes a-riding, - With a ransom, tansom, tissimy tee. - - Pray which of us will you have, sir (repeat as above). - - I think I will have this one (repeat). - - . . . . . - -[Forgotten, but the girls evidently decline to part with one of their -number.] - - You are all too black and too blousy (repeat). - We're far too good for you, sir (repeat). - ---Isle of Man (A. W. Moore). Played at a Manx Vicarage nearly sixty -years ago (Rev. T. G. Brown). - - XXV. Here comes a Jew a riding, - With the ransom, tansom, tissimi, O! - - And pray what is your will, sir? (as above). - - Then pray take one of my daughters, &c. - - They are all too black and too browsy, &c. - - They are good enough for you, sir, &c. - - My house is lined with silver, &c. - - But ours is lined with gold, sir, &c. - - Then I'll take one of your daughters, &c. - ---Forest of Dean, Gloucester (Miss Matthews). - - XXVI. The Campsie dukes a-riding, a-riding, a-riding; - The Campsie dukes a riding, come a rincey, dincey, dee. - ---Biggar (Wm. Ballantyne). - - XXVII. Five dukes comes here a-ridin', - A-ridin' fast one day; - Five dukes comes here a-riding, - With a hansom, dansom day. - - What do you want with us, sirs, - With us, sirs, &c. - - We want some wives to marry us, - To marry us, to marry us, &c. - - Will you marry us, Miss Nancy, - Miss Nancy, Miss Nancy, &c. - - We won't marry you to-day, sirs, &c. - - Will you marry us to-day, Miss? &c. (to another girl). - - We will marry you to-day, sirs, &c. - ---London, Regent's Park (A. B. Gomme). - - XXVIII. There's three dukes a-riding, a-riding, - There's three dukes a-riding, - Come a ransin, tansin, my gude wife. - Come a ransin, tansin te-dee, - Before I take my evening walk, - I'll have a handsome lady, - The fairest one that I do see. - ---Rosehearty, Pitsligo (Rev. W. Gregor). - - XXIX. One duck comes a-ridin', sir, a-ridin', sir, - A-ridin' to marry you. - - And what do you want with me, sir? - - I come to marry you two. - - There's some of us ready to dance, sir; - Ready to dance and sing; - There's some of us ready to dance, sir, - And ready to marry you. - - Then come to me, my darlin', my darlin', darlin' day, - With a ransom, tansom, tansom, tansom tay. - ---London, Regent's Park (A. B. Gomme). - - XXX. There's a young man that wants a sweetheart-- - Wants a sweetheart--wants a sweetheart-- - There's a young man that wants a sweetheart, - To the ransom tansom tidi-de-o. - - Let him come out and choose his own, - Choose his own, choose his own; - Let him come out and choose his own, - To the ransom tansom tidi-de-o. - - Will any of my fine daughters do, &c. - - They are all too black and brawny, - They sit in the sun uncloudy, - With golden chains around their necks, - They are too black and brawny. - - Quite good enough for you, sir! &c. - - I'll walk in the kitchen, and walk in the hall, - I'll take the fairest among you all; - The fairest of all that I can see, - Is pretty Miss Watts, come out to me. - Will you come out? - - Oh, no! oh, no! - - Naughty Miss Watts she won't come out, - She won't come out, she won't come out; - Naughty Miss Watts she won't come out, - To help us in our dancing. - Won't you come out? - - Oh, yes! oh, yes! - ---Dorsetshire (_Folk-lore Journal_, vii. 223-224). - -(_c._) Three children, generally boys, are chosen to represent the three -dukes. The rest of the players represent maidens. The three dukes stand -in line facing the maidens, who hold hands, and also stand in line. -Sufficient space is left between the two lines to admit of each line in -turn advancing and retiring. The three dukes commence by singing the -first verse, advancing and retiring in line while doing so. The line of -maidens then advances singing the second verse. The alternate verses -demanding and answering are thus sung. The maidens make curtseys and -look coquettishly at the dukes when singing the fourth verse, and draw -themselves up stiffly and indignantly when singing the sixth, bending -and bowing lowly at the eighth. The dukes look contemptuously and -criticisingly at the girls while singing the fifth and seventh verses; -at the ninth or last verse they "name" one of the girls, who then -crosses over and joins hands with them. The game then continues by all -four singing "Here come four dukes a-riding," and goes on until all the -maidens are ranged on the dukes' side. - -This method of playing obtains in most versions of the game, though -there are variations and additions in some places. In the Bocking, -Barnes, Dublin, Hurstmonceux, Settle, Symondsbury, Sporle, Earls Heaton, -and Clapham versions, where the verses begin with "Here comes one Duke -a-riding," one boy stands facing the girls, and sings the first verse -advancing and retiring with a dancing step, or with a step to imitate -riding. In some instances the "three Dukes" advance in this way. In the -Barnes version, when the chosen girl has walked over to the duke, he -takes her hands and dances round with her, while singing the tenth -verse. In the Symondsbury (Dorset) version the players stand in a group, -the duke standing opposite, and when singing the sixth verse, advances -to choose the girl. When there is only one player left on the maidens' -side the dukes all sing the seventh verse; they then come forward and -claim the last girl, and embrace her as soon as they get her over to -their side. In the Hurstmonceux version, when the girls are all on the -dukes' side, they sing the last verse. Miss Chase does not say whether -this is accompanied by dancing round, but it probably would be. In the -Dublin version, after the third verse, the duke tries to carry off the -youngest girl, and her side try to save her. In the Wrotham version, -after the girls' retort, "Quite as good, as you, sir," the dukes select -a girl, who refuses to go to them: they then sing the last six lines -when the girl goes over. In the second Dorset version (which appeared in -the _Yarmouth Register_, Mass., 1874) the players consisted of a dozen -boys standing in line in the usual way, and a dozen girls on the -opposite side facing them. The boys sing the first two verses -alternately; the girl at first refuses and then consents to go. Dancing -round probably accompanies this, but there is no mention of it. In -Roxton, St. Neots, after the verses are sung, the duke and the selected -girl clasp hands, and he pulls her across to the opposite side, as in -"Nuts in May." In Settle (Yorks.) the game is called "The Dukes of York -and Lancaster." The first duke advances with a dancing step. The game is -then played in the usual way until all the players are ranged on the -dukes' side; then the two original dukes, one of whom is "red" and the -other "white," join hands, and the other players pass under their raised -hands. The dukes ask each of them, in a whisper, "red?" or "white?" The -player then goes behind the one he or she has chosen, clasping the -duke's waist. When all the players have chosen, a tug-of-war ensues -between the two sides. In the Earls Heaton version, the duke sings the -verses, offering gifts to the girl when she has been selected. In the -Oxfordshire version (Miss Broadwood) one player sings the words of the -verse, and all join in the refrain as chorus. In the Monton (Lancashire) -version the duke sings the last verse, and then takes a girl from the -opposite side; and in another version from Barnes, in which the words of -the last verse are the same as these, one of the dukes' side crosses -over and fetches the girl. The duke bows lowly before the chosen girl in -the Liphook version before she joins his side. In the East Kirkby, -Lincolnshire, version, when the dukes sing the last verse, they advance -towards the opposite side, who, when they see the direction in which -they are coming, form two arches, by three of the players holding up -their arms, the dukes' side going through one arch and returning through -the other, bringing the chosen girl with them. One Clapham version is -played in a totally different manner: the maidens form a circle instead -of a line, and the duke stands outside this until he is admitted at the -line which says, "let him in." At the conclusion of the dialogue he -breaks in and carries one player off. This is an unusual form; I have -only met with one other instance of it. - -(_d._) The action in many of these versions is described as very -spirited: coquetry, contempt, and annoyance being all expressed in -action as the words of the game demands. The dancing movement of the -boys in the first verse to imitate riding, though belonging to the -earlier forms, is, with the exception of two or three versions, only -retained in those which are commenced by one player, partly, perhaps, -because of the difficulty three or more players experience in "riding" -or "prancing" while holding each other's hands in line form. I have seen -the game played when the "prancing" of the dukes (in a game where there -were a dozen or more players on each side at starting, as in the Dorset -version) was as important a feature as the maidens' actions in the other -verses. I think the oldest form of the game is that played by a fairly -equal number of players on each side, boys on one side and girls on the -other, rather than that of "one" or "three" players on the dukes' side, -and all the others opposite. The game then began with the present words, -"Here come three dukes;" these three each chose a girl at the same time, -and when these three were wived, another three "dukes" would pair with -three more of the girls, and after that another three, and so on. This -form would account for the modern idea that the number of dukes -increases on every occasion that the verses are sung, after the first -wife has been taken over, and until all the girls have been thus chosen. -This idea is expressed in some versions by the change of words: "Here's -a fourth [or fifth, and so on] duke come a riding" to take a wife, the -chosen maiden becoming a duke as soon as she has passed over on to the -dukes' side. The process of innovation may be traced by the methods of -playing. Thus, in one version played at Barnes (similar in other -respects to No. 10), beginning "three dukes a riding," _three_ girls -were chosen by the three first dukes, one by each, at the same time, and -all three girls walked across with the three dukes to the boys' line, -and stood next their respective partners. In two imperfect versions I -have obtained in Regent's Park, London, the same principle occurs. One -girl began--"One duck comes a ridin'," and two girls from the opposite -side walked across; the other "Five dukes come here a ridin'" was -played by five players on each side, and this was continued throughout. -When the verses were said, each of the five dukes took a player from the -opposite side and danced round with her. Again, in those versions -(Symondsbury and Barnes), where when one player is left on the maidens' -side without a partner, and all the dukes are mated, the additional -verse is sung, and this player is taken over too. Beyond these versions -are the large number beginning with three or more children singing the -formula of "three dukes," and choosing one girl at a time, until all are -taken over on to the dukes' side. Finally, there are the versions, more -in accord with modern ideas, which commence with one duke coming for a -wife, and continue by the girls taken over counting as dukes, the -formula changing into two dukes, and so on. - -If this correctly represents the line of decadence in this game, those -versions in which additional verses appear are, I think, instances of -the tacking on of verses from the "invitation to the dance" or "May" -games; particularly in the cases in which the words "Now I've got my -bonny lass" appear. The Earls Heaton version is curious, in that it has -several verses which remind us of the old and practically obsolete "Keys -of Canterbury" (Halliwell, 96). It may well be that a remembered -fragment of that old ballad, which was probably once danced as a -dramatic round, has been tacked on to this game. The expression "walk -with me," or "walk abroad with me," is significant of an engaged or -betrothed couple. "I'm walking or walking out with so and so" is still -an expression used by young men and young women to indicate an -engagement. "She did ought to be married now; she've walked wi' him -mor'n'er a year now." Some of the versions show still more marked signs -of decadence. The altered wording, "Here comes a Jew a riding," "Here -comes the Duke of Rideo," "A duck comes a ridin'," and the Scotch -"Campsie Dukes a riding;" a Berkshire version, collected by Miss Thoyts -(_Antiquary_, xxvii. p. 195), similar to the Shropshire game, but with a -portion of the verse of "Milking Pails" added to it, and the refrain of -"Ransome, tansome, tismatee;" together with the disappearance of some -of the verses, are all evidently the results of the words being learnt -orally, and imperfectly understood, or not understood at all. - -In this game, said in Lancashire to be the "oldest play of all," judging -both by the words and method of playing, we have, I believe, a distinct -survival or remembrance of the tribal marriage--marriage at a period -when it was the custom for men of a clan to seek wives from the girls of -another clan, both clans belonging to one tribe. The game is a purely -marriage game, and marriage in a matter-of-fact way. Young men of a clan -or village arrive at the abode of another clan for the purpose of -seeking wives, probably at a feast or fair time. The maidens are -apparently ready and expecting their arrival. They are as willing to -become wives as the dukes are to become husbands. It is not marriage by -force or capture, though the triumphant carrying off of a wife appears -in some versions. It is exogamous marriage custom, after the tribe had -settled down and arranged their system of marriage in lieu of a former -more rude system of capture. The suggested depreciation of the girls, -and their saucy rejoinders, may be looked upon as so much good-humoured -chaff and banter exchanged between the two parties to enhance each -other's value, and to display their wit. While it does not follow that -the respective parties were complete strangers to one another, these -lines may indicate that each individual wished "to have as good a look -round as possible" before accepting the offer made. It will be seen that -there is no mention of "love" in the game, nor is there any individual -courtship between boy and girl. The marriage formula does not appear, -nor is there any sign that a "ceremony" or "sanction" to conclude the -marriage was necessary, nor does kissing occur in the game. - -There is evidence of the tribal marriage system in the survivals of -exogamy and marriage by capture occasionally to be noted in traditional -local custom. Thus the custom recorded by Chambers (_Book of Days_, i. -722) of the East Anglians (Suffolk), where whole parishes have -intermarried to such an extent that almost everybody is related to or -connected with everybody else, is distinctly a case in point, the -intermarrying of "parishes" for a long series of years necessarily -resulting in close inter-relationship. One curious effect of this is -that no one is counted as a "relation" beyond first cousins; for if -"relationship" went further than that it might "almost as well include -the whole parish." The old proverb (also from East Anglia): - - "To change the name, and not the letter, - Is a change for the worse, and not for the better;" - -that is, it is unlucky for a woman to marry a man whose surname begins -with the same letter as her own, also indicates a survival of the -necessity of marrying into another clan or tribal family. - -Another interesting point in the game is the refrain, "With a rancy, -tancy, tay," which with variations accompanies all versions, and -separates this game from some otherwise akin to it. There is little -doubt that this refrain represents an old tribal war cry, from which -"slogans" or family "cries" were derived. These cries were not only used -in times of warfare, tribes were assembled by them, each leader of a -clan or party having a distinguishing cry and blast of a horn peculiar -to himself, and the sounding of this particular blast or cry would be -recognised by men of the same party, who would go to each other's -assistance if need were. The refrain is sung by all the players in -Oxfordshire and Lancashire, and in some versions the players in this -game put their hands to their mouths as if imitating a blast from a -horn, and a Lancashire version (about 1820-1830), quoted by Miss Burne, -has for the refrain, "With a rancy, tancy, terry boys horn, with a -rancy, tancy, tee." "The burden," says Miss Burne, "evidently -represented a flourish of trumpets." The Barnes version, "With a rancy, -tancy, terrimus hey!" and many others confirm this. - -An interesting article by Dr. Karl Blind (_Antiquary_, ix. 63-72), on -the Hawick riding song, "Teribus ye Teri Odin," points out that this -slogan, which occurs in the "Hawick Common-Riding Song," a song used at -the annual Riding of the Marches of the Common, is an ancient Germanic -war-cry. Dr. Blind, quoting from a pamphlet, _Flodden Field and New -Version of the Common Riding Song_, says, "It is most likely that the -inspiring strains of 'Terribus' would be the marching tune of our -ancestors when on their way for Flodden Field and other border battles, -feuds, and frays. The words of the common-riding song have been changed -at various periods, according to the taste and capacity of poets and -minstrels, but the refrain has remained little altered. . . . The -origin of the ancient and, at one time, imperative ceremony of the -common-riding is lost in antiquity, and this old, no longer understood, -exclamation, 'Teribus ye Teri Odin,' has (says Dr. Blind) all through -ages in the meanwhile clung to that ceremony." - -If we can fairly claim that the words of this game have preserved an old -slogan or tribal cry, an additional piece of evidence is supplied to the -suggestion that the game is a reflection of the tribal marriage--a -reflection preserved by children of to-day by means of oral tradition -from the children of a thousand years ago or more, who played at games -in imitation of the serious and ordinary actions of their elders. - - -Three Flowers - - My mistress sent me unto thine, - Wi' three young flowers baith fair and fine-- - The Pink, the Rose, and the Gilliflower: - And as they here do stand, - Whilk will ye sink, whilk will ye swim, - And whilk bring hame to land? - -A group of lads and lasses being assembled round the fire, two leave the -party and consult apart as to the names of three others, young men or -girls, whom they designate Red Rose, the Pink, and the Gilliflower. If -lads are first pitched upon, the two return to the fireside circle, and -having selected a lass, they say the above verse to her. The maiden must -choose one of the flowers named, on which she passes some approving -epithet, adding, at the same time, a disapproving rejection of the other -two; for instance, I will sink the Pink, swim the Rose, and bring home -the Gilliflower to land. The two young men then disclose the names of -the parties upon whom they had fixed those appellations respectively, -when of course it may chance that she has slighted the person she is -understood to be most attached to, or chosen him whom she is believed -to regard with aversion; either of which events is sure to throw the -company into a state of outrageous merriment.--Chambers' _Popular -Rhymes_, p. 127. Mr. W. Ballantyne has given me a description of this -game as played at Biggar when he was a boy, which is practically the -same as this. - - -Three Holes - - _T_ B - _a_ o A o o - _w_ 1 2 3 - -Three holes were made in the ground by the players driving the heels of -their boots into the earth, and then pirouetting. The game was played -with the large marbles (about the size of racket balls) known as -"bouncers," sometimes as "bucks." The first boy stood at "taw," and -bowled his marble along the ground into 1. (It was bad form to make the -holes too large; they were then "wash-hand basins," and made the game -too easy.) Taking the marble in his hand, and placing his foot against -1, he bowled the marble into 2. He was now "going up for his firsts." -Starting at 2, he bowled the marble into 3, and had now "taken off his -firsts," and was "coming down for his seconds." He then bowled the -marble back again into 2, and afterwards into 1. He then "went up for -his thirds," bowling the marble into 2, and afterwards into 3, and had -then won the game. When he won in this fashion, he was said to have -"taken off the game." But he didn't often do this. In going up for his -firsts, perhaps his marble, instead of going into 2, stopped at A; then -the second boy started from taw, and, having sent his marble into 1, -bowled at A; if he hit the marble, he started for 2, from where his -marble stopped; if he missed, or didn't gain the hole he was making for, -or knocked his antagonist's marble into a hole, the first boy played -again, hitting the other marble, if it brought him nearer to the hole he -was making for, or else going on. In such a case as I have supposed, it -would be the player's aim to knock A on to B, or some place between 2 -and 3, so as to enter 2, and then strike again so as to near 3, enter 3, -and strike on his way down for his seconds, and near 2 again. These -were the chances of the game; but if the boy who started went through -the game without his antagonist having a chance, he was said "to take -off the game."--London (J. P. Emslie). - - -Three Jolly Welshmen - -One child is supposed to be taking care of others, who take hold of her -or of each other. Three children personate the Welshmen. These try to -rob the mother or caretaker of her children. They each try to capture as -many as they can, and I think the one who gets most is to be mother next -time.--Beddgelert (Mrs. Williams). - -See "Gipsy," "Mother, Mother," "Shepherd and Sheep," "Witch." - - -Three Knights from Spain - - I. Here come two dukes all out of Spain, - A courting to your daughter Jane. - - My daughter Jane, she is so young, - She can't abide your flattering tongue. - - Let her be young, or let her be old, - It is the price, she must be sold, - Either for silver or for gold. - So fare you well, my lady gay, - For I must turn another way. - - Turn back, turn back, you Spanish knight, - And rub your spurs till they be bright. - - My spurs they are of a costliest wrought, - And in this town they were not bought, - Nor in this town they won't be sold, - Neither for silver, nor for gold. - So fare you well, my lady gay, - For I must turn another way. - - Through the kitchen, and through the hall, - And take the fairest of them all; - The fairest is, as I can see, - Pretty Jane--come here to me. - - Now I've got my pretty fair maid, - Now I've got my pretty fair maid, - To dance along with me, - To dance along with me! - ---Eccleshall, Halliwell's _Nursery Rhymes_, p. 222. - - II. Here comes three lords dressed all in green, - For the sake of your daughter Jane. - - My daughter Jane, she is so young, - She learns to talk with a flattering tongue. - - Let her be young, or let her be old, - For her beauty she must be sold. - - My mead's not made, my cake's not baked, - And you cannot have my daughter Jane. - ---Cambridgeshire, Halliwell's _Nursery Rhymes_, p. 222. - - III. We are three brethren out of Spain, - Come to court your daughter Jane. - - My daughter Jane, she is too young, - And has not learned her mother tongue. - - Be she young, or be she old, - For her beauty she must be sold. - So fare you well, my lady gay, - We'll call again another day. - - Turn back, turn back, thou scornful knight, - And rub thy spurs till they be bright. - - Of my spurs take you no thought, - For in this town they were not bought. - So fare you well, my lady gay, - We'll call again another day. - - Turn back, turn back, thou scornful knight, - And take the fairest in your sight. - The fairest maid that I can see, - Is pretty Nancy--come to me. - - Here comes your daughter, safe and sound, - Every pocket with a thousand pound, - Every finger with a gay gold ring, - Please to take your daughter in. - ---Halliwell's _Nursery Rhymes_, cccxxxiii. - - IV. We are three brethren come from Spain, - All in French garlands; - We are come to court your daughter Jean, - And adieu to you, my darlings. - - My daughter Jean, she is too young, - All in French garlands; - She cannot bide your flattering tongue, - And adieu to you, my darlings. - - Be she young, or be she old, - All in French garlands; - It's for a bride she must be sold, - And adieu to you, my darlings. - - A bride, a bride, she shall not be, - All in French garlands; - Till she go through this world with me, - And adieu to you, my darlings. - -[There is here a hiatus, the reply of the lovers being wanting.] - - Come back, come back, you courteous knights, - All in French garlands; - Clear up your spurs, and make them bright, - And adieu to you, my darlings. - -[Another hiatus.] - - Smell my lilies, smell my roses, - All in French garlands; - Which of my maidens do you choose? - And adieu to you, my darlings. - - Are all your daughters safe and sound? - All in French garlands; - Are all your daughters safe and sound? - And adieu to you, my darlings. - - In every pocket a thousand pounds, - All in French garlands; - On every finger a gay gold ring, - And adieu to you, my darlings. - ---Chambers's _Popular Rhymes_, 143. - - V. Here come three Spaniards out of Spain, - A courting to your daughter Jane. - - Our daughter Jane, she is too young, - She hath not learnt the Spanish tongue. - - Whether she be young, or whether she be old, - It's for her beauty she must be sold. - - Turn back, turn back, ye Spanish knight, - And rub your spurs till they be bright. - - Our spurs are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - - Pass through the kitchen, and through the hall, - And pick the fairest of them all. - - This is the fairest I can see, - So pray, young lady, walk with me. - ---Leicester (Miss Ellis). - - VI. Here come three Spaniards out of Spain, - A courting of your daughter Jane. - - My daughter Jane, she is too young, - She has not learned the Spanish tongue. - - Whether she be young or old, - She must have a gift of gold; - So fare you well, my lady gay, - We'll turn our heads another way. - - Come back, come back, thou Spanish knight, - And pick the fairest in this night. - ---Addy's _Sheffield Glossary_. - - VII. There were three lords they came from Spain, - They came to court my daughter Jane; - - My daughter Jane, she is too young - To hear your false and flattering tongue. - - So fare thee well, your daughter Jane, - I'll call again, another day, another year. - - Turn back, turn back, and choose - The fairest one that you can see. - - The fairest one that I can see, - Is pretty Jane, will you come with me. - - [Jane says No.] - - The proud little girl, she won't come out, she won't come - out, to help us with our dancing; - So fare you well, I'll come again another day. - - Turn back, turn back, and choose - The fairest one that you can see. - - The fairest one that I can see, - Is pretty Sarah, will you come with me? - - [Yes.] - - Now we have got the pretty fair maid - To help us with our dancing, - Dance round the ring. - ---Belfast (W. H. Patterson). - - VIII. There was one lord came out of Spain, - He came to court our daughter Jane. - - Our daughter Jane, she is too young, - To be controlled by flattering tongue. - - Oh! fare thee well. Oh! fare thee well, - I'll go and court some other girl. - - Come back, come back, your coat is wide, - And choose the fairest on our side. - - The fairest one that I can see, - Come unto me, come unto me. - ---Belfast (W. H. Patterson). - - IX. There were three lords came out of Spain, - They came to court my daughter Jane; - - My daughter Jane, she is too young - To bear your false and flattering tongue. - - So fare you well, so fare you well, - I'll go and court some other girl. - - Come back, come back, your coat is white, - And choose the fairest in your sight. - - The fairest one that I can see, - Is [ ] come unto me. - ---Belfast (W. H. Patterson). - - X. Here come three dukes dressed all in green, - They come to court your daughter Jane. - - My daughter Jane, she is too young - To understand your flattering tongue. - - Let her be young, or let her be old, - It is for her beauty she must be sold. - - Eighteenpence would buy such a wench, - As either you or your daughter Jane.[10] - ---Middlesex (from Mrs. Pocklington-Coltman's maid). - - XI. There came a king from Spain, - To court your daughter Jane. - - My daughter Jane, she's yet too young - To be deluded by a flattering tongue. - - Whether she's old, or whether she's young, - It's for her beauty she must come. - - Then turn about, her coat is thin, - And seek the fairest of your right. - - The fairest one that I can see - Is fair and lovely Jan-ie. - - Then here's my daughter safe and sound, - And in her pocket three hundred pound, - And on her finger a gay gold ring, - She's fit to walk with any king. - ---Annaverna, Ravensdale, Co. Louth (Miss R. Stephens). - - XII. There came three dukes a-riding, riding, riding; - Oh! we be come all out of Spain, - All for to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother-tongue. - - Let her be young, or let her be old, - The fate of beauty's to be sold. - - Here's my daughter safe and sound, - And in her pocket a thousand pound, - And on her finger a gay gold ring. - - Here's your daughter not safe nor sound, - And in her pocket no thousand pound, - And on her finger no gay gold ring; - Open your door and take her in. - ---London (Miss Dendy). - - XIII. There came three dukes all out of Spain, - All for to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother-tongue. - - Let her be young, let her be old, - The fate of beauty's to be sold. - - Walk through the parlour, walk through the hall, - And choose the fairest one of all. - - The fairest one that I can see - Is little ----, so come to me. No! - - Will you come? No! - - Naughty one, naughty one, you won't come out - To join us in our dancing! - Will you come? Yes! - - Now we've got a pretty fair one - To join us in our dancing. - ---Colleyhurst, Manchester (Miss Dendy). - - XIV. Two poor gentlemen are come out of Spain, - Come to court your daughter Jane. - - My daughter Jane, is yet too young - To understand your flattering tongue. - - Let her be young, or let her be old, - She must be sold for Spanish gold. - - Turn back, turn back, you haughty knight, - And take the fairest in your sight. - - This is the fairest I can see, - So ( ) must come to me. - ---Bexley Heath (Miss Morris). - - XV. Here come three lords all dressed in green, - All for the sake of your daughter Jane. - - My daughter Jane, she is so young, - She doesn't know her mother-tongue. - -[Or, - - My cake ain't baked, my ban [_qy._ beer or barm] ain't - brewed, - And yew can't hev my daughter Jane.] - - Fie upon you and your daughter Jane; [scornfully,] - Eighteenpence will buy a good wench, - As well as you and your daughter Jane. - ---Swaffham, Norfolk (Miss Matthews). - - XVI. Here come three lords all dressed in green, - Here come three lords all come from Spain, - All for the sake of your daughter Jane. - - My daughter Jane, she is so young, - She hath no knowledge in her tongue. - ---Kent (Miss Fowler). - - XVII. I am a gentleman come from Spain; - I've come to court your daughter Jane. - - My daughter Jane, is yet too young - To understand your flattering tongue. - - Let her be young, or let her be old, - She must be sold for Spanish gold. - So fare thee well, my lady gay, - I'll call upon you another day. - - Turn back, turn back, you saucy lad,[11] - And choose the fairest you can spy! - - The fairest one that I can see - Is pretty Miss ----. Come to me! - - I've brought your daughter home safe and sound, - With money in her pocket here, a thousand pound: - Take your saucy girl back again. - ---Bocking, Essex (_Folk-lore Record_, iii. pt. ii. 171). - - XVIII. Here comes three knights all out of Spain, - A-courting of your daughter Jane. - - My daughter Jane, she is too young, - She can't abide your flattering tongue. - - If she be young, or she be old, - She for her beauty must be sold. - - Go back, go back, you Spanish knight, - And rub your spurs till they are bright. - - My spurs are bright and richly wrought, - And in this town they were not bought, - And in this town they shan't be sold, - Neither for silver nor for gold. - - Walk up the kitchen and down the hall, - And choose the fairest of us all. - - Madams, to you I bow and bend, - I take you for my dearest friend; - You are two beauties, I declare, - So come along with me, my dear. - ---Wenlock, Condover, Ellesmere, Market Drayton (_Shropshire Folk-lore_, -p. 516). - - XIX. Here come three dukes all out of Spain, - In mourning for your daughter Jane. - - My daughter Jane, is yet too young - To cast her eyes on such a one. - - Let her be young, or let her be old, - 'Tis for her beauty she must be sold. - So fare thee well, my lady gay, - I'll call on you another day. - - Turn back, turn back, you saucy Jack, - Up through the kitchen and through the hall, - And pick the fairest of them all. - - The fairest one that I can see. - So please, Miss ----, come with me. - ---Pembrokeshire, Wales (_Folk-lore Record_, v. 89). - - XX. Here's two brothers come from Spain, - For to court your daughter Jane. - - My daughter Jane, she is too young, - She has not learned her mother tongue. - - Be she young, or be she old, - For her beauty she must be sold. - - But fare thee well, my lady gay, - And I'll call back some other day. - - Come back! come back! take the fairest you see. - - The fairest one that I can see - Is bonnie Jeanie [or Maggie, &c.], so come to me. - - Here's your daughter, safe and sound, - In every pocket a thousand pound, - On every finger a gay gold ring, - So, pray, take your daughter back again. - ---_People's Friend_, quoted in review of "Arbroath: Past and Present." - - XXI. We are three suitors come from Spain, - Come to court your daughter Jane. - - My daughter Jane she is too young - To be beguiled by flattering tongue. - - Let her be young, or let her be old, - For her beauty she must be sold. - - Return, return, your coat is white, - And take the fairest in your sight. - - Here's your daughter safe and sound, - And in her pocket five hundred pound, - On her finger a gay gold ring, - Fit to walk with any king. - ---Dublin (Mrs. Lincoln). - - XXII. Here comes a poor duke out of Spain, - He comes to court your daughter Jane. - - My daughter Jane is yet too young, - She has a false and flattering tongue. - - Let her be young, or let her be old, - Her beauty is gone, she must be sold. - - Fare thee well, my lady gay, - I'll call again another day. - - Turn back, turn back, you ugly wight, - And clean your spurs till they shine bright. - - My spurs they shine as bright as snow, - And fit for any king to show; - So fare thee well, my lady gay, - I'll call again another day. - - Turn back, turn back, you ugly wight, - And choose the fairest one you like. - - The fairest one that I can see, - Is you, dear ----, so come with me. - ---_Notes and Queries_ (1852), vol. vi. 242. - - XXIII. Here comes three knights all out of Spain, - We have come to court your daughter Jane. - - Our daughter Jane she is too young, - She has not learned the Spanish tongue. - - Whether she be young or old, - 'Tis for her beauty she must be sold. - - Turn back, turn back, ye Spanish knights, - And rub your spurs till they are bright. - - Our spurs are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - - Turn back, turn back, ye Spanish knights, - And brush your buckles till they are bright. - - Our buckles are bright and richly wrought, - For in this town they were not bought; - And in this town they shan't be sold, - Neither for silver nor for gold. - ---Yorkshire (Miss E. Cadman). - - XXIV. There was one lord that came from Spain, - He came to court my daughter Jane; - - My daughter Jane, she is too young - To be controlled by a flattering tongue. - - Will you? No. - Will you? Yes. - -[This second one then joins hands with the "lord," and they dance round -together, saying--] - - You dirty wee scut, you wouldn't come out - To help us with our dancing. - ---Ballymiscaw school, co. Down (Miss C. N. Patterson). - - XXV. There were one lord came out of Spain, - Who came to court your daughter Jane. - - Your daughter Jane, she is too young - To be controlled by flattering tongue. - - Oh! fare thee well; oh! fare thee well; - I'll go and court some other girl. - - Come back, come back, your coat is white, - And choose the fairest in your sight. - - The fairest one that I can see, is ----, come to me. - ---Holywood, co. Down (Miss C. N. Patterson). - - XXVI. Here's two dukes come out from Spain, - For to court your daughter Jane; - - My daughter Jane is far too young, - She cannot hear your flattering tongue. - - Be she young, or be she old, - Her beauty must be sold, - Either for silver or for gold; - So fare you well, my lady fair, - I'll call again some other day. - ---Galloway (J. G. Carter). - - XXVII. Here's one old Jew, just come from Spain, - To ask alone your daughter Jane. - - Our daughter Jane is far too young - To understand your Spanish tongue. - - Go away, Coat-green. - - My name is _not_ Coat-green, - I _step_ my foot, and away I go. - - Come back, come back, your coat is green, - And choose the fairest one you see. - - The fairest one that I can see - Is pretty Alice. Come to me. - - I will not come. - - Naughty girl, she won't come out, - She won't come out, she won't come out; - Naughty girl, she won't come out, - To see the ladies dancing. - - I will come. - - Pretty girl, she has come out, - She has come out, she has come out; - Pretty girl, she has come out, - To see the ladies dancing. - ---Berwickshire (A. M. Bell, _Antiquary_, vol. xxx. p. 15). - - XXVIII. Here come two Jews, just come from Spain, - To take away your daughter Jane. - - My daughter Jane is far too young, - She cannot bear your chattering tongue. - - Farewell! farewell! we must not stay; - We'll call again another day. - - Come back, come back, your choice is free, - And choose the fairest one you see. - - The fairest one that I can see - Is A---- F----. Come to me. - ---Cowes, Isle of Wight (Miss E. Smith). - - XXIX. There came three dukes a-riding, a-riding, a-riding, - There came three dukes a-riding, - To court my daughter Jane. - - My daughter Jane is far too young, far too young, - My daughter Jane is far too young, - She hath a flattering tongue. - - They're all as red as roses, as roses, as roses, - They're all as red as roses with sitting in the sun. - ---Perth (Rev. W. Gregor). - - XXX. Here comes a duke a-riding, - To court your daughter Jane. - - My daughter Jane is far too young - To listen to your saucy tongue; - Go back, go back, you saucy Jack, - And clean your spurs and . . . . - - My spurs are bright as bright can be, - With a tissima, tissima, tissima tee. - - Go through the house, go through the hall, - And choose the fairest of them all. - - The fairest one that I can see - Is ----. Come to me. - ---Clapham School (Mrs. Herbertson). - - XXXI. Here comes three dukes a-riding, a-riding, - Here comes three dukes a-riding, to court your daughter - Jane. - - My daughter Jane is yet too young - To bear your silly, flattering tongue. - - Be she young, or be she old, - She for beauty must and shall be sold. - So fare thee well, my lady gay, - We'll take our horse and ride away, - And call again another day. - - Come back, come back! you Spanish knight, - And clean your spurs, they are not bright. - - My spurs are bright as "rickety rock" [and richly wrought], - And in this town they were not bought, - And in this town they shan't be sold, - Neither for silver, copper, nor gold. - So fare thee well, &c. - - Come back! come back! you Spanish Jack [or coxcomb]. - - Spanish Jack [or coxcomb] is not my name, - I'll stamp my foot [stamps] and say the same. - So fare thee well, &c. - - Come back! come back! you Spanish knight, - And choose the fairest in your sight. - - This is the fairest I can see, - So pray, young damsel, walk with me. - - We've brought your daughter, safe and sound, - And in her pocket a thousand pound, - And on her finger a gay gold ring, - We hope you won't refuse to take her in. - - I'll take her in with all my heart, - For she and "me" were loth to part. - ---Cornwall (_Folk-lore Journal_, v. 46, 47). - - XXXII. Here comes three dukes all out of Spain, - For to court your daughter Jane. - - My daughter Jane, she is too young, - She cannot bear your flattering tongue. - - Be she young, or be she old, - For her beauty she must be sold. - - So fare thee well, my lady gay, - We'll call again another day. - - Turn back, turn back, you Spanish knight, - And take the fairest in your sight. - - Well through the kitchen and through the hall, - I take the fairest of you all. - - The fairest one that I can see - Is pretty ----, come to me. - ---Gloucestershire (Northall's _Rhymes_, p. 385). - - XXXIII. Two poor sailors dressed in blue, - Two poor sailors dressed in blue, - Two poor sailors dressed in blue, - We come for the sake of your daughter Loo. - - My daughter Loo, she is too young, - She cannot bear your flattering tongue. - - Whether she be young, or whether she be old, - It is our duty, she must be sold. - - Take her, take her, the coach is free, - The fairest one that you can see. - - The fairest one that we can see, - Is bonnie [ ]. Come to me. - - Here's all your daughters safe and sound, - In every pocket a thousand pound, - On every finger a guinea gold ring, - So please, take one of your daughters in. - ---Fochabers, N.E. Scotland (Rev. W. Gregor). - - XXXIV. Two poor sailors dressed in blue, dressed in blue, dressed - in blue, - Two poor sailors dressed in blue, come for the sake of your - daughter Loo. - - My daughter Loo, she is too young, she is too young, she is - too young, - She cannot bear your flattering tongue. - - Let her be young, or yet too old, yet too old, yet too old, - But for her beauty she must be sold. - - The haughty thing, she won't come out, she won't come out, - she won't come out; - The haughty thing, she won't come out, - To help us with our dancing. - - Now we have got a beautiful maid, a beautiful maid, a - beautiful maid; - Now we have got a beautiful maid, - To help us with our dancing. - ---Nairn (Mrs. Jamieson, through Rev. W. Gregor). - - XXXV. One poor sailor dressed in blue, dressed in blue, dressed in - blue, - One poor sailor dressed in blue, - Has come for the sake of your daughter Sue. - - My daughter Sue, she is too young, - She cannot bear your flattering tongue. - - Whether she be young, or whether she be old, - For her beauty she must be sold. - - Take her, take her, the coach is free. - - The fairest one that I can see is bonny ( ), come with - me. - - [No!] - - The dirty sclipe, she won't come out, she won't come out, - she won't come out; - The dirty sclipe, she won't come out to dance along with me. - - Now, I have got another poor maid, &c., - To come along with me. - ---Cullen (Rev. W. Gregor). - - XXXVI. Here comes two ladies down from Spain, - A len (?) [all in] French garland. - I've come to court your daughter Jane, - And adieu to you, my darling. - ---Scotland (_Notes and Queries_, 3rd series, v. 393). - - XXXVII. Here are just three tribes come down from Spain, - To call upon my sister Jane. - - My sister Jane, she is far too young; - I cannot bear her chattering tongue. - - The fairest lily that I can see, - Is pretty little Lizzie, will ye come to me? - - [No!] - - The dirty thing, she won't come out, she won't come out, she - won't come out; - The dirty thing, she won't come out, to help us with the - dancing. - - [Yes!] - - Now we've got a pretty maid, a pretty maid, a pretty maid; - Now we've got a pretty maid, to help us with the dancing. - ---Waterford (Miss H. E. Harvey). - -(_b_) The players stand in two lines, facing one another, three boys on -one side and the girls (any number) on the other. The boys advance and -retire dancing, and saying the first two lines. The girls stand still, -one who personates a mother answers with the next two lines. The boys -then advance and reply. When they are retiring the mother says the next -lines and the boys reply; they then choose a girl and take her over to -their side. The dialogue is generally spoken, not sung. The boys turn -their toes outwards to show their spurs. The number of players on the -girls' side is generally an uneven one, the odd one is the mother and -says the dialogue. This is the most general way of playing, but there -are interesting variations. Chambers says two parties play, one -representing a dame and her daughters, the other the suitors. The -suitors move backwards and forwards with their arms entwined. The mother -offers her daughters when she says "Smell my lilies," and the game ends -by some little childish trick, but unfortunately, he does not describe -this. Miss Ellis (Leicester) says if the number of players suited, -probably all the boys, instead of three, would be on one side and the -girls on the other, but there is no hard and fast line. They turn out -their toes to show their spurs: when they sing or say, "Pass through the -kitchen," &c., the girls stretch out their arms, still keeping hold of -hand, and the boys, forming a long tail, wind in and out under their -arms as they stand. Having previously decided among themselves which -girl they shall seize, they go up and down the lines several times, -until the period of suspense and expectation is supposed to have lasted -long enough. Then the last boy in the line puts his arms round the -chosen girl's waist and carries her off. This goes on until there is -only one girl left, who recommences the game on her part by singing the -first lines, choosing first a boy, who then becomes a Spaniard. In the -first version from Belfast, the first girl who is asked to go refuses, -and another is asked, who consents. In the Manchester version (Miss -Dendy), the girl refuses twice, then accepts. The "mother" is seated in -state with her "daughters" round her in the Bexley Heath (Miss Morris) -version. The two "gentlemen" advance to her and turn haughtily away -when refused. Then they choose a girl and take her over to their side. -In the Shropshire (Edgmond) version, two girls, one from each end of the -line of "daughters," goes over to the knights' side, who also "bow" and -"bend" when saying the lines, and the game is repeated saying five, -seven, &c., knights. Here, also, the last player left on the girls' side -takes the knight's part in the next game. Miss Burne adds, at other -places the knights call only one girl by name each time. Both lines in -the Shropshire game advance and retire. In the Dublin game (Mrs. -Lincoln), three young boys are chosen for the suitors, one girl is the -mother, and any number from three to six personate the daughters. The -first boy only speaks the lines. At "Return, return, your coat is -white," he, with the other two "suitors," takes the girl, brings her -back, and says the last verse. They then sit down, and the second suitor -does the same thing, then the third one. Then the game is begun again -[with three other boys] until all the daughters have been taken. In the -version quoted from _Notes and Queries_, two children, mother and -daughter, stand on one side, the other players opposite to them, and -advance and retire. The contributor says they chant the words to a -pleasing old melody. The Yorkshire version (Miss E. Cadman) is played in -the usual way, both sides advancing and retiring in turn, and at the end -one of the "knights" tries to catch one of the girls. They cross the -room to each other's places. In Co. Down, at Ballymiscaw, Miss Patterson -says one player refuses when asked, and another consents, this one and -the "lord" then join hands and dance round together, saying the last -words. The Annaverna version is sung by one on each side--"king and the -mother." The Berwickshire game was played by six children, one on one -side, five on the other. The first lines are sung on both sides; then -the rest is dialogue until the girl refuses, when the "Jew" dances round -by himself, singing the words; she then consents, and the two dance -round with joined hands as in a reel, singing the last verse. The -dialogue is spoken with animation, and the "Jew steps his foot" and -prances away when saying these words. Twelve children in the Perth -version stand in a row, another stands a little in advance, who is -called "daughter Jane," another is the "mother." Three more stand in -front of the twelve and are the "Dukes." These dance forwards and -backwards before "Jane and her mother," singing the first lines. The -mother answers. When they sing the last line the "Dukes" choose one of -the twelve, and sing the words over again until all the twelve are on -the "Dukes'" side. Then they try to carry off "Jane" and the "mother," -and run until they are caught. In the Clapham school version (Mrs. -Herbertson), the "Duke" tries to drag by force the chosen girl across a -handkerchief or other boundary, if successful she goes on his side. In -the Cornwall version the "Dukes" retire and consult before choosing a -girl, then select one. When all have been taken they bring them back in -the same order to the "mother," saying the last verse, and the "mother" -replies in the last two lines. In the London version, the "Dukes" take -the girl and rob her, then bring her back. In the Fochabers version -(Rev. W. Gregor), the two "sailors" join hands crosswise, walk backwards -and forwards, and sing the words. The girl crosses over to them when -chosen. When all are chosen the "sailors" bring all the girls before the -mother, singing the last verse. The mother searches the daughters one -after the other, finding neither money nor ring. She then chases the -sailors, and the one caught becomes mother next game. - -(_c_) This game has been said by previous collectors, and at first sight -may be thought to be merely a variant of "Three Dukes," but it will on -investigation, I think, prove to be more than this. In the first place, -the obvious borrowing from the "Three Dukes" of a few words, as in -versions Nos. 29, 30, and 31, tells against the theory of identity of -the two games. Then the form of marriage custom is different, though it -is still marriage under primitive conditions of society. The personal -element, entirely absent from the "Three Dukes," is here one of the -principal characteristics. The marriage is still one without previous -courtship or love between two individuals, but the parental element is -present here, or at any rate that of some authority, and a sanction is -given, although there is no trace of any actual ceremony. The young men, -or suitors, apparently desire a particular person in marriage, and -although there is no wooing of that person a demand is made for her. -These suitors are, I think, making the demand on the part of another -rather than for themselves. They are the ambassadors or friends of the -would-be bridegrooms, and are soliciting for a marriage in which -purchase money or dowry is to be paid. The mention of "gold and silver" -in many versions, and the line, "she must be sold," is important. - -All these indications of purchase refer to a time when the custom of -offering gold, money, or other valuables for a bride was in vogue. -While, therefore, the game has traces of carrying off the bride, this -carrying off is in strict accord with the conditions prevalent when -marriage by purchase had succeeded to marriage by capture. The -bargaining spirit is not much "en evidence" in this game, not, that is -to say, in the same sense as is shown in "Three Sailors," p. 282, but -there is sufficient evidence of a mercantile spirit to prove that women -and girls were too valuable to be parted with by their own tribe or -family without something deemed equivalent being given in return. There -is a desire shown to possess the girl for her beauty; and that a choice -of a suitor could or would be made is shown by the remarks that she is -too young and does not know the language and customs of this suitor. - -The mention of the spurs conveys the suggestion that the suitors or -ambassadors are men of quality and renown. To win their spurs was an -object greatly desired by all young men. Their reply to the taunt that -their spurs are "dull" may mean that they are not bright from use, and -may also show the idea that these men have come on a journey from some -distance for a bride or brides, and this only is responsible for their -spurs not being as bright as usual. Again, being "richly wrought" is -probably an indication of wealth or consequence. Mention must be made of -the mead not being made nor the cake yet baked, which occurs in two -versions. If these two versions can be considered old ones, this would -tend to show evidence of the ceremony of the eating together of -particular food, which forms the most important element in primitive -marriage ceremonies. - -There occurs in some versions the incident of asking the girl to come, -and the dancing round when she consents, mostly in connection with the -incident of invitation to dance. This may not therefore belong, and I do -not think it does, to the early forms of this game; but we must remember -that dancing formed a part of the marriage ceremonies down to quite a -late date, and it is therefore not surprising it should be found in many -versions. - -It has been suggested that this game has for its origin an historical -event in the reign of Edward III., whose daughter Jane married a prince -of Spain. There is some possibility in this, as doubtless the marriage -was conducted by ambassadors first of all with pomp and ceremonial, but -I think the game really dates from a much earlier period, and if there -are any grounds for connecting it with this particular royal marriage, -it may merely have altered and fixed some of the words, such as -"daughter Jane," "Lords from Spain," "Spanish gold," in people's minds, -and in this way tended to preserve the game in its modern form. - -Mr. Addy, in his _Sheffield Glossary_, considers that the mention of the -three knights and gifts of gold is a fragment of some old pageant of the -Three Kings of Cologne, who, according to ancient legend, brought gifts -to the infant Jesus, but I can see no evidence of this. - -It is somewhat curious that this game is very rarely sung to a tune, nor -have I succeeded in obtaining one. It is usually said to a sort of -sing-song chant, or else it is spoken in dialogue, and that with a good -deal of animation. - -Mr. Newell gives versions, as played in America, similar to many here -given, and Mr. Northall (_Folk Rhymes_, p. 385) gives one from -Gloucestershire and Warwickshire. - - [10] Incomplete, there is more of the game, but the maid could not - remember it. - - [11] Probably once "boy," pronounced "by" in Essex. - - -Three Little Ships - -[Music] - ---London (A. B. Gomme). - -[Music] - ---Rimbault's _Nursery Rhymes_. - - I. Three little ships come sailing by, - Sailing by, sailing by; - Three little ships come sailing by, - New Year's day in the morning. - - Who do you think was in the ships, - In the ships, in the ships; - Who do you think was in the ships, - New Year's day in the morning? - - Three pretty girls were in the ships, - In the ships, in the ships; - Three pretty girls were in the ships, - New Year's day in the morning. - - One could whistle, and one could sing, - One could play on the violin; - One could whistle, and one could sing, - New Year's day in the morning. - ---London (A. B. Gomme). - - II. I saw three ships come sailing by, - Come sailing by, come sailing by; - I saw three ships come sailing by - On New Year's day in the morning. - - And what do you think was in them then, - In them then, in them then; - And what do you think was in them then, - On New Year's day in the morning? - - Three pretty girls were in them then, &c. - - One could whistle, and one could sing, - The other could play on the violin; - Such joy was there at my wedding, - On New Year's day in the morning. - ---Rimbault's _Nursery Rhymes_. - - III. As I sat on a sunny bank, - A sunny bank, a sunny bank; - As I sat on a sunny bank - On Christmas day in the morning. - - I saw three ships come sailing by, - Come sailing by, come sailing by; - I saw three ships come sailing by - On Christmas day in the morning. - - And who do you think was in those ships? &c. - But Joseph and his lady. - - And he did whistle, and she did sing, - And all the bells on earth did ring - For joy our Saviour he was born - On Christmas day in the morning. - ---Burne's _Shropshire Folk-lore_, p. 564. - -[The above verses, except the last one, are sung at Oswestry with these -additional ones:--] - - Pray, whither sailed those ships all three? &c. - Oh! they sailed unto Bethlehem, &c. - They combed his hair with an ivory comb, &c. - They washed his face in a golden cup, &c. - They wiped his face with a lily-white cloth, &c. - They brushed his shoes with a hairy brush, &c. - ---Burne's _Shropshire Folk-lore_, p. 564. - -(_c_) In the London version, which I obtained from a maid-servant--two -lines of children stand, hand in hand, facing one another. They advance -and retire in line, with dancing steps, alternately. The children sing -the lines. When the last verse is sung a girl from the end of each line -advances, and the two dance round together. This is continued until all -have danced in turn in the space between the lines. - -(_d_) It will be seen that there is a probability of the version I -collected as a dance game and Rimbault's nursery song being derived from -the Christmas carol, a variant of which I reprint from Miss Burne's -_Shropshire Folk-lore_. A version of this carol from Kent is given in -_Notes and Queries_, 3rd series, iii. 7. Mr. A. H. Bullen, in _Carols -and Poems_, gives an older version of the same. In this version there is -no mention of whistling, singing, or playing the violin; but in the Kent -version, the third verse is the same as the fourth of that collected by -Miss Burne, and the dance collected by myself. In the _Revue Celtique_, -vol. iv., Mr. Fitzgerald considers this carol to have been the original -from which the pretty words and dance, "Duck Dance," were derived, see -_ante_, vol. i. p. 113. If these words and dance owe their origin to the -carol, they may both show connection with an older form, when the carol -was danced as a dramatic round. - - -Three Old Bachelors - - Here come three old bachelors, - Walking in a row, - Seeking wives, and can't find 'em; - So open the ring, and take one in. - Now you're married, you must obey; - You must be true to all you say; - You must be kind, you must be good, - And help your wife to chop the wood. - ---Earls Heaton, Yorks. (Herbert Hardy). - -Mr. Hardy suggests that this is a variant of "See the Farmer Sow his -Seed," but it more nearly resembles "Silly Old Man," although the -marriage formula is that of "Oats and Beans." - - -Three Sailors - -[Music] - ---London (A. B. Gomme). - - I. Here come three sailors, three by three, - To court your daughter, a fair lady (pronounced ladee); - [_Or_, And down by your door they bend their knee]. - Can we have a lodging here, here, here? - Can we have a lodging here? - - Sleep, sleep, daughter, do not wake, - Here are three sailors we can't take; - You cannot have a lodging here, here, here, - You cannot have a lodging here. - - Here come three soldiers, three by three, - To court your daughter, a fair lady; - Can we have a lodging here, here, here? - Can we have a lodging here? - - Sleep, sleep, daughter, do not wake, - Here are three soldiers we can't take; - You cannot have a lodging here, here, here, - You cannot have a lodging here. - - Here come three kings, three by three, - To court your daughter, a fair lady; - Can we have a lodging here, here, here? - Can we have a lodging here? - - Wake, wake, daughter, do not sleep, - Here come three kings that we can take; - You can have a lodging here, here, here, - You can have a lodging here. - - Here's my daughter, safe and sound, - And in her pocket one hundred pound, - And on her finger a gay gold ring, - And she is fit to walk with a king. - - Here's your daughter, not safe nor sound, - Nor in her pocket one hundred pound, - On her finger no gay gold ring, - I'm sure she's not fit to walk with a king. - ---Barnes, Surrey, and London (A. B. Gomme). - - II. Here come three tinkers, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Sleep, sleep, daughter, do not wake, - Here come three tinkers we cannot take; - We haven't any lodgings here, oh, here, - We haven't any lodgings here. - - Here come three soldiers, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Sleep, sleep, daughter, do not wake, - Here come three soldiers we cannot take; - We haven't any lodgings here, oh, here, - We haven't any lodgings here. - - Here come three kings, three by three, - To court your daughter, fair lady; - Oh! have you any lodgings here, oh, here? - Oh! have you any lodgings here? - - Wake, wake, daughter, do not sleep, - Here come three kings that we can take; - We have some lodgings here, oh, here, - We have some lodgings here. - - Here's my daughter, safe and sound, - And in her pocket five hundred pounds, - And on her finger a five guinea gold ring, - And she is fit to walk with a king. - - Here's your daughter, nor safe nor sound, - And in her pocket no five hundred pound, - And on her finger no five guinea gold ring, - And she's not fit to walk with the king. - ---Sporle, Norfolk (Miss Matthews). - - III. Here's three sweeps, three by three, - And down by the door they bend their knee; - Oh! shall we have lodgings here, oh, here? - Oh! shall we have lodgings here? - - Sleep, dear daughter, do not wake, - For here's three sweeps coming to take; - Lodgings here they shall not have, - So sleep, dear daughter, sleep. - - Here's three bakers, three by three, - And down by the door they bend their knee; - Oh! shall we have lodgings here, oh, here? - Oh! shall we have lodgings here? - - Sleep, dear daughter, do not wake, &c. (as above). - - Here's three kings, three by three, &c. (as above). - - Wake, dear daughter, do not sleep, - For here's three kings coming to take; - Lodgings here they all may have, - So wake, dear daughter, wake. - - Here's my daughter, safe and sound, - And on her finger a guinea gold ring, - And in her pocket a thousand pounds, - So she is fit to marry a king. - - Here's your daughter, safe and sound, - And on her finger no guinea gold ring, - And in her pocket no thousand pounds, - So she's not fit to marry a king. - ---Aberdeen Training College (Rev. W. Gregor). - - IV. Here come three tailors, three by three, - To court your daughter, fair and fair; - Have you got a lodger here, oh, here? - Have you got a lodger here? - - Sleep, daughter, sleep, sleep, - Here come three tailors we can't take; - We haven't got a lodger here, oh, here, - We haven't got a lodger here. - -[The verses are repeated for "sailors," "blacksmiths," &c., and then -"kings," and ends in the same way as the preceding version.] - ---Swaffham, Norfolk (Miss Matthews). - - V. Here come three sailors, three by three, - A courting your daughter, Caroline Mee; - [Some would sing it "Because your daughter"] - Can we have a lodging here to-night? - - Sleep, daughter, do not wake, - Here's three sailors we can't take; - You cannot have a lodging here to-night. - - Here come three soldiers, three by three, - A courting your daughter, Caroline Mee; - Can we have a lodging here to-night? - - Sleep, daughter, do not wake, - Here's three soldiers we can't take; - You cannot have a lodging here to-night. - -[This is repeated for "kings," and the game ends as in the previous -versions. "Three" hundred pounds being substituted for "five."] - ---Deptford, Kent (Miss Chase). - - VI. Here come some travellers three by three, - And down by a door they bend their knee. - "Can we get lodgings here?" - The fairest one that I can see - Is pretty little ----, come to me, - And you'll get lodgings here-- - "Will you come?" "Yes," or "No!" - ---Isle of Man (A. W. Moore). - -(_c_) The players form in two lines, and stand facing one another. One -line consists of a mother and daughters. The other of the suitors. The -mother stands a little in advance of her daughters. They remain -stationary during the game, the mother alone singing the words on her -side. The suitors advance and retire in line while singing their verses. -The mother turns partly round when singing the two first lines of her -verses addressing her daughters, and then faces the suitors when singing -to them the remaining two lines. When she accepts the "kings" she -brings one of her daughters forward, presents her to the suitors, and -shows them the money in her pocket, and the ring on her finger. The -daughter goes with the kings, who take her a little way apart, pretend -to rob her of her ring, money, and clothes, and then bring her back to -her mother, and sing the last verse. They then run off in all -directions, and the mother and daughters chase and catch them, and they -change sides. Sometimes all the daughters are taken by the suitors -before they are robbed and brought back. The game is also played by five -players only; three representing the sailors or suitors, and two the -mother and daughter. The mother then chases the suitors, and whoever she -catches becomes the daughter the next game. These are the usual methods -of playing. In the Norfolk version the middle one of the three suitors -takes the girl, robs her, and all three bring her back and sing the -verses. In the Isle of Man version one player sits down, the others join -hands, advance and retire singing the lines. The girl who is chosen -joins the one sitting down. - -(_d_) This game points to that period of tribal society, when the youths -of one tribe sought to obtain their wives from the maidens of another -tribe according to the laws of exogamy, but a definite person is here -selected for the wife, and it is to the relatives or persons having -authority (as in "Three Knights") that the demand for the bride is made, -and not to the girl personally, as in "Three Dukes." - -The game, while not so interesting a one to us as "Three Dukes," and -"Three Knights," has its particular or peculiar features. It is probably -later, and shows more clearly that position and wealth were of -importance to a man in the obtaining of a wife. Individually he has not -(apparently) courted the girl before, but he comes for that purpose now. -He may be announcing himself under the various ranks or professions -mentioned, before stating his real position; or, this may show that the -girl having many suitors, and those of all degrees, the "mother" or -relatives are actuated by purely mercenary motives, and wish to select -the best and richest suitor for her. We must remember that it was -accounted great honour to a girl to have many suitors and amongst these -men distinguished by the performance of brave deeds, which had gained -them renown and pre-eminence, or wealth. The fact that the rejection or -acceptance of the suitors is made known to the girl by the "mother," or -person having authority, shows that "sanction" or permission is -necessary, and that "rejection" or "acceptance" is signified to the -suitors in the words, you "may not," or, you "may" have a lodging here, -signifies admission into the family. This is a most interesting feature. -The girl is to "wake up," that would be to rouse up, be merry, dress in -bridal array and prepare for the coming festival. She is also given to -the suitors with "in her pocket one hundred pounds," and "on her finger -a gay gold ring." This, it will be seen, is given her by her "mother" or -person having authority, and probably refers to the property the girl -brings with her to her new abode for her proper maintenance there; the -ring shows likewise her station and degree in her former abode, and is -the token that she is fit bride for a king, and must be treated -accordingly. Curious, too, is "Here's my daughter safe and sound," which -looks like a warrant or guarantee of the girl's fitness to be a bride. -The expression "walk with," meaning "to marry," again occurs in this -game as in "Three Dukes." The line occurring in two versions, "And down -by the door they bend their knee," is suggestive of courtesy shown to -the bride and her family at the threshold of the house. - -The incident of the three kings becoming robbers is not easily -understood. Robbery was common of course, particularly when money and -valuables were known to be carried on the person; but I do not think -this is sufficient in itself to account for the incident. It may be a -reflection of the later fact that a man always took possession of his -wife's personal property after marriage, and considered it his own to do -as he pleased with. When this idea became codified in written law, the -idea might readily get reflected in the game, when _kings_ would not be -understood as apparently taking things that did not belong to them, -unless they were bandits in disguise. This last verse and the robbery -may be a later addition to the game, when robbery was of everyday -occurrence. There may have been (although there is nothing now in any -version to warrant the idea) some similar action on the part of the -kings, such as a further arraying of the bride, and presenting her to -their party or house, which has been misunderstood. Mr. Newell suggests -that children having forgotten the original happy finish, and not -understanding the "haggling" over the suitors, turned the kings into -bandits. Children think it such a natural thing to wish to marry kings, -princes, and princesses, and are so sincere in thinking it a matter of -course to refuse a sailor or soldier for a king, when it is only a -question of marriage, and not of choosing the one you like the best, -that this reason does not to me seem to apply to a game of this kind. - - -Through the Needle Eye, Boys - -Two leaders each choose a name such as "Golden Apple" and "Golden Pear." -The remaining children all hold each other's waists in a long string, -the "Golden Apple" and "Golden Pear" holding hands aloft like an arch. -The string of children then runs under the arch. The last child that -passes under is detained by the "Golden Apple" and "Golden Pear" (they -having dropped hands previously). The detained child is asked in a -whisper which she prefers, "Golden Apple," "Golden Pear;" she chooses, -and then stands at the back of the "Golden Apple" or "Golden Pear." When -all the children have passed through, the "Golden Apple" and "Golden -Pear" hold each other's hands and stand with the others behind them and -pull like a "Tug of War." There should be a line drawn between the -"Golden Apple" and the "Golden Pear," and whichever side pulls the other -over the line, wins the game.--Northumberland (from a lady friend of -Hon. J. Abercromby). - -The formula sung in Fraserburgh when the players are running under the -raised arms is-- - - Clink, clink, through the needle ee, boys, - One, two, three, - If you want a bonnie lassie, - Just tak me. - -After the tug of war the victors call out "Rotten eggs, rotten eggs" -(Rev. W. Gregor). - -The words used in Galloway are-- - - Through the needle e'e, boys, - Through the needle e'e! - If 'twasna for your granny's sake, - I wadna let 'e through. - ---Galloway (J. G. Carter). - -Jamieson describes this game in the south of Scotland as follows: "Two -children form an arch with both hands. The rest, who hold each other by -the skirts following in a line, attempt to pass under the arch. The -first, who is called the king, is sometimes laid hold of by those who -form the arch, each letting fall one of his arms like a portcullis for -enclosing the passenger. But more generally the king is suffered to -pass, the attempt being reserved for the last; whoever is seized is -called the prisoner. As soon as he is made captive he takes the place of -one of those who formed the arch, and who afterwards stand by his side." - -It is differently played in Mearns, Aberdeen, and some other counties. A -number of boys stand with joined hands in a semicircle, and the boy at -one end of the link addresses the boy at the other end of the line: - - A---- B----, if ye were mine, - I wad feed you with claret wine; - Claret wine is gude and fine, - Through the needle-ee, boys. - -The boy to whom this is addressed makes room between himself and his -next neighbour, as they raise and extend their arms to allow the -opposite boy to run through the opening followed by all the other boys -still linked to each other. If in running through the link should be -broken, the two boys who are the cause suffer some punishment.--Ed. -Jamieson's Dictionary. - -The Northumberland game resembles "Oranges and Lemons." The other -versions are nearer the "Thread the Needle" and "How many Miles to -Babylon" games. Both games may be derived from the same custom. - -See "How many Miles to Babylon," "Thread the Needle." - - -Thun'er Spell - -A thin lath of wood, about six inches long and three or four inches -broad, is taken and rounded at one end. A hole is bored in that end, and -in the hole is tied a piece of cord between two and three yards long. It -is then rapidly swung round, so as to produce a buzzing sound. The more -rapidly it is swung, the louder is the noise. It was believed that the -use of this instrument during a thunder-storm saved one from being -struck with "the thun'er bolt." I have used it with this intention -(Keith). In other places it is used merely to make a noise. It is -commonly deeply notched all round the edges to increase the noise. - -Some years ago a herd boy was observed making one in a farm-kitchen -(Udny). It was discovered that when he was sent to bring the cows from -the fields to the farmyard to be milked, he used it to frighten them, -and they ran frantically to their stalls. The noise made the animals -dread the bot-fly or "cleg." This torment makes them throw their tails -up, and rush with fury through the fields or to the byres to shelter -themselves from its attacks. A formula to effect the same purpose, and -which I have many and many a time used when herding, was: Cock tail! -cock tail! cock tail! Bizz-zz-zz! Bizz-zz-zz.--Keith (Rev. W. Gregor). - -Dr. Gregor secured one of these that was in use in Pitsligo, and sent it -to the Pitt-Rivers Museum at Oxford, where it now lies. Professor Haddon -has made a collection of these toys, and has written on their connection -with the Australian boomerang. - -They are still occasionally to be met with in country districts, but are -used simply for the purpose of making a noise. - -See "Bummers." - - -Tick - -A game mentioned by Drayton, and still played in -Warwickshire.--Halliwell's _Dictionary_. The same game as "Touch." - - -Tickle me Quickly - -An old game (undescribed) mentioned in Taylor's _Motto_, 1622, sig. D, -iv. - - -Ticky Touchwood. - - Ticky, ticky Touchwood, my black hen, - She lays eggs for gentlemen; - Sometimes nine and sometimes ten, - Ticky, ticky Touchwood, my black hen. - ---Sporle, Norfolk (Miss Matthews). - -Addy (_Sheffield Glossary_, under "Tiggy Touchwood") says, "One player -who is called Tiggy stands out, and each of the others takes hold of or -touches a piece of wood, such as a door, or rail, &c. One then leaves -his 'wood' and runs across the playground, and if whilst doing so Tiggy -can touch him he must stand out or take Tiggy's place." - -One child is chosen to be "Ticky," _i.e._, to be on the _qui vive_ to -lay hold of or touch any one who is not touching wood. If played out of -doors it must be clearly defined _what is wood_, trees and all growing -wood being forbidden. The fun consists in the bold ventures of those who -tempt "Ticky" to run after them, and contrive to touch "wood" just -before he touches them. When one is caught he is "Ticky" in -turn.--Swaffham, Norfolk (Miss Matthews). - -Played within a given boundary, in which were wooden buildings or -fences. When one of the players was being pursued by the tigger, if he -touched wood he could not be made prisoner, but he was not allowed to -remain long in that position, and directly his hand left wood he was -liable to instant capture. If when pursued he called out "a barla!" he -was again exempt from capture, but he could not move from the position -or place where he or she was when they called out, a barla! When wishing -to move he had to call out "Ma barla oot!" No den in this game, but -constant running.--Biggar (Wm. Ballantyne). - -Lowsley (_Berkshire Glossary_) says, "Boys have games called Touch-wood -and Touch-iron, where any one not touching either of the substances -named is liable to be caught by the one standing out." - -Ross and Stead (_Holderness Glossary_) give this game as Tiggy -Touchwood, a game similar to Tig, but in which the player must touch -wood. It is called Ticky, Ticky Touchwood by Brogden (_Lincolnshire -Provincial Words_), and Tiggy in Addy's _Sheffield Glossary_. - -Also played in another way. One tree or piece of wood was selected for -"Home," and the players darted out from this saying, "Ticky, Ticky -Touchwood," then running back to the tree and touching it before Ticky -caught them. "Parley" or "fainits" were the words called out when -exempt.--London (A. B. Gomme). - -It is also described in Patterson's _Antrim and Down Glossary_. - - -Tig. - -A game in which one player touches another, then runs off to be pursued -and touched in turn. - -Mr. Addy says, "Children _tig_ each other when they leave school, and -there is a rivalry among them to get the last tig. After a boy has said -_tig-poison_, he is not to be 'tigged' again." Brockett says: "Tig, a -slight touch (as a mode of salutation), a play among children on -separating for the night, in which every one endeavours to get the last -touch; called also Last Bat."--Brockett's _North Country Words_, and -consult Dickinson (_Cumberland Glossary_), also Jamieson. A boys' game, -in which the player scores by touching one who runs before him.--Stead's -_Holderness Glossary_. A play among children when separating for the -night.--Willan's _Dialect Words of West Riding of Yorks._ Called also -"Touch" and "Tigga Tiggy," in East and West Cornwall; (Courtney and -Couch), also Patterson's _Antrim and Down Glossary_. - -See "Canlie," "Cross Tig." - - -Time. - -The players stand in a line. Two are chosen, who stand apart, and fix on -any hour, as one, two, three, &c., or any half-hour. A nestie is marked -off at some distance from the row of players. One of the two goes in -front of the line of players, and beginning at one end asks each the -hour. This is done till the hour fixed on between the two is guessed. -The one that makes the right guess runs to catch the other of the two -that fixed the hour, and she makes off to the "nestie." If she is caught -she goes to the line of players, and the one that caught her takes her -place. If she reaches the "nestie" without being caught, she has still -to run to the line of players; if she does this without being caught -she holds her place as one of the time-fixers, but if caught she -takes her stand in the line, and the one that caught her becomes -time-fixer.--Fraserburgh (Rev. W. Gregor). - - -Tip it. - -This is played by six players, divided into two sides of three each, -with one captain to each side. A ring or other small object is taken by -the side which wins the toss, and then both sides sit down to a small -table. The in-side puts their hands under the table, and the ring is -given to one of the three players. At a given signal they all bring up -their closed hands on to the table, and the other side has to guess in -which closed fist the ring is. The guesser has the privilege of ordering -"off" the hands which he thinks are empty. If he succeeds in getting the -empty hands off, he says "tip it" to the remaining one. If he guesses -right the ring changes sides. The game is to keep the ring or other -object on one side as long as possible.--London (Alfred Nutt). - - -Tip-Cat. - -Strutt says this is so denominated from the piece of wood called a cat, -about six inches in length, and an inch and a half or two inches in -diameter, diminished from the middle to both ends. When the cat is on -the ground the player strikes it smartly, when it rises with a rotatory -motion high enough for him to hit it again before it falls, in the same -manner as a ball. He says there are various methods of playing the game, -and describes the two following: A large ring is made in the ground; in -the middle of this the striker takes his station; his business then is -to hit the cat over the ring. If he fails in doing so he is out, and -another player takes his place; if successful, he judges with his eye -the distance the cat is driven from the centre of the ring, and calls -for a number at pleasure to be scored towards his game: if the number -demanded be found upon measurement to exceed the same number of lengths -of the bludgeon, he is out; on the contrary, if it does not, he obtains -his call. The second way of playing is to make four, six, or eight -holes in the ground in a circular direction, and at equal distances from -each other, at every hole is placed a player with his bludgeon: one of -the opposite party who stand in the field tosses the cat to the batsman -who is nearest him, and every time the cat is struck the players are -obliged to change their situations, and run once from one hole to -another in succession; if the cat be driven to any great distance they -continue to run in the same order, and claim a score towards their game -every time they quit one hole and run to another; but if the cat be -stopped by their opponents and thrown across between any two of the -holes before the player who has quitted one of them can reach the other, -he is out. - -Mr. Kinahan says there is among old Irish games one sometimes called -cat, played with three or more players on each side, two stones or holes -as stations, and a lobber, but the regular cat is played with a stick -four inches long, bevelled at each end, called the cat. This bevelled -stick is laid on the ground, and one end hit with a stick to make it -rise in the air, when it is hit by the player, who runs to a mark and -back to his station. The game is made by a number of runs; while the -hitter is out if he fails three times to hit the cat, or if he is hit by -the cat while running.--(_Folk-lore Journal_, ii. 264.) The common game -of "tip-cat" was called _cat-and-kitten_ by Dorset children. The long -stick represented the "cat" and the small pieces the -"kitten."--(_Folk-lore Journal_, vii. 234.) Elworthy (_West Somerset -Words_) calls it Stick and Snell. Brogden (_Provincial Words, -Lincolnshire_) gives it as tip-cat, as does Lowsley (_Berkshire -Glossary_), also Trippit and Coit, and Trippit and Rack in some parts of -the North.--Brockett's _North Country Words_. Once commonly played in -London streets, now forbidden. - -See "Cudgel," "Waggles." - - -Tip-tap-toe. - -A square is drawn having nine smaller squares or houses within it. Two -persons play. They alternately make the one a square and the other a -cross in any one of the houses. He that first gets three in a line wins -the game.--Peacock's _Manley and Corringham Glossary_. Brogden -(_Provincial Words, Lincolnshire_) calls it Tit-tat-toe, also Lowsley -(_Berkshire Glossary_). - -Northall says called Tick-tack-toe in Warwickshire and Staffordshire; -the rhyme is "Tick-tack-toe, I've caught you." - -This game is called "Noughts and Crosses," in London, probably from -those marks being used in the game. - -See "Kit-Cat-Cannio," "Noughts and Crosses." - - -Tiring Irons. - -An old game with iron rods and rings.--Holland's _Cheshire Glossary_. - - -Tisty Tosty - -See "Shuttlefeather," "Teesty Tosty." - - -Titter-totter - -The game of see-saw.--Halliwell's _Dictionary_. - - -Tit-tat-toe. - -A game played by school children on slates. A round is drawn, which is -divided into as many divisions as is thought necessary, sixteen being -generally the least. These divisions are each numbered, the centre -containing a higher figure than any in the divisions, usually 25, 50, or -100. Several children can play. They each have a place or square -allotted to them on the slate in which to record the numbers they -obtain. A space is allotted to "Old Nick" or the "Old Man." The players -alternately take a pencil in their right hand (holding it point -downwards on 1, and tapping on each number with it), and shutting their -eyes move round and round the diagram saying-- - - "Tit, tat, toe, my first go, - Three jolly butcher boys all in a row - Stick one up, stick one down, - Stick one in the old man's ground." - -stopping and keeping the pencil in an upright position when the last -word is said. The player then opens his eyes, and registers in his -square the number at which the pencil stopped. This number is then -scratched through on the diagram, to signify that it is taken, the other -players proceed in the same manner as the first; then the first one -begins again. This is continued till all the numbers are scratched out, -or till one of the players puts his pencil into the centre, and thus -wins the game. If all the figures are taken before the centre is -touched, the game goes to the "Old man" or "Old Nick." Also, if one -player puts his pencil in a division already taken, he records nothing -and loses that turn; this is also the case if, after the verse is -repeated, the pencil is found to be on a division or boundary line or -outside the round.--London (A. B. Gomme). - -[Illustration] - -I was taught by a maid servant to play this game on the ground. This -girl drew the round and divisions and figures on the gravel path or -mould in the garden, and sharpened a piece of stick at one end for the -pointer. She did not know the game as one played on slates, but always -played it on the ground in this way. - -This game appears to indicate a lottery, and might originally have had -something to do with allotting pieces of land or other property to -prospective owners under the ancient common field system. The places -when taken by one player not being available for another, and the fact -of it being known as played on the ground, and not on slates, are both -significant indications of the suggested origin. The method of allotting -lands by lottery is described in Gomme's _Village Community_. Mr. -Newell, _Games_, p. 140, records a similar game called "Wheel of -Fortune." - - -Tods and Lambs - -A game played on a perforated board with wooden pins.--Jamieson. The -Editor adds that the game is materially the same as the English "Fox and -Geese." - -See "Fox and Geese" (2). - - -Tom Tiddler's Ground - -[Music] - ---Liverpool (Mrs. Harley). - -A line is drawn on the ground, one player stands behind it. The piece so -protected is "Tom Tiddler's ground." The other players stand in a row on -the other side. The row breaks and the children run over, calling out, -"Here we are on Tom Tiddler's ground, picking up gold and silver." Tom -Tiddler catches them, and as they are caught they stand on one side. The -last out becomes Tom Tiddler.--Monton, Lancashire (Miss Dendy). - -Tom Tiddler's Ground is played at Chirbury under the name of "Boney" = -Bonaparte! one boy taking possession of a certain area, and the others -trespassing on it, saying, "I am on Boney's ground." If they are caught -there, they are put "in prison" till released by a touch from a -comrade.--Chirbury (_Shropshire Folk-lore_, p. 523-524). - - I'm on Tom Tinker's ground, - I'm on Tom Tinker's ground, - I'm on Tom Tinker's ground, - Picking up gold and silver. - ---Derbyshire (_Folk-lore Journal_, i. 386). - -Northall (_Folk Rhymes_) gives the following lines, and describes it as -played as above, except that Tom Tinder is provided with a knotted -handkerchief, with which he buffets any one caught on his property:-- - - Here we are on Tom Tinder's ground, - Picking up gold and silver; - You pick weeds, and I'll pick seeds, - And we'll all pick carraway comfits. - -In the Liverpool district the game is called "Old Daddy Bunchey" (Mrs. -Harley), and in Norfolk "Pussey's Ground" (Miss Matthews). - -It is also mentioned by Lowsley (_Berkshire Glossary_). - - -Tops - -The special games now played with tops are mentioned under their -respective titles, but the general allusions to the ancient -whipping-tops are important enough to note. - -Strutt says the top was known with us as early at least as the -fourteenth century, when its form was the same as now, and the manner of -using it can admit of but little if any difference. Representations of -boys whipping tops occur in the marginal paintings of the MSS. written -at this period; and in a work of the thirteenth century, "Le Miracle de -Saint Loys," the whipping top (Sabot) is mentioned. The top was probably -in use as a toy long before. Strutt records the following anecdote of -Prince Henry, son of James I., which he met with in a MS. at the Museum, -the author of which speaks of it as perfectly genuine. His words -are--"The first tyme that he, the prince, went to the towne of Sterling -to meete the king, seeing a little without the gate of the towne a stack -of corne in proportion not unlike to a topp wherewith he used to play; -he said to some that were with him, 'Loe there is a goodly topp;' -whereupon one of them saying, 'Why doe you not play with it, then?' he -answered, 'Set you it up for me, and I will play with it.'"--_Sports_, -p. 385. - -Northbroke, in his Treatise against Dicing, 1579, p. 86, says: "Cato -giveth counsell to all youth, saying, '_Trocho_ lude, aleas fuge, _playe -with the toppe_, and flee dice-playing.'" - -In the English translation of Levinus Lemnius, 1658, p. 369: "Young -youth do merrily exercise themselves in whipping-top, and to make it -run swiftly about, that it cannot be seen, and will deceive the sight." - -Cornelius Scriblerus, in his Instructions concerning the Plays and -Playthings to be used by his son Martin, says: "I would not have Martin -as yet to scourge a top, till I am better informed whether the trochus -which was recommended by Cato be really our present top, or rather the -hoop which the boys drive with a stick."--_Pope's Works_, vi. 115. - -Among well-known classical allusions may be noted the following mention -of whipping the top, in Persius's third Satire: - - "Neu quis callidior buxum torquere flagello." - -Thus translated by Dryden: - - "The whirling top they whip, - And drive her giddy till she fall asleep." - -Thus also in Virgil's _AEneid_, vii. 378: - - "Ceu quondam torto volitans sub verbere turbo, - Quem pueri magno in gyro vacua atria circum - Intenti ludo exercent. Ille actus habena - Curvatis fertur spatiis: stupet inscia supra, - Impubesque manus, mirata volubile buxum: - Dant animos plagae." - -Thus translated by Dryden: - - "As young striplings whip the top for sport, - On the smooth pavement of an empty court; - The wooden engine whirls and flies about, - Admired with clamours of the beardless rout, - They lash aloud, each other they provoke, - And lend their little souls at ev'ry stroke." - -And so Ovid, Trist. 1. iii. Eleg. 12: - - "Otia nunc istic: junctisque ex ordine ludis - Cedunt verbosi garrula bella fori. - Usus equi nunc est, levibus nunc luditur armis: - Nunc pila, _nunc celeri volvitur orbe trochus_." - -Passing from these general allusions to the top as a form of amusement, -we enter on more significant ground when we take into consideration the -various passages in the early dramatists and other writers (collected -together in Nares' _Glossary_), which show that tops were at one time -owned by the parish or village. - -"He's a coward and a coystril that will not drink to my niece, till his -brains turn like a parish-top."--Shakespeare, _Twelfth Night_, i. 3. - - "A merry Greek, and cants in Latin comely, - Spins like the parish-top." - ---Ben Jonson, _New Inn_, ii. 5. - - "I'll hazard - My life upon it, that a boy of twelve - Should scourge him hither like a parish-top, - And make him dance before you." - ---Beaumont and Fletcher, _Thierry and Theod._, ii. 1. - - "And dances like a town top, and reels and hobbles." - ---Ibid., _Night Walker_, i. 1. - -Every night I dream I am a town-top, and that I am whipt up and down -with the scourge stick of love.--"Grim, the Collier of Croydon," ap. -_Dodsley_, xi. 206. - -In the Fifteen Comforts of Marriage, p. 143, we read: "Another tells 'em -of a project he has to make town tops spin without an eel-skin, as if he -bore malice to the school-boys." - -Poor Robin, in his Almanack for 1677, tells us, in the Fanatick's -Chronology, it was then "1804 years since the first invention of -town-tops." - -These passages seem to refer to a custom of keeping tops by a township -or parish, and they are confirmed by Evelyn, who, speaking of the uses -of willow wood, among other things made of it, mentions great -"town-topps" (_Sylva_, xx. 29). The latest writers who give positive -information on the subject are Blackstone, who, in his note on -Shakespeare, asserts that to "sleep like a town top" was proverbial, and -Hazlitt, who, in his collection of _English Proverbs_, has "like a -parish-top." (See also Brand, ii. 448.) - -Steevens, in his notes on Shakespeare, makes the positive assertion that -"this is one of the customs now laid aside: a large top was formerly -kept in every village, to be whipt in frosty weather, that the peasants -might be kept warm by exercise, and out of mischief, while they could -not work." - -This passage is repeated in Ellis's edition of Brand, so that there is -only one authority for the two statements. The question is whether -Steevens was stating his own independent knowledge, or whether he based -his information upon the passage in Shakespeare which he was -illustrating. I think there can be no doubt that the custom existed, in -whatever way we accept Steevens' statement, and the question is one of -considerable interest. - -"Tops" is one of those games which are strictly limited to particular -seasons of the year, and any infringement of those seasons is strictly -tabooed by the boys. Hone (_Every Day Book_, i. 127), records the -following rhyme:-- - - Tops are in, spin 'em agin; - Tops are out, smuggin' about, - -but does not mention the season. It is, however, the early spring. This -rhyme is still in use, and may occasionally be heard in the streets of -London in the top season. Smugging is legitimate stealing when boys play -out of season. "Marbles furst, then comes tops, then comes kites and -hoops," said a London boy who had acquired some tops by "smuggin;" but -these rules are fast becoming obsolete, as is also the use of a dried -eel skin as the favourite whip or thong used. - -The keeping of a top by the parish in its corporate capacity is not -likely to have arisen for the sake of supplying people with amusement, -and we must look to a far more ancient origin for this singular custom. -Hone mentions a doubtful story of a top being used in the ritual of one -of the churches at Paris. (The burial of Alleluia. The top was whipped -by a choir-boy from one end of the choir to the other: _Every Day Book_, -i. 100), and if this can be confirmed it would be a link in the chain of -evidence. But the whole subject requires much more evidence than it is -now possible to go into here, though even, as far as we can now go, I am -tempted to suggest that this well-known toy takes us back to the -serious rites of ancient religions. - -Brady's _Clavis Calendaria_, i. 209, mentions the discontinued custom of -whipping tops on Shrove Tuesday as originating in the Popish Carnival as -types of the rigour of Church discipline. - -It is not improbable that the tee-totum is the earliest form of top, and -as its use is for gambling, it is probable that this and the top were -formerly used for purposes of divination. - -See "Gully," "Hoatie," "Hoges," "Peg Top," "Peg in the Ring," -"Scurran-Meggy," "Totum." - - -The Totum, or Tee-to-tum - -The Totum is really only a top to spin by hand. It is made of a square -piece of wood or bone, the four sides being each marked with a letter, -and the peg is put through a hole in the centre. Sometimes the totum is -shaped to a point on the under side, and a pin fixed in the upper part, -by which it is twirled round. - -The game played is one of chance; it may be played by two or more, -either boys or girls, and is played only at Christmas. In Keith the -letters are A, N, D, T. In playing the stake is one pin, and each plays -in turn. If the side with A on it falls uppermost the player wins the -whole stake--"A, tack a'." If N turns up the player gets nothing--"N, -nikil (nihil), nothing." If T turns up one pin falls to the player--"T, -tack ane." If D comes uppermost the player has to lay down a pin--"D, -dossie doon." At times the game was played by paying a stake to all the -letters except A, and the words used were--"D, dip it," "T, tip it," and -"N, nip it."--Keith (Rev. W. Gregor). - -We played the game when children usually at Christmas time. The players -sat round a table. A pool was made, each player putting in the same -amount of stakes, either pins, counters, nuts, or money. One player -collected the pool and then spun the tee-totum by his fingers. Whichever -letter was uppermost when it stopped, the player had to obey. - -T, was take all (the contents of the pool). - -H, half the contents. - -N, nothing. - -P, to put into the pool the same amount as the stakes were at first. - -When this was done the next player spun the totum in his turn. When one -player got T a fresh pool had to be collected.--London (A. B. Gomme). - -Jamieson's _Dictionary_ says children lay up stores of pins to play at -this game at Christmas time. - -William Dunbar, the Scottish poet (James IV.), seems to refer to this -game in the poem, _Schir, [yogh]it remembir as of befoir_, in the -words-- - - "He playis with _totum_, and I with _nichell_" (l. 74). - -Strutt (_Sports and Pastimes_, page 385) says the four sides were marked -with letters, and describes the game as we now play it in London. - -All tee-totums or whirligigs seem to have some reference to tops, except -that the tee-totum is used principally for gambling. - -Some have numbers on their sides like dice instead of letters, and some -are of octagonal shape. - -See "Lang Larence," "Scop-peril," "Tops." - - -Touch - -One player is chosen "he." He then runs amidst the other players and -tries to touch one, who then becomes "Tig" or "Touch" in turn. - -See "Ticky Touchwood," "Tig." - - -Tower of London - -The Tower is formed by a circle of children, two of whom constitute the -gate. These two join hands, and raise or lower their arm to open or shut -the gate. The Tower is summoned to open its gates to admit "King George -and all his merry men," how represented I can't remember; but I know -that at one point there is a chase, and the prisoner is caught and -brought before the king, when there ensues a scrap of dialogue in song -(Mrs. Harley). - -See "How many miles to Babylon," "King of the Barbarie." - - -Town Lovers - - There is a girl of our town, - She often wears a flowered gown; - Tommy loves her night and day, - And Richard when he may, - And Johnny when he can; - I think Sam will be the man! - ---Halliwell's _Nursery Rhymes_, pp. 217-218. - -A girl is placed in the middle of a ring and says the lines, the names -being altered to suit the players. She points to each one named, and at -the last line the one selected immediately runs away; if the girl -catches him he pays a forfeit, or the game is commenced again, the boy -being placed in the middle. - - -Trades - -Sides are chosen. These stand apart from each other, inside the line of -their den. One side chooses amongst themselves a trade, and then walk -over to the other side, imitating the actions pertaining to different -parts of that trade, and giving the initial letter. If the trade is -guessed by the opposite side, that side chooses the next trade, and -performs the actions. If the trade is not guessed, the side is at -liberty to choose another, and continue until one is guessed.--Forest of -Dean, Gloucestershire (Miss Matthews). - -The players that are to act the dumb tradesmen agree among themselves -what trades are to be imitated. When this point is settled they present -themselves before those that are to guess the trade, and proclaim three -poor tradesmen wanting a trade--dumb. They then begin the work of -imitation. The onlooker that first discovers the trade calls it out, and -he becomes the dumb tradesman during the next round.--Fraserburgh (Rev. -W. Gregor). - -Some of the players form a line, while three others come up and say-- - - "Here are three men from Botany Bay, - Got any work to give us to-day." - -The others ask, "What can you do?" To which they reply, "Anything." And -the others retort, "Set to work, then." - -The three then do some imaginary work, while those in the line have to -guess what it is.--Ogbourne, Wilts (H. S. May). - - "Two broken tradesmen newly come over, - The one from France and Scotland, the other from Dover." - "What's your trade?" - -Two boys privately arrange that the pass-word shall be some implement of -a particular trade. The trade is announced after the above dialogue, and -carpenters, nailors, sailors, smiths, tinkers, or any other is answered; -and on guessing the instrument, "Plane him," "Hammer him," "Rasp him," -or "Solder him," is called out; then the fun is that the unfortunate -wight who guesses the "tool" is beaten with the caps of his fellows till -he reaches a fixed goal, after which he goes out in turn.--Halliwell's -_Nursery Rhymes_, cccxvi. In his _Dictionary_ it is called "Trades, and -Dumb Motions." - -Northall (_English Folk-Rhymes_) records this game as being played in -Warwickshire. The method is practically the same as the Forest of Dean, -except that the "tradesmen" are beaten if their trade is easily guessed -by the others. They may also be beaten if they show their teeth during -the operations. - - -Trap, Bat, and Ball - -A game played with a trap, a ball, and a small bat. The trap is of wood -made like a slipper, with a hollow at the heel end for the ball, and a -kind of wooden spoon moving on a pivot, in the bowl of which the ball is -placed. Two sides play--one side bats, the other fields. One of the -batsmen strikes the end or handle of the spoon, the ball then rises into -the air, and the art of the game is for the batsman to strike it as far -as possible with the bat before it reaches the ground. The other side -who are "fielding," try either to catch the ball before it falls to the -ground, or to bowl it from where it falls to hit the trap. If they -succeed in catching the ball all the "ins" are out, and their side goes -in to strike the ball, and the previous batsmen to field; if the trap is -hit the batsman is out and another player of his side takes his place. -The batsman is also out if he allows the ball to touch the trap when in -the act of hitting it.--(A. B. Gomme.) - -Halliwell (_Dictionary_) says, "Nurspell" in Lincolnshire is somewhat -similar to "Trap Ball." It is played with a kibble, a nur and a spell. -By striking the end of the spell with the kibble the nur rises into the -air, and the game is to strike it with the kibble before it reaches the -ground. He who drives it the greatest distance is the winner. Miss Burne -(_Shropshire Folk-lore_, p. 527) says, "Trib and Knurr," otherwise "Dog -Stick," are local names for "Knur and Spell," a superior form of "Trap -Ball." The "knurr" is a hard wooden ball, the "trib" is the trap or -receptacle, the "Dog Stick" the sort of club with which it is struck. -The game is played as described by Halliwell. She adds it was formerly -the favourite pastime of young men on Shrove Tuesday. - -At Bury St. Edmonds, on Shrove Tuesday, Easter Monday, and Whitsuntide -festivals, twelve old women side off for a game at "Trap and Ball," -which is kept up with the greatest spirit and vigour until -sunset.--_Suffolk County Folk-lore_, p. 56. See also Chambers's _Book of -Days_, i. p. 428, for a similar custom among women at Chester. - -See "Nur and Spel," "Tribet," "Trippit and Coit." - - -Tray-Trip - -Grose says this was an ancient game, like Scotch-hop, played on a -pavement marked out with chalk into different compartments. According to -Halliwell (_Dictionary_), it was a game at dice. - -See "Hop-scotch," "Scotch Hop." - - -Tres-acre - -A game in which generally six are engaged--one taking a station before -two about 12 yards behind him, three 12 yards behind these two. One is -the catch-pole. Never more than two can remain; the supernumerary one -must always shift and seek a new station. If the catch-pole can get in -before the person who changes his station, he has the right to take his -place, and the other becomes pursuer.--Jamieson. - -This is not very descriptive, but the game is evidently the same as -"Round Tag" and "Twos and Threes," played with a small number. - - -Tribet - -A common children's game played in Lancashire; which, perhaps, may be -the primitive form of "Trap." It is played with a "pum," a piece of -wood about a foot long and two inches in diameter, and a "tribet," a -small piece of hard wood.--Halliwell's _Dictionary_. - -See "Trap, Bat, and Ball." - - -Trippit and Coit - -A game formerly known under the appellation of "Trippets," Newcastle. -It is the same as "Trip-cat" in some southern counties. The trippet -is a small piece of wood obtusely pointed--something like a shoe--hollow -at one end, and having a tail a little elevated at the other, which -is struck with a buckstick. It is also called "Buckstick, -Spell-and-Ore."--Brockett's _North Country Words_. See also Dickinson's -_Cumberland Glossary_. Halliwell's _Dictionary_ says--The game is almost -peculiar to the North of England. There is a poem called "The Trip -Match" in _Mather's Songs_. - -See "Nur and Spel," "Trap, Bat, and Ball." - - -Trip and Go - - Trip and go, heave and hoe, - Up and down, to and fro; - From the town to the grove, - Two and two let us rove; - A-maying, a-playing, - Love hath no gainsaying; - So merrily trip and go, - So merrily trip and go. - ---Halliwell's _Nursery Rhymes_, cccxlviii. - -A game rhyme, but undescribed. - - -Trip-trout - -A game in which a common ball is used instead of the cork and feathers -in "Shuttlecock."--(Kinross) Jamieson. - -See "Shuttlefeather," "Teesty Tosty." - - -Troap - -A game played by two persons, with bandies or sticks hooked at the end, -and a bit of wood called a nacket. At each end of the ground occupied a -line is drawn. He who strikes off the nacket from the one line, tries to -drive it as near the other as possible. The antagonist who stands -between him and the goal tries to throw back with his hand the nacket to -the line from which the other has struck it. If he does this he takes -the place of the other. If not, the distance is measured between the -striking point and the nacket with one of the sticks used in striking, -and for every length of the stick one is counted against the -caster.--(Angus) Jamieson. The editor of Jamieson adds that the name -must have been originally the same as the English Trap, although in this -game a ball is used instead of a nacket, and it is struck off as in -cricket. - - -Troco, Trucks - -This was an old English game formerly known as "trucks." Strutt, p. 270, -299 (who gives an illustration of it), considers this game to be the -original of billiards. Professor Attwell says, _Notes and Queries_, 7th -series, xii. 137, "This game was played at Nassau House School, Barnes, -for twenty years. It is played on a lawn with balls, cues, and rings." - - -Troule-in-Madame - -In the Benefit of the Auncient Bathes of Buckstones, compiled by John -Jones at the King's Mede, nigh Darby, 1572, 4to. p. 12, we read: "The -ladyes, gentle woomen, wyves, and maydes, maye in one of the galleries -walke; and if the weather bee not aggreeable too theire expectacion, -they may haue in the ende of a benche eleuen holes made, intoo the which -to trowle pummetes, or bowles of leade, bigge, little, or meane, or also -of copper, tynne, woode, eyther vyolent or softe, after their owne -discretion; the pastyme _troule-in-madame_ is termed." Probably similar -to "Nine Holes." - - -Trounce-Hole - -A game at ball resembling trap, but having a hole in the ground for the -trap, a flat piece of bone for a trigger, and a cudgel for a -bat.--Norfolk, Holloway's _Dictionary of Provincialisms_. - -See "Trunket." - - -Troy Town - -A game in which a plan of a labyrinth is drawn on a slate and presented -as a puzzle by boys to their schoolfellows for them to find a way into -the central citadel. It appears to owe its origin to the mediaeval mazes -or labyrinths called "Troy Towns," or "Troy Walls," many of which -existed in different parts of England and Wales. It appears that games -connected with the midsummer festivals were held in these labyrinths. -This may, perhaps, account for the origin of this puzzle being -considered a game. For accounts of labyrinths or mazes called "Troy -Towns," see _Notes and Queries_, 1st series, xi. 132, 193; 2nd series, -v. 211-213; 8th series, iv. 96, 97; in which many references are given; -_Tran. Cymmrodorion Soc._, 1822, i. 67-69; Roberts' _Cambrian -Antiquities_ (in which is a plan), 212, 213; and _Folk-lore Journal_, v. -45. - - -Truncher - -A game requiring dexterity. A young man lies flat, resting only on his -toes at a certain mark at one extremity and on a trencher in each hand -at the other. He then tries to reach out the trenchers as far as -possible, and if not held at the right angle and edgewise, down they go -and he is defeated.--Dickinson's _Cumberland Glossary_. - - -Trunket - -A game at ball played with short sticks, and having a hole in the ground -in lieu of stumps or wickets as in "Cricket"; and with these exceptions, -and the ball being "cop'd," instead of bowled or trickled on the ground, -it is played in the same way; the person striking the ball must be -caught out, or the ball must be deposited in the hole before the stick -or cudgel can be placed there.--Halliwell's _Dictionary_. - -See "Cudgel," "Trounce Hole." - - -Truss - -A boy's game like "Leap-Frog."--Halliwell's _Dictionary_. - - -Tuilyie-wap - -A childish amusement in Teviotdale, in which a number of boys take hold -of each other's hands and wrap themselves round the one who is at the -head; clasping themselves as firmly together as possible, and every one -pushing till the mass falls over.--Jamieson. - -See "Bulliheisle," "Eller Tree," "Snail-Creep," "Wind the Bush Faggot." - - -Turn, Cheeses, Turn - - Green cheeses, yellow laces, - Up and down the market places; - First a penny and then a groat, - Turn, cheeses, turn. - ---Leicester (Miss Ellis). - - Green cheeses, yellow laces, - Up and down the market places, - Turn, cheeses, turn! - ---Halliwell's _Nursery Rhymes_, cccx. - -This is acted by two or more girls who walk or dance up and down, -turning, when they say "Turn, cheeses, turn."--Halliwell. - -I remember playing this game, but my remembrance is very imperfect. As -far as I remember, there were two lines or rows of children. They danced -forwards and backwards, crossing to the opposite side, and turning -round. At the words, "Turn, cheeses, turn," the cheeses all turned round -rapidly and then sank on the ground. The players tried to inflate their -dresses as much as possible, and then stooped down to the ground, so -that the dress remained inflated; only the head and shoulders surrounded -by a ball-like skirt then appeared, intended to represent a cheese. All -joined hands and danced round at the end. The lines sang were the same -as the Leicester except the third, which was--"Some a penny, some a -groat, turn, cheeses, turn." It was necessary for skirts to be very -"full" to make good cheeses--as wide at the waist as at the bottom of -the skirt.--(A. B. Gomme.) - -Holland (_Cheshire Glossary_) says, a frequent amusement of girls is -making cheeses. They turn round and round till their dresses fly out at -the bottom; then suddenly squatting down, the air confined under the -dress causes the skirt to bulge out like a balloon. When skilfully done -the appearance is that of a girl's head and shoulders peeping out of an -immense cushion. Evans' _Leicestershire Glossary_ mentions this game. He -says, "The performers sing a song of which the refrain is 'Turn, -cheeses, turn,' but I do not remember to have heard the example cited by -Mr. Halliwell-Phillips."--_Percy Soc._, iv. p. 122. - -I always understood that the green cheeses were sage cheeses--cheeses -containing sage. Halliwell says, "Green cheeses, I am informed, are made -with sage and potato tops. Two girls are said to be 'cheese and -cheese.'" - - -Turn Spit Jack - -A game at country balls, &c., in which young men compete by singing for -their partners in the next dance.--Patterson's _Antrim and Down -Glossary_. - - -Turn the Ship - -This is commonly a girls' game. Two join hands and trip along, with -hands crossed, turning from one side to the other, and crossing their -arms over their heads without letting go their hold of each other, -singing at the same time-- - - Tip, tip, toe, London, lo! - Turn, Mary Ann, and away you go. - -Or-- - - Tip, tip, toe, leerie, lo! - Turn the ship and away you go; - A penny to you, and a penny to me, - And a penny to turn the basket. - ---Fochabers (Rev. W. Gregor). - - -Turn the Trencher, or, My Lady's Toilet - -An indoor game played at Christmas time by children and adults. All the -players in the room must be seated. They are then asked by the leader of -the game to choose some article of a lady's toilet, which article they -will personally represent, such as diamond ring, bracelet, comb, brush, -jug, basin, powder, hair-dye, dress, mantle, &c.--any article, in fact, -belonging to the toilet. - -The leader then goes to the centre of the room with a small trencher, -round card tray, plate, or saucer in her hand. She spins this (the -trencher) round as quickly as possible, saying, "My lady's going out and -needs her 'dress,'" or any other article she chooses to name. The player -who has taken the name of "dress" must get up from her seat and catch -the trencher before it falls. If successful this player then spins the -trencher, calling out the name of another article of the toilet. If the -player fails to catch it, a forfeit is demanded by the leader. -Occasionally the spinner will say, "My lady's going to a ball (or -elsewhere), and needs the whole of her toilet." When this is said, every -player has to get up and take another place before the trencher falls; -the last one to get a place has to take the trencher, and if it is down, -to pay a forfeit. At the end of the game the forfeits are "cried" in the -usual way.--(A. B. Gomme.) - -This (called "Truckle the Trencher") used to be a standard game for -winter evenings. A circle was formed, and each one was seated on the -floor, every player taking the name of a flower. This game was entered -into with the greatest vivacity by staid and portly individuals as well -as by their juniors.--Dorsetshire (_Folk-lore Journal_, vii. 238). - -A trencher, saucer, or plate is used. The players sit in a circle, and -one twirls the trencher, at the same time calling out the name of one of -the players. He or she jumps up and tries to catch the whirling trencher -before it falls. If it falls or is knocked over, a forfeit is lodged, -and the player who lodged the forfeit now becomes the twirler. If the -trencher is caught, it is handed back and twirled again, and another -name called out. The game continues till all or, at least, most of the -players have lodged forfeits. It is called "Turn the Plettie."--Macduff -(Rev. W. Gregor). - -This game is played in the same way in Ireland. It is called "Twirl the -Trencher," and the players take names of towns or beasts.--(Miss Keane.) - -Brogden (_Provincial Words, Lincolnshire_) and Halliwell (_Dictionary_) -mention it as "Turn Trencher," a game played at Christmas time. Moor -(_Suffolk Words and Phrases_) calls it "Move all." - - -Turvey - - Turvey, turvey, clothed in black, - With silver buttons upon your back; - One by one, and two by two, - Turn about, and that will do. - ---Haverfordwest (_Notes and Queries_, 3rd series, v. 394). - -The children marched two and two, in a measured step to a given -distance, then turned and marched back again. - -See "Alligoshee." - - -Tutt-ball - -"Tut-ball,"[12] as played at a young ladies' school at Shiffnal fifty -years ago. The players stood together in their "den," behind a line -marked on the ground, all except one, who was "out," and who stood at a -distance and threw the ball to them. One of the players in the den then -hit back the ball with the palm of the hand, and immediately ran to one -of three brickbats, called "tuts," which were set up at equal distances -on the ground, in such positions that a player running past them all -would describe a complete circle by the time she returned to the den. -The player who was "out" tried to catch the ball, and to hit the runner -with it while passing from one "tut" to another. If she succeeded in -doing so, she took her place in the den, and the other went "out" in her -stead. This game is very nearly identical with "rounders."--_Shropshire -Folk-lore_, p. 524. - -A game at ball, now only played by boys, but half a century ago by -adults on Ash Wednesday, believing that unless they did so they would -fall sick in harvest time. This is a very ancient game, and was -elsewhere called "Stool-ball," indulged in by the clergy as well as -laity to avert misfortune.--Ross and Stead's _Holderness Glossary_. The -game is not described. - -Addy (_Sheffield Glossary_) says this game is the same as "Pize-ball." -Halliwell (_Dictionary_) says it is a sort of "Stob-ball Play." - -See "Cat and Dog," "Rounders," "Stool Ball." - - [12] _Tut_, a prominence, from A. S. _totian_, whence also E. _tout_, - q.v.--W. W. S. - - -Twelve Days of Christmas - -[Music] - ---Rimbault's _Nursery Rhymes_. - - I. The first day of Christmas, my true love sent to me - A partridge in a pear-tree. - - The second day of Xmas, my true love sent to me - Two turtle doves and a partridge in a pear-tree. - - The third day of Xmas, my true love sent to me - Three French hens and two turtle doves and - A partridge in a pear-tree. - - The fourth day of Xmas, my true love sent to me - Four colly birds, three French hens, two turtle doves, and - A partridge in a pear-tree. - - The fifth day of Xmas, my true love sent to me - Five gold rings, four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The sixth day of Xmas, my true love sent to me - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The seventh day of Xmas, my true love sent to me - Seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and a partridge in a pear-tree. - - The eighth day of Xmas, my true love sent to me - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, two turtle doves, and - A partridge in a pear-tree. - - The ninth day of Xmas, my true love sent to me - Nine drummers drumming, eight maids a-milking, - Seven swans a-swimming, six geese a-laying, - Five gold rings, four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - - The tenth day of Xmas, my true love sent to me - Ten pipers piping, nine drummers drumming, - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - - The eleventh day of Xmas, my true love sent to me - Eleven ladies dancing, ten pipers piping, - Nine drummers drumming, eight maids a-milking, - Seven swans a-swimming, six geese a-laying, - Five gold rings, four colly birds, - Three French hens, two turtle doves, and - A partridge in a pear-tree. - - The twelfth day of Xmas, my true love sent to me - Twelve lords a-leaping, eleven ladies dancing, - Ten pipers piping, nine drummers drumming, - Eight maids a-milking, seven swans a-swimming, - Six geese a-laying, five gold rings, - Four colly birds, three French hens, - Two turtle doves, and - A partridge in a pear-tree. - ---Halliwell's _Nursery Rhymes_, cccxlvi. - - II. The king sent his lady on the first Yule day, - A papingo-aye [a peacock]; - Wha learns my carol and carries it away? - - The king sent his lady on the second Yule day, - Three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the third Yule day, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the fourth Yule day, - A goose that was grey, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the fifth Yule day, - Three starlings, a goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the sixth Yule day, - Three goldspinks, three starlings, a goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the seventh Yule day, - A bull that was brown, three goldspinks, three starlings, - A goose that was grey, - Three plovers, three partridges, and a papingo-aye; - Wha learns my carol and carries it away? - - The king sent his lady on the eighth Yule day, - Three ducks a-merry laying, a bull that was brown-- - [The rest to follow as before.] - - The king sent his lady on the ninth Yule day, - Three swans a-merry swimming-- - [As before.] - - The king sent his lady on the tenth Yule day, - An Arabian baboon-- - [As before.] - - The king sent his lady on the eleventh Yule day, - Three hinds a-merry hunting-- - [As before.] - - The king sent his lady on the twelfth Yule day, - Three maids a-merry dancing-- - [As before.] - - The king sent his lady on the thirteenth Yule day, - Three stalks o' merry corn, three maids a-merry dancing, - Three hinds a-merry hunting, an Arabian baboon, - Three swans a-merry swimming, - Three ducks a-merry laying, a bull that was brown, - Three goldspinks, three starlings, a goose that was grey, - Three plovers, three partridges, a papingo-aye; - Wha learns my carol and carries it away? - ---Chambers's _Pop. Rhymes_, p. 42. - - III. My lady's lap dog, - Two plump partridges and my lady's lap dog; - Three grey elephants, two plump partridges and my lady's lap - dog; - Four Persian cherry trees, three grey elephants, &c.; - Five Limerick oysters, four Persian cherry trees, &c.; - Six bottles of frontignac, &c.; - Seven swans a-swimming, &c., - Eight flip flap, floating fly boats, &c.; - Nine merchants going to Bagdad, &c.; - Ten Italian dancing-masters going to teach ten Arabian - magpies how to dance, &c.; - Eleven guests going to celebrate the marriage of the - Princess Baldroulbadour with the Prince of Terra-del-Fuego, - &c.; - Twelve triumphant trumpeters triumphantly trumpeting the - tragical tradition of Telemachus. - ---London (A. B. Gomme). - - IV. Twelve huntsmen with horns and hounds, - Hunting over other men's grounds! - Eleven ships sailing o'er the main, - Some bound for France and some for Spain; - I wish them all safe home again. - Ten comets in the sky, - Some low and some high; - Nine peacocks in the air, - I wonder how they all come there, - I do not know and I do not care. - Eight joiners in a joiners' hall, - Working with the tools and all; - Seven lobsters in a dish, - As fresh as any heart could wish; - Six beetles against the wall, - Close by an old woman's apple stall; - Five puppies of our dog Ball, - Who daily for their breakfast call; - Four horses stuck in a bog, - Three monkeys tied to a clog; - Two pudding ends would choke a dog, - With a gaping wide-mouthed waddling frog. - ---Halliwell's _Nursery Rhymes_, cclxxx., cvi. - -(_c_) "The Twelve Days" was a Christmas game. It was a customary thing -in a friend's house to play "The Twelve Days," or "My Lady's Lap Dog," -every Twelfth Day night. The party was usually a mixed gathering of -juveniles and adults, mostly relatives, and before supper--that is, -before eating mince pies and twelfth cake--this game and the cushion -dance were played, and the forfeits consequent upon them always cried. -The company were all seated round the room. The leader of the game -commenced by saying the first line. Generally the version used was -similar to No. I. In later years the shorter version, No. III., was -said. The lines for the "first day" of Christmas was said by each of the -company in turn; then the first "day" was repeated, with the addition of -the "second" by the leader, and then this was said all round the circle -in turn. This was continued until the lines for the "twelve days" were -said by every player. For every mistake a forfeit--a small article -belonging to the person--had to be given up. These forfeits were -afterwards "cried" in the usual way, and were not returned to the owner -until they had been redeemed by the penalty inflicted being performed. - -In version No. IV., the game began by the leader saying to the player -sitting next to her, "Take this!" holding the hands as if giving -something. The neighbour answered, "What's this?" The leader answered, -"A gaping, wide-mouthed, waddling frog." The second player then turned -to the third and repeated, "A gaping, wide-mouthed, waddling frog," and -so on all round the room. The leader then said, "Two pudding-ends would -choke a dog," continuing in the same way until twelve was reached. -Chambers does not describe the way the game given by him was played, but -it was probably much in the same manner. Rimbault's _Nursery Rhymes_ -gives the tune to which words of the song were repeated. The words given -are almost identical with No. I., but the tune, copied here, is the only -recorded one I have found. - -(_d_) It seems probable that we have in these rhymes a remnant of a -practice of singing or chanting carols or rhymes relating to the custom -of sending gifts to friends and relatives during the twelve days of -Christmas. The festival of the twelve days was an important one. The -great mid-winter feast of Yule consisted of twelve days, and from the -events occurring during those days it is probable that events of the -future twelve months were foretold.--On the festival of the twelve days -consult Keary's _Outlines of Primitive Belief_, p. 381. Miss Burne -records that the twelve days rule the year's weather; as the weather is -on each day of the twelve, so will it be in the corresponding month, and -for every mince-pie eaten in friends' houses during these days a happy -month is promised. In the games usually played at this season, viz., -those in which forfeits are incurred, and the redemption of these by -penances inflicted on the unhappy perpetrators of mistakes, we may -perhaps see a relic of the observance of certain customs and ceremonies, -and the penalties likely to be incurred by those persons who omitted to -religiously carry them out. It is considered unlucky in the North of -England and Scotland to enter a neighbour's house empty-handed. -Christmas bounties, and the practice of giving presents of food and corn -and meal on St. Thomas's Day, 21st December, to the poorer people, when -they used to go round to the farmers' houses to collect food to prepare -for this festival, may have had its origin in the idea that nothing -could be prepared or cooked during the festival of the twelve days. It -was a very general practice for work of all kinds to be put entirely -aside before Christmas and not resumed until after Twelfth Day. Dr. -Gregor records that no bread should be baked nor washing done during -this period, nor work left unfinished. Jamieson, in a note on Yule, says -that the _gifts_ now generally conferred at the New Year seem to have -originally belonged to Yule. Among the northern nations it was customary -for subjects at this season to present gifts to their sovereign,--these -were called Jolagiafir, _i.e._ Yule gifts. The custom in Scotland of -presenting what we vulgarly call a sweetie-skon, or a loaf enriched with -raisins and currants, has an analogy to this. - -It is difficult, with the scanty evidence at command, to do more than -make the simple suggestions above. The game is evidently in a process of -very rapid decadence, and we have probably only poor specimens of what -was originally the form of verses sung in the two versions from -Halliwell and Chambers. The London version, No. III., is only -recognisable as belonging to this game from the fact that it was known -as playing at the "twelve days," was always played on Twelfth Day, and -it was not considered proper nor polite for the guests to depart until -this had been played. This fact has induced me to add the fourth version -from Halliwell, because it appears to me that it may belong to the final -form which this game is taking, or has taken, namely, a mere collection -of alliterative nursery words, or rhymes, to puzzle the speaker under a -rapid repetition, and to exact forfeits for the mistakes made. - -See "Forfeits." - - -Twelve Holes - -A game similar to "Nine Holes," mentioned in Florio ed., 1611, p. -20.--Halliwell's _Dictionary_. - - -Uncle John is Ill in Bed - - I. Uncle John is ill in bed, - What shall I send him? - Three good wishes, and three good kisses, - And a race of ginger. - Who shall I send it by? - By the carrier's daughter; - Catch her by the lily-white hand - And carry her over the water. - _Sally_ goes a-courting night and day, - Histal, whistal, by her side, - _Johnny Everall_ by her side. - ---Shrewsbury, Chirbury (Burne's _Shropshire Folk-lore_, p. 511). - - II. Uncle Tom is very sick, - What shall we send him? - A piece of cake, a piece of bread, - A piece of apple dumpling. - Who shall we send it with? - Mrs. So and So's daughter. - She is neither without, - She is neither within, - She is up in the parlour romping about. - She came downstairs dressed in silk, - A rose in her breast as white as milk. - She pulled off her glove, - She showed me her ring, - To-morrow, to-morrow the wedding shall begin. - ---Nairn (Rev. W. Gregor). - -(_b_) The Shropshire version is played by the children forming a ring by -joining hands. After the eighth line is sung all the children stoop -down--the last to do so has to tell her sweetheart's name. In the Scotch -version the players stand in a row. They sing the first five lines, then -one player is chosen (who chooses another); the other lines are sung, -and the two shake hands. Another version from Scotland (Laurieston -School, Kirkcudbright, Mr. J. Lawson), is very similar to the one from -Nairn. - -Mr. Newell (p. 72) gives versions of this game which are fuller and more -complete than those given here. He thinks it bears traces of ancient -origin, and may be the last echo of a mediaeval song, in which an -imprisoned knight is saved from approaching death by the daughter of the -king, or soldan, who keeps him in confinement. - - -Up the Streets - -[Music] - ---Liverpool (C. C. Bell). - - I. Up the streets and down the streets, - The windows made of glass; - Is not [naming one of the children] a nice young lass? - She can dance, she can sing, - She can show her wedding-ring. - Fie, for shame! fie, for shame! - Turn your back behind you. - ---Liverpool (C. C. Bell). - - II. Up streets, down streets, - Windows made of glass; - Isn't "Jenny Jenkins" a handsome young lass? - Isn't "Johnny Johnson" as handsome as she? - They shall be married, - When they can agree. - ---Monton, Lancashire, Colleyhurst, Manchester (Miss Dendy). - - III. Up street and down street, - Each window's made of glass; - If you go to Tommy Tickler's house - You'll find a pretty lass. - ---Halliwell's _Nursery Rhymes_, cccclxxx. - -(_b_) In the Liverpool version the children stand in a ring and sing the -words. At "Fie, for shame," the child named ceases to sing, and the -others address her particularly. When the verse is ended she turns her -back to the inside of the ring. All do this in turn. The Monton game is -played the same as "kiss-in-the-ring" games. - -(_c_) Northall (_English Popular Rhymes_, p. 549), gives a version -almost the same as the Monton version. He also quotes some verses from a -paper by Miss Tennant in the _English Illustrated Magazine_, June 1885, -which she gives as a song of the slums of London. In _Gammer Gurton's -Garland_ (1783, reprint 1810, p. 34), is a verse which is the same as -Halliwell's, with two additional lines-- - - Hug her, and kiss her, and take her on your knee, - And whisper very close, Darling girl, do you love me? - - -Wadds and the Wears (1) - -Mactaggart, in describing this, says it is one of the most celebrated -amusements of the Ingle ring. To begin it, one in the ring speaks as -follows:-- - - I hae been awa at the wadds and the wears - These seven lang years; - And come hame a puir broken ploughman, - What will ye gie me to help me to my trade? - -He may either say he's a "puir broken ploughman" or any other trade, but -since he has chosen that trade some of the articles belonging to it must -always be given or offered to recruit it. But the article he most wants -he privately tells one of the party, who is not allowed to offer him -anything, as he knows the thing, which will throw the offerer in a wadd, -and must be avoided as much as possible, for to be in a wadd is a very -serious matter. Now, the one on the left hand of the "poor ploughman" -makes the first offer by way of answer to what above was said--"I'll gie -ye the coulter to help ye to your trade." The ploughman answers, "I -don't thank ye for the coulter; I hae ane already." Then another offers -him another article belonging to the ploughman's business, such as the -moolbred, but this also is refused: another gives the sock, another the -stilts, another the spattle, another the naigs, and so on until one -gives the soam, which was the article he most wanted, and was the thing -secretly told to the one player. This throws the giver into a wadd, out -of which he is relieved in the following manner:-- - -The ploughman says to the one in the wadd, "Whether will ye hae three -questions and two commands, or three commands and two questions to -answer, or gang on wi', sae that ye may win out o' the wadd?" For the -one so fixed has always the choice which of these to take. Suppose he -takes the first, two commands and three questions, then a specimen of -these may be--"I command ye to kiss the crook," says the ploughman, -which must be completely obeyed by the one in the wadd; his naked lips -must kiss the sooty implement. Secondly, says the ploughman, I command -ye to stand up in that neuk and say-- - - "Here stan' I, as stiff's a stake, - Wha 'ill kiss me for pity's sake?" - -which must also be done; in a corner of the house must he stand and -repeat this couplet, until some tender-hearted lass relieves him. Then -the questions are asked, such as--"Suppose you were in a bed with Maggie -Lowden and Jennie Logan, your twa great sweethearts, what ane o'm wad ye -ding owre the bedside, and what ane wad ye turn to and clap and cuddle?" -He has to choose one, perhaps to the great mirth of the company. -Secondly, "Suppose ye were stannin' stark naked on the tap o' -Cairnhattie, whether wad ye cry on Peggie Kirtle or Nell o' Killimingie -to come wi' your claise?" He has again to choose. Lastly, "Suppose ye -were in a boat wi' Tibbie Tait, Mary Kairnie, Sally Snadrap, and Kate o' -Minnieive, and it was to coup wi' ye, what ane o' 'em wad ye sink? what -ane wad ye soom? wha wad ye bring to lan'? and wha wad ye marry?" Then -he has again to choose between the girls named. - -Chambers gives the following versions of the "Wadds":-- - -The wadds was played by a group seated round the hearth fire, the lasses -being on one side and the lads on the other. The questions are asked and -answers given alternately. A lad first chants-- - - O it's hame, and it's hame, and it's hame, hame, hame, - I think this night I maun gae hame. - -One of the opposite party then says-- - - Ye had better light, and bide a' night, - And I'll choose you a bonny ane. - - O wha will ye choose, an' I wi' you abide? - The fairest and rarest in a' the country side. - -At the same time presenting an unmarried female by name. If the choice -give satisfaction-- - - I'll set her up on the bonny pear-tree; - It's straught and tall, and sae is she; - I wad wake a' night her love to be. - -If the choice do not give satisfaction, from the age of the party-- - - I'll set her up i' the bank dike; - She'll be rotten ere I be ripe; - The corbies her auld banes wadna pike. - -If from supposed want of temper-- - - I'll set her up on the high crab-tree; - It's sour and dour, and sae is she; - She may gang to the mools unkissed by me. - -A civil mode of declining is to say-- - - She's for another, and no for me; - I thank you for your courtesie. - -The same ritual is gone through with respect to one of the other sex; in -which case such rhymes as the following are used:-- - - I'll put him on a riddle, and blaw him owre the sea, - Wha'll buy [Johnie Paterson] for me? - I'll put him on my big lum head, - And blaw him up wi' pouther and lead. - -Or, when the proposed party is agreeable-- - - I'll set him on my table head, - And feed him up wi' milk and bread. - -A refusal must be atoned for by a wadd or forfeit. A piece of money, a -knife, or any little thing which the owner prizes, will serve. When a -sufficient number of persons have made forfeits, the business of -redeeming them is commenced, and generally it is then that the amusement -is greatest. The duty of kissing some person, or some part of the room, -is usually assigned as a means of redeeming one's wadds. Often for this -purpose a lad has to kiss the very lips he formerly rejected; or, it may -be, he has to kneel to the prettiest, bow to the wittiest, and kiss the -one he loves best before the forfeit is redeemed.--The substance of the -above is from a note in Cromek's _Remains of Nithsdale and Galloway -Song_, p. 114, who says--In this game formerly young men and women -arranged themselves on each side of the fire, and alternately bestowed -husbands and wives on each other. Carleton's _Traits and Stories of the -Irish Peasantry_, p. 106, also describes the game without any material -difference. - -Another form of this game, practised in Dumfriesshire in the last -century, and perhaps still, was more common. The party are first fitted -each with some ridiculous name, not very easy to be remembered, such as -_Swatter-in-the-Sweet-Milk_, _Butter-Milk-and-Brose_, _the Gray Gled o' -Glenwhargan Craig_, &c. Then all being seated, one comes up, repeating -the following rhymes-- - - I never stealt Rob's dog, nor never intend to do, - But weel I ken wha stealt him, and dern'd him in a cleugh, - And pykit his banes bare, bare, bare eneugh! - Wha but----wha but---- - -The object is to burst out suddenly with one of the fictitious names, -and thus take the party bearing it by surprise. If the individual -mentioned, not immediately recollecting the name he bore, failed, on the -instant, to say "No me," by way of denying the accusation respecting the -dog, he was subjected to a forfeit; and this equally happened if he -cried "No me," when it was the name of another person which was -mentioned. The forfeits were disposed of as in the former -case.--_Popular Rhymes_, pp. 125-126. - -It will be seen that the first version of Chambers more nearly resembles -"Hey Wullie Wine" (vol. i. p. 207), and that the latter part of the -version given by Mactaggart is similar to "Three Flowers" (ante, p. 255, -and the first part to "Trades," p. 305). Mr. W. Ballantyne sent me a -version from Biggar as played when he was a boy. It is similar to -Mactaggart's. - -This game may indicate an earlier form of playing at forfeits than the -"Old Soldier," "Turn the Trencher," and kindred English games. -Mactaggart does not state that any article belonging to the person who -perpetrates the offence was given up and afterwards redeemed by the -owner performing a penalty. In Chambers' versions this is done. It may -be that, in Mactaggart's case, each offending person paid his or her -penalty immediately after committing the blunder or offence instead of a -leader collecting the forfeits from all offenders first, and then -"crying" all together afterwards. Whether the game originated in the -practice of "tabu," or was an outcome of the custom of restitution, or -ransom, legally made for the commission of crimes, such as that called -wergeld, the penalty or price to be paid to the relatives of a slain -man, or of punishment for certain offences then being in the hands of a -certain class of people, we cannot now decide; but it was customary for -penalties to be attached to the commission of minor offences, and the -punishment enforced without appeal to any legally constituted authority. -The object of most of the present forfeit games seems to have been to -make the offenders ridiculous, or, in the case of the above form of -games, to find out the person loved or hated. In Shropshire "Crying the -Weds" is the name given to the game of playing at forfeits. Wadd means a -pledge. Jamieson says "Wears" signifies the "Wars." "At the wars" is a -common mode still retained of describing the life of a soldier. Ihre -supposes that the early term wadd or wed is derived from wadd-cloth, -from this kind of merchandise being anciently given and received instead -of money; when at any time a pledge was left, a piece of cloth was used -for this purpose, and hence a pledge in general would be called wadd. - -In Waldron's description of the Isle of Man (ante, vol. i. p. 139) is an -account of a Twelfth Day custom which throws light on the game as -described by Chambers. - -See "Forfeits," "Hey Wullie Wine," "Three Flowers," "Trades." - - -Wadds and the Wears (2) - -Jamieson describes the game differently. He says--The players being -equally divided, and a certain space being marked out between them, each -lays down one or more wadds, or pledges, at that extremity where the -party to which he belongs choose their station. A boundary being fixed, -the object is to carry off the wadds from the one of these to the other. -The two parties advancing to the boundary seize the first opportunity of -crossing it, by making inroads on the territories of the other. If one -who crosses the line is seized by the opposite party before he has -touched any of their wadds, he is set down beside them as a prisoner, -and receives the name of a "stinker;" nor can he be released until one -of his own party can touch him without being intercepted by any of the -others, in which case he is free. If any one is caught in the act of -carrying off a wadd, it is taken from him; but he cannot be detained as -a prisoner, in consequence of his having touched it. If he can cross the -intermediate line with it, the pursuit is at an end. When one party has -carried off to their ground all the wadds of the other the game is -finished. - - -Waggles - -A game of tip-cat. Four boys stand at the corners of a large -paving-stone; two have sticks, the other two are feeders, and throw the -piece of wood called a "cat." The batters act much in the same way as in -cricket, except that the cat must be hit whilst in the air. The batter -hits it as far away as possible, and whilst the feeder is fetching it, -gets, if possible, a run, which counts to his side. If either of the -cats fall to the ground both batters go out, and the feeders take their -place. A game called "Whacks" is played in a similar way.--London -Streets (F. H. Low, _Strand Magazine_, Nov. 1891). - -See "Tip-cat." - - -Wallflowers - -[Music] - ---Nottingham (Miss Youngman). - -[Music] - ---Connell Ferry, near Oban (Miss Harrison). - -[Music] - ---Beddgelert (Mrs. Williams). - -[Music] - ---Ogbourne, Wilts. (H. S. May). - -[Music] - ---Longcot choir girls, Berks. (Miss I. Barclay). - - I. Wallflowers, wallflowers, growing up so high, - All of you young ladies are sure to die. - Excepting ----, she's the best of all. - She can hop, and she can skip, - And she can turn a candlestick. - Oh my, fie for shame, turn your face to the wall again. - ---Fernham and Longcot (Miss I. Barclay). - - II. Wallflowers, wallflowers, - Growing up so high, - All you young ladies - Are meant to die. - Excepting little ----, - She is the best of all. - She can skip, and she can dance, - She can turn the candlestick. - O my, fie for shame, - Turn your back to the wall again. - ---From London maidservant (Miss E. Chase). - -[Illustration] - - III. Willy, willy wallflower, - Growin' up so high, - We are all maidens, - We shall all die. - Excepting ----, - She's the youngest daughter, - She can hop, - She can skip, - She can turn the candlestick. - Fee, fie, shame, shame, - Turn your backs together again:--, - ----, your sweetheart is dead, - He's sent you a letter to turn back your head. - ---Wakefield, Yorks (Miss Fowler). - - IV. Wallflowers, wallflowers, - Growing up so high, - We young ladies, we shall die. - Except 'tis ----, - She's the youngest daughter. - She can hop, and she can skip, - She can play the wire, - Oh for shame, fie for shame, - Turn your back and have a game. - ---Hampshire (Miss E. Mendham). - - V. Wally, wally wallflower, - Growing up so high-- - All ye young ladies - You must all die. - Excepting ----, - She's the best of all-- - She can hop, and she can skip, - She can turn the mangle, - Oh my, fie for shame, - Turn your back to the wall again. - ---Barnes, Surrey (A. B. Gomme). - - VI. Wall flowers, wall flowers, growing up so high, - We are all children, and we shall all die. - Excepting ----, she's the youngest child, - She can hop, she can skip, - She can turn the wedding ring, - Fie, fie, fie for shame, - Turn your face to the wall again. - ---Nottingham (Miss Youngman). - - VII. Wally, wally wall-flower, - A-growen up so high, - All we children be sure to die. - Excepting [naming the youngest] - 'Cause she's the youngest, - Oh! fie! for shame! fie! for shame! - Turn your back to the wall again. - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 215). - - VIII. Wall-flowers, wall-flowers, growing up so high, - We are all living, and we shall all die. - Except the youngest here [naming her]. - Turn your back to overshed. (?) - -(This last line is repeated three times.) - ---Symondsbury, Dorset (_Folk-lore Journal_, vii. 215). - - IX. Wall-flowers, wall-flowers, growing up so high! - We shall all be maidens, [and so] we shall all die![13] - Excepting _Alice Gittins_, she is the youngest flower, - She can hop, and she can skip, and she can play the hour! - Three and four, and four and five, - Turn your back to the wall-side! - -_Or_, - - She can dance and she can sing, - She can play on the tambourine! - Fie, fie! fie, for shame! - Turn your back upon the game! - ---Ellesmere, Berrington, Wenlock (_Shropshire Folk-lore_, p. 513). - - X. Willie, willie wall-flowers, growing up so high! - We are all fair maids, we shall all die! - Excepting little ----, and she's the youngest here, - Turn your head towards the south, and she's the one to bear, - The willie, willie wallflowers. - -_Or_, - - Oh! for shame, fie, for shame, turn yourself to the wall - again-- - ---Sporle, Norfolk (Miss Matthews). - - XI. Wall-flowers, wall-flowers, growing up so high! - We are all ladies, we must all die! - Excepting ----, who is the prettiest child. - Fie, for shame, fie, for shame, turn your back to the wall - again. - ---Nottinghamshire and Lincolnshire (Miss Winfield) - - XII. Wall-flowers, wall-flowers, growing up so high! - We're all ladies, and we shall all die! - Excepting [naming smallest child in ring], - She can hop, and she can skip, and she can play the organ! - Oh! for shame, fie, for shame, - Turn your back upon our game. - ---Enbourne School, Berks. (Miss M. Kimber). - - XIII. Wall-flowers, wall-flowers, growing up so high! - We are all pretty maidens, we all have to die! - Except ----, she's the youngest girl, - Ah! for shame, ah! for shame, - Turn your back to us again. - I'll wash you in milk, - I'll dress you in silk, - I'll write down your name, - With a gold pen and ink. - ---Earls Heaton (Herbert Hardy). - - XIV. Oh flower, oh flower, growing up so high! - We are all children, we have all to die! - Except ----, she the youngest gay, - Oh! for shame, fie, for shame, - Turn your back against the wall. - ---Beddgelert (Mrs. Williams). - - XV. Wall-flowers, wall-flowers, growing up so high! - We are all little, and we've got to die! - Excepting ----, and she's the only one, - Oh! for shame, fie, for shame, - Turn your back to the wall again. - ---Cowes, Isle of Wight (Miss E. Smith). - - XVI. Little Molly white-flower, we are all maidens, - And we shall all die, except Polly Pegg, - She's the best of all, - She can hop, and she can skip, and she can turn the - candlestick! - Oh! fie, for shame, - Turn your back to the wall. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - XVII. Wall-flowers, wall-flowers, growing up so high! - We are all playmates, we shall all die! - Excepting ----, for she's the youngest flower, - Cry shame, cry shame, - And turn your face to the wall again. - ---Sheffield (S. O. Addy). - - XVIII. Wall-flower, wall-flower, growing up so high! - All the pretty maidens shall not die! - Excepting ----, she is the youngest child, - Oh! for shame, fie, for shame! - Turn your back to the wall again. - ---Dean, near Salisbury (Mrs. C. Brough). - - XIX. Water, water wall-flower, growing up so high, - We are all maidens, we must all die, - Except ----, the youngest of us all. - She can laugh, and she can dance, and she can play at ball; - Fie! fie! fie for shame! turn your face to the wall again. - ---Connell Ferry, near Oban (Miss Harrison). - - XX. Water, water wall-flower, growing up so high, - We are all maidens, we must all die. - Except ----, she's the youngest of them all; - She can dance, she can sing, - And she can dance the wedding ring (or "Hieland fling") - Fie! fie! fie for shame! - Turn your back to the wall again. - ---Galloway (J. G. Carter). - - XXI. Wall-flowers, wall-flowers, - Growing up so high; - All ye young maidens - Are all fit to die. - Excepting ----, and she's the worst of all, - She can hop, and she can skip, - And she can turn the candlestick. - Fye! fie! for shame, - Turn your face to the wall again. - ---(_Suffolk County Folk-lore_, p. 67.) - - XXII. Wall-flowers, wall-flowers, growing up so high, - All you young ladies will soon have to die; - Excepting ----, and she's the best of all. - She can dance, she can skip, she can turn the mangle quick; - Hi, ho! fie for shame! turn your back to the wall again. - ---Cambridge (Mrs. Haddon). - - XXIII. Wally, wally wall-flower, growing up so high, - We are all maidens, and we shall die; - All except the youngest one, and that is [child's name]. - Choose for the best, choose for the worst, - Choose the one that you love best. - - Now you're married, I wish you joy, - First a girl and then a boy, - Seven years after son and daughter, - Now, young couple, kiss together. - ---Hersham, Surrey (_Folk-lore Record_, v. 84). - - XXIV. Wally, wally wall-flowers, - Growing up so high; - We're all ladies, - We shall all die. - Excepting little ----, - She's the only one; - She can hop, she can skip, - She can play the herald, - Fie! fie! fie for shame! - Turn your back to the wall again. - ---Deptford, Kent (Miss Chase). - - XXV. Water, water wall-flower, - Growing up so high; - We are all maidens, - And we must all die. - ---- is the youngest, - She must kick, - And she must fling, - And she must turn the sofa; - Fie! fie! fie, for shame! - Turn your back to the wall again. - - XXVI. Except ----, and she's the youngest one, - She can hop, and she can skip, - She can turn the sofa; - Oh fie! fie! fie, for shame! - Turn your back to the wall again. - ---Cullen and Nairn (Rev. W. Gregor). - - XXVII. She can skip, she can dance, - She can ding us all o'er. - ---Aberdeen (Rev. W. Gregor). - - XXVIII. Green, green grovers, growing up so high, - We are all maidens, - And we must all die; - Except ----, the youngest of us all, - She can dance, and she can sing, - She can dance the Hieland fling; - Fie! fie! fie, for shame! - Turn your back to us again. - ---Nairn (Rev. W. Gregor). - - XXIX. Water, water, well stones, - Growing up so high, - We are all maidens, - And we must all die. - Except ----, - She's the youngest of us all, - She can dance, she can sing, - She can dance the "Hielan' Fling,"[14] - Oh fie, fie, for shame, - Turn your back to us again. - ---Dyke (Rev. W. Gregor). - - XXX. Here's a pot of wall-flowers, - Growing up so high; - We're all maidens, and we shall die. - Excepting [girl's name], - She can hop, and she can skip, - And she can play the organ. - Turn your back, you saucy Jack, - You tore your mother's gown. - ---Northants (Rev. W. Sweeting). - - XXXI. Wall-flowers, wall-flowers, growin' up so high, - Neither me nor my baby shall ever wish to die, - Especially [girl's name], she's the prettiest flower. - She can dance, and she can sing, and she can tell the hour, - With her wee-waw, wy-waw, turn her face to the wall. - ---Howth, Dublin (Miss H. E. Harvey). - -Or, - - Turn your back to all the game. - ---Bonmahon, Waterford (Miss H. E. Harvey). - - XXXII. Sally, Sally, wall-flower [or Waters], - Springing up so high, - We're all fair maids, - And we shall all die. - Excepting [girl's name], - She's the fairest daughter, - She can hop, and she can skip, - She can turn the organ. - Turn your face toward the wall, - And tell me who your sweetheart's called. - - Mr. Moffit is a very good man, - He came to the door with his hat in his hand, - He pulled up his cloak, and showed me the ring; - To-morrow, to-morrow, the wedding begins. - First he bought the frying-pan, - Then he bought the cradle, - And then one day the baby was born, - Rock, rock the cradle. - ---Hurstmonceux, Sussex (Miss Chase). - - XXXIII. Water, water, wild flowers, - Growing up so high, - We are all maidens, - And we shall all die, - Excepting [Eva Irving], - And she's the youngest of us all, - And she can hop, and she can skip, - And she can turn the candlestick, - [Or "She can play the organ."] - Piper shame! piper shame! - Turn your back to the wall again. - I pick up a pin, - I knock at the door, - I ask for ----, - She's neither in, - She's neither out, - She's up the garden skipping about. - Down come ----, as white as snow, - Soft in her bosom as soft as glow. - She pulled off her glove, - And showed us her ring, - To-morrow, to-morrow, - The bells shall ring. - ---Ogbourne, Wilts. (H. S. May). - - XXXIV. Water, water, wall-flowers, growing up so high, - We are all maidens, and we must all die, - Except ----, she's the only one, - She can dance, she can sing, she can play the organ, - Fie, fie, fie for shame, turn your face to the wall again. - Green grevel, green grevel, the grass is so green, - The fairest young lady that ever was seen. - O ----, O ----, your true love is dead, - He'll send you a letter to turn back your head. - ---Laurieston School, Kirkcudbright (J. Lawson). - - XXXV. [Mary Kelly's] stole away, stole away, stole away, - [Mary Kelly's] stole away, - And lost her lily-white flowers. - - It's well seen by her pale face, her pale face, her pale - face, - It's well seen by her pale face, - She may turn her face to the wall. - ---Belfast (W. H. Patterson). - -(_c_) The children form a ring by joining hands. They all dance slowly -round, singing the words. When the one child is named by the ring she -turns round, so that her face is turned to the outside of the ring and -her back inside. She still clasps hands with those on either side of -her, and dances or walks round with them. This is continued until all -the players have turned and are facing outwards. - -This concludes the game in many places, but in others the game is -continued by altering the last line of the verses, and the children -alternately turning round when named until they all face inside again. -In some of the versions the first child to turn her face to the wall is -the youngest, and it is then continued by the next youngest, until the -eldest is named. This obtains in Hampshire (Miss Mendham), Nottingham, -Symondsbury, Shropshire, Beddgelert, Sheffield, Connell Ferry, Oban, -Hersham, Surrey, Dyke. In the London (Miss Chase) and Sheffield versions -the child named leaves the ring and turns with her face to a wall. In -the Wakefield version Miss Fowler says a child stands in the middle, and -at the fifth line all the children say their own name. At the end of the -verse they all unclasp hands, and turn with their faces outside the -circle; the verse is repeated, when they all turn again facing inwards, -and so on over again. In the Nairn version, after all the players have -turned their faces outside the ring, they all throw their arms over -their heads, and turn so as to face inwards if possible without -disjoining hands. The children at Ogbourne, Wilts, clap hands when -singing the last two lines of the verses. At Enbourne School it is the -tallest child who is first named, and who turns her back; presumably the -next tallest is then chosen. In the Suffolk game one child stands -outside the ring; the ring sings the first four lines, and the child -outside sings the rest. At Wenlock Miss Burne says each child is -summoned in turn by name to turn their heads when the last line is said. -At Hurstmonceux a girl chooses a boy after her face is turned to the -wall. - -(_d_) The most interesting point about this game is that it appears to -refer to a custom or observance which particularly concerns young girls. -We cannot say what the custom or observance was originally, but the -words point to something in which a young maiden played the principal -part. "We are all maidens" and "she's the youngest here" runs through -most of the versions. A death seems to be indicated, and it may be that -this game was originally one where the death of the betrothed of the -youngest maiden was announced. This would account for the "turning the -face to the wall," which is indicative of mourning and great sorrow and -loss. The mention of the girl's accomplishments may mean that being so -young and accomplished she would quickly get another suitor, and this -might also account for the "fie for shame!"--shame to be thinking of -another lover so soon; or, on the other hand, the other maidens may -regret that by the loss of her lover and betrothed this young maiden's -talents will be lost in "old maidenhood," as she will not now be -married, and this will be "a shame." She will be, in fact, "on the -shelf" or "out of sight" for the rest of her life, and through no fault -of her own. The "we are all maidens" might refer to the old custom of -maidens carrying the corpse of one of their number to the grave, and the -words may have originally been the lament over her death. - -With reference to the words "turn the candlestick," which occurs in six -versions, "M. H. P.," in _Notes and Queries_ (7th ser., xi. 256), says: -"_Turning the Candlestick_.--A candlestick in the game of 'See-saw' is -the Yorkshire name for the child who stands in the centre of the plank, -and assists the motion by swaying from side to side." Toone -(_Etymological Dictionary_) says--Before the introduction of the modern -candlestick, the custom was to have the candle held by a person -appointed for that purpose, called a candle-holder, and hence the term -became proverbial to signify an idle spectator. - -"I'll be a candle-holder and look on."--_Romeo and Juliet._ - -"A candle-holder sees most of the game."--Ray's _Proverbs_. - -If this should be the meaning of the phrase in these rhymes, "she can -turn the candlestick" may have originally meant that now this maiden -can be nothing but a "looker on" or "candle-holder" in the world. The -meaning has evidently been forgotten for a long time, as other -expressions, such as "she can turn the organ," have had to be adopted to -"make sense" of the words. - -Aubrey (_Remaines of Judaisme_, p. 45) mentions the sport called -"Dancing the Candlerush," played by young girls; in Oxford called "Leap -Candle," which consisted of placing a candle in the middle of the room -and "dancing over the candle back and forth" saying a rhyme. This may be -the "dance" referred to in the rhymes. - -The tune of most versions is the same. It is pretty and plaintive, and -accords with the idea of mourning and grief. The Rev. W. D. Sweeting -says the tune in Northants seems to be lost. The game is sung to a sort -of monotone. - -Northall gives a version from Warwickshire similar to several given -here, and Mr. Newell (_Games and Songs of American Children_) gives a -version and tune which is similar to that of Hurstmonceux, Surrey. - -See "Green Grass." - - [13] At Wenlock they add to the chorus: - - O _Alice_! your true love will send you a letter to turn round - your head! - And she can turn the handlestick. - - [14] Another version from Forfarshire gives "Green, green, grivers," - and "Pull the cradle string" for "Dance the Hielan' Fling," and - one from Nairn is "Turn your back to the wall again." - - -Warney - - I'm the wee mouse in the hole in the wa', - I'm come out to catch you a'. - -One of the players starts with clasped hands to catch another. When this -is done they join hands--each one, on being caught, going into the -number to form a chain. If the chain breaks no one can be -caught.--Laurieston School, Kirkcudbright (J. Lawson). - -See "Stag," "Whiddy." - - -Way-Zaltin - -A sort of horse-game, in which two boys stand back to back with their -arms interlaced; each then alternately bends forward, and so raises the -other on his back with his legs in the air. This term, too, is sometimes -used for see-sawing.--Elworthy's _West Somerset Words_. Barnes (_Dorset -Glossary_) calls this game "Wayzalt." Holloway (_Dict. Prov._) says, in -Hants the game is called "Weighing." - -See "Weigh the Butter." - - -We are the Rovers - -[Music] - ---Bath (A. B. Gomme). - -[Music] - ---Hanbury, Staffs. (Miss Edith Hollis). - -[Music] - ---Wrotham, Kent (Miss D. Kimball). - - I. We are coming to take your land, - We are the rovers! - We are coming to take your land, - [Though you] are the guardian soldiers! - - We don't care for your men nor you, - [Though you] are the rovers! - We don't care for your men nor you, - For we are the guardian soldiers! - - We will send our dogs to bite, - We are the rovers! - We will send our dogs to bite, - Though you are the guardian soldiers! - - We don't care for your dogs nor you, - Though you're the rovers! - We don't care for your dogs nor you, - For we are the guardian soldiers! - - Will you have a glass of wine? - We are the rovers! - Will you have a glass of wine? - For respect of guardian soldiers! - - A glass of wine won't serve us all, - Though you're the rovers! - A glass of wine won't serve us all, - For we are the guardian soldiers! - - Will a barrel of beer then serve you all? - We are the rovers! - Will a barrel of beer then serve you all? - As you are the guardian soldiers! - - A barrel of beer won't serve us all, - Though you're the rovers! - A barrel of beer won't serve us all, - For we're gallant guardian soldiers! - - We will send our blue-coat men, - We are the rovers! - We will send our blue-coat men, - Though you are the guardian soldiers! - - We don't fear your blue-coat men, - Though you're the rovers! - We don't fear your blue-coat men, - For we are the guardian soldiers! - - We will send our red-coat men, - We are the rovers! - We will send our red-coat men, - Though you are the guardian soldiers! - - We don't mind your red-coat men, - Though you're the rovers! - We don't mind your red-coat men, - For we are the guardian soldiers! - - Are you ready for a fight? - We are the rovers! - Are you ready for a fight? - Though you are the guardian soldiers! - - Yes, we are ready for a fight, - Though you're the rovers! - Yes, we are ready for a fight, - For we are the guardian soldiers! - ---Ellesmere (_Shropshire Folk-lore_, p. 518). - - II. We have come for a glass of wine, - We are the Romans! - We have come for a glass of wine, - We are King William's soldiers! - - We won't serve you with the wine, - We are the Romans! - We won't serve you with the wine, - We are King William's soldiers! - - We will set our dogs to watch, - We are the Romans! - We will set our dogs to watch, - We are King William's soldiers! - - We don't care for you and your dogs, - We are the Romans! - We don't care for you and your dogs, - We are King William's soldiers! - - We will set our police to watch, - We are the Romans! - We will set our police to watch, - We are King William's soldiers! - - We don't care for you and your police, - We are the Romans! - We don't care for you and your police, - We are King William's soldiers! - - Are you ready for a fight? - We are the Romans! - Are you ready for a fight? - We are King William's soldiers! - - We are ready for a fight, - We are the Romans! - We are ready for a fight, - We are King William's soldiers! - ---Wrotham, Kent (Miss D. Kimball). - - III. Will you have a gill of ale? - We are the Romans! - Will you have a gill of ale? - For we are the Roman soldiers! - - A gill of ale won't serve us all, - We are the English! - A gill of ale won't, &c., - For we are the English soldiers! - - Take a pint and go your way, - We are, &c. [As above.] - - A pint of ale won't serve us all, - We are, &c. - - Take a quart and go your way, - We are, &c. - - A quart of ale won't serve us all, - We are, &c. - - Take a gallon and go your way, - We are, &c. - - A gallon of ale won't serve us all, - We are, &c. - - Take a barrel and go your way, - We are, &c. - - A barrel of ale will serve us all, - We are, &c. - ---Lancashire: Liverpool and its neighbourhood (Mrs. Harley). - - IV. Have you any bread and wine, - For we are the Romans! - Have you any bread and wine, - We are the Roman soldiers! - - Yes, we have some bread and wine, - For we are the English! - Yes, we have some bread and wine, - We are the English soldiers! - - Will you give us a glass of it? - For we are, &c. [As above.] - - Yes, we'll give you a glass of it, - For we are, &c. - - A glass of it won't serve us so, - For we are, &c. - - Then you shan't have any at all, - For we are, &c. - - Then we will break all your glasses, - For we are, &c. - - Then we will go to the magistrates, - For we are, &c. - - Then you may go to the magistrates, - For we are, &c. - - Then let us join our happy ring, - For we are, &c. - ---Hartley Witney, Winchfield, Hants. (H. S. May). - - V. Have you any cake and wine? - For we are the English! - Have you any cake and wine? - For we're the English soldiers! - - Yes, we have some cake and wine, - For we are the Romans! - Yes, we have some cake and wine, - For we're the Roman soldiers! - - Will you give us cake and wine? &c. - - No, we won't give you cake and wine, &c. - - Then we'll tell our magistrates, &c. - - We don't care for your magistrates, &c. - - Then we'll tell our highest men, &c. - - We don't care for your highest men, &c. - - Turn up your sleeves and have a fight, - For we are the Romans [English]! &c. - ---Enbourne School, Berks. (Miss M. Kimber). - - VI. Have you any bread and wine? - We are the Romans! - Have you any bread and wine? - For we're the government soldiers! - - Yes! we have some bread and wine, &c. - - Will you give us a glass of it? &c. - - We will give you a glass of it, &c. - - A glass of it won't serve us all, &c. - - We will give you a gallon of it, &c. - - We will break all your glasses, &c. - - We will tell the magistrates, &c. - - What care we for the magistrates, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - - Tuck up your sleeves up to your arms, &c. - Present! Shoot! Bang! Fire!! - ---Maxey, Northamptonshire (Rev. W. D. Sweeting). - - VII. Have you any bread and wine? - We are the English! - Have you any bread and wine? - We are the English soldiers! - - No, we have no bread and wine, - We are the Romans! - No, we have no bread and wine, - We are the Roman soldiers! - - A quart of ale won't serve us all, &c. - - Take a gallon and go your way, &c. - - A gallon of ale won't serve us all, &c. - - We will fetch the magistrate, &c. - - We don't care for the magistrate, &c. - - We will fetch the p'liceman, &c. - - We don't care for the p'liceman, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - ---Hanbury, Staffs. (Miss Edith Hollis). - - VIII. Have you any bread and wine, bread and wine, bread and wine, - Have you any bread and wine, - For we are English soldiers! - - Yes, we have some bread and wine, bread and wine, bread and - wine, - For we are French soldiers! - - Will you give us a quarter of it? &c. - - No, we won't give you a quarter of it, &c. - - Then we will send the magistrate, &c. - - What do we care for the magistrate, &c. - - What do we care for the convent dogs, &c. - - Are you ready for a fight, &c. - - Yes, we are ready for a fight, &c. - ---Hurstmonceux, Sussex (Miss E. Chase, 1892). - - IX. Have you any bread and wine, - Bread and wine, bread and wine? - Have you any bread and wine, - My Theerie and my Thorie? - - Yes, we have some bread and wine, bread and wine, &c. - - We shall have one glass of it, one glass of it, &c. - - Take one glass and go your way, go your way, &c. - - We shall have two glasses of it, two glasses of it, &c. - - Take two glasses and go your way, go your way, &c. - -[Repeat for three, four, and five glasses of it, then--] - - We shall have a bottle of it, a bottle of it, &c. - - A bottle of it ye _shall not_ have, ye shall not have, &c. - - We will break your glasses all, your glasses all, &c. - - We will send for the magistrates, the magistrates, &c. - - What care we for the magistrates, the magistrates? &c. - - We will send for the policemen, the policemen, &c. - - What care we for the policemen, the policemen? &c. - - We will send for the red coat men, the red coat men, &c. - - What care we for the red coat men, the red coat men? &c. - - What kind of men are ye at all, are ye at all? &c. - - We are all Prince Charlie's men, Prince Charlie's men, &c. - - But what kind of men are _ye_ at all, are _ye_ at all? &c. - - We are all King George's men, King George's men, &c. - - Are ye for a battle of it, a battle of it? &c. - - Yes, we're for a battle of it, - A battle of it, a battle of it, - Yes, we're for a battle of it, - My Theerie and my Thorie. - ---Perthshire (Rev. W. Gregor). - - X. What men are ye of? - What men are ye of? - What men are ye of? - Metherie and Metharie. - - We are of King George's men, - King George's men, King George's men, - We are of King George's men, - Metherie and Metharie. - - We will send for the policemen, &c. - - What care we for the policemen? &c. - - We will have a bottle of wine, &c. - - You shall not have, &c. - - We will have three bottles of wine, &c. - - You shall not have, &c. - - We will send for Cripple Dick, &c. - - What care we for Cripple Dick, &c. - - We finish off with a battle three, &c. - ---Northumberland (from a lady friend of Hon. J. Abercromby). - - XI. We shall have a glass of wine, - A glass of wine, a glass of wine, - We shall have a glass of wine, - Methery I methory. - - You shall not have a glass of wine, - A glass of wine, a glass of wine, - You shall not have a glass of wine, - Methery I methory. - - Then we'll break your dishes, then, &c. - - Then we'll send for the blue coat men, &c. - - What care I for the blue coat men, &c. - - Then we'll send for the red coat men, &c. - - What care we for the red coat men, &c. - - We are all King George's men, &c. - - We are all King William's men, &c. - ---Auchencairn, Kirkcudbright (Prof. A. C. Haddon). - - XII. Have you any bread and wine, bread and wine, bread and wine? - Have you any bread and wine? - Come a theiry, come a thory. - - Yes, we have some bread and wine, &c. - - Will you give us a glass of it? &c. - - Yes, we'll give you a glass of it, &c. - - Will you give us two glasses of it? &c. - - Yes, we'll give you two glasses of it, &c. - - Will you give us a pint of it? &c. - - A pint of it you shall not get, &c. - - We will break your window pane, &c. - - We will tell the policemen, &c. - - What care we for the policemen, &c. - - We will tell the red coat men, &c. - - What care we for the red coat men, &c. - - We will tell the magistrate, &c. - - What care we for the magistrate, &c. - - Will you try a fight with us? &c. - - Yes, we'll try a fight with you, &c. - - Are you ready for it now? &c. - - Yes, we're ready for it now, &c. - ---Perth (Rev. W. Gregor). - - XIII. Have you got any bread and wine, bread and wine, bread and - wine? - Have you got any bread and wine? - Come a theory, oary mathorie. - - Yes, we have some bread and wine, &c. - - We shall have one glass of it, &c. - - You shall not have one glass of it, &c. - - To what men do you belong? &c. - - We are all King George's men, &c. - - To what men do you belong, &c. - - We are all King William's men, &c. - - We shall have a fight, then, &c. - ---Perth (Rev. W. Gregor). - - XIV. Have you any bread and wine, - Ye o' the boatmen? - Have you any bread and wine, - Ye the drunk and sober? - - Yes, we have some bread and wine, &c. - - Will you give us of your wine, &c. - - Take one quart and go your way, &c. - - One quart is not enough for us, &c. - - Take two quarts and go your way, &c. - -[Continue up to six quarts, then--] - - Pray, what sort of men are you? &c. - - We are all King George's men, &c. - - Are you ready for a fight? &c. - - Yes, we're ready for a fight, &c. - ---Forest of Dean (Miss Matthews). - - XV. I will fetch you a pint of beer, - He I over; - I will fetch you a pint of beer, - Whether we are drunk or sober. - - I will fetch you a quart of beer, - He I over; - I will fetch you a quart of beer, - Whether we are drunk or sober. - - I will fetch you two quarts of beer, &c. - - I will fetch you three quarts of beer, &c. - - I will fetch you a gallon of beer, &c. - - I will fetch you a barrel of beer, &c. - - I will fetch the old police, &c. - - Are you ready for a fight, &c. - ---Earls Heaton (H. Hardy) - -[Another variant from Earls Heaton is:--] - - Have you got a bottle of gin? - He I over; - Have you got a bottle of gin, - As in that golden story? - ---(H. Hardy). - - XVI. Have you any bread and wine, - Bread and wine, bread and wine? - Have you any bread and wine? - Cam a teerie, arrie ma torry. - - Yes, we have some bread and wine, - Bread and wine, bread and wine; - Yes, we have some bread and wine, - Cam a teerie, arrie ma torry. - - We shall have one glass of it, &c. - - One glass of it you shall not get, &c. - - We are King George's loyal men, - Loyal men, loyal men; - We are King George's loyal men, - Cam a teerie, arrie ma torry. - - What care we for King George's men, - King George's men, King George's men; - What care we for King George's men, - Cam a teerie, arrie ma torry. - ---_People's Friend_, quoted in a review of "Arbroath: Past and Present," -by J. M. M'Bain. - - XVII. We shall have one glass of wine, - We are the robbers; - We shall have one glass of wine, - For we are the gallant soldiers. - - You shall have no glass of wine, - We are the robbers; - You shall have no glass of wine, - For we are the gallant soldiers. - - We shall have two glasses of it, &c. - - You shall have no glass of it, &c. - - We will break your tumblers, then, &c. - - We shall send for the policeman, &c. - - What care we for the policeman, &c. - - We shall send for the red coat men, &c. - - What care we for the red coat men, &c. - - We shall send for the blue coat men, &c. - - What care we for the blue coat men, &c. - - We shall send for the magistrate, &c. - - What care we for the magistrate, &c. - - We shall send for Cripple Dick, &c. - - What care we for Cripple Dick, &c. - - We shall have a battle then, &c. - - Yonder is a battle field, &c. - ---Laurieston School, Kirkcudbright (J. Lawson). - - XVIII. Here comes three dukes a-riding, a-riding, a-riding; - Here comes three dukes a-riding, a-riding, a-riding; - My fair ladies. - - Have you any bread and wine, bread and wine, bread and wine? - Have you any bread and wine, bread and wine, bread and wine, - My fair ladies? - - How do you sell your bread and wine, &c. - - I sell it by a gallon, sir, &c. - - A gallon is too much, fair ladies, &c. - - Sell it by a gallon, my fair ladies, &c. - - Then we'll have none at all, &c. - - Are you ready for a fight, &c. - - Yes, we are ready for a fight, &c. - My dear sirs. - ---Sporle, Norfolk (Miss Matthews). - -(_c_) The players divide into two sides of about equal numbers, and form -lines. The lines walk forwards and backwards in turn, each side singing -their respective verses alternately. When the last verse is sung both -lines prepare for a fight. - -This is the usual way of playing, and there is but little variation in -the methods of the different versions. In some versions (Enbourne, -Berks.; Maxey, Northants., and Bath) sleeves are tucked up previous to -the pretended fight, and in one or two places sticks and stones are -used; again in the Northamptonshire and Bath games, at "Present! Shoot! -Bang! Fire!!" imitations are given of firing of guns before the actual -fight takes place. In the Hants (H. S. May) and Lancashire (Mrs. Harley) -versions, when the last verse is reached the players all join hands, -form a ring, and dance round while they sing the last verse. In several -versions too, when they sing "We don't care for the magistrates," or -other persons of authority, the players all stamp their feet on the -ground. In the Hurstmonceux version the children double their fists -before preparing to fight. Some pretend to have swords to fight with, -but the greater number use their fists. In most of the versions the -players on both sides join in the refrain or chorus. - -(_d_) This game represents an attacking or invading party and the -defenders. It probably owes its origin to the border warfare which -prevailed for so long a period between Highlanders and Lowlanders of -Scotland, the Scotch and English of the northern border counties, and in -the country called the marches between Wales and England. Contests -between different nationalities living in one town or place, as at -Southampton and Nottingham, would also tend to produce this game. That -the game represents this kind of conflict rather than an ordinary battle -between independent countries is shown by several significant points. -These are, the dialogue between the opposing parties before the fight -begins, the mention of bread, ale, or other food, and more particularly -the threat to appeal to the civil authorities, called in the different -versions, magistrates, blue coat men, red coat men, highest men, -policemen, and Cripple Dick. Such an appeal is only applicable where the -opposing parties were, theoretically at all events, subordinate to a -superior authority. The derision, too, with which the threat is received -by the assailants is in strict accord with the facts of Border society. -Scott in _Waverley_ and the _Black Dwarf_ describes such a raid, and the -suggestion to appeal to the civil authority in lieu of a raid is met -with the cry of such an act being useless. The passage from the _Black -Dwarf_ is: "'We maun tak the law wi' us in thae days, Simon,' answered -the more prudent elder. 'And besides,' said another old man, 'I dinna -believe there's ane now living that kens the lawful mode of following a -fray across the Border. Tam o' Whittram kend a' about it; but he died in -the hard winter.' 'Hout,' exclaimed another of these discording -counsellors, 'there's nae great skill needed; just put a lighted peat on -the end of a spear, a hayfork, or siclike, and blaw a horn and cry the -gathering word, and then it's lawful to follow gear into England and -recover it by the strong hand, or to take gear frae some other -Englishmen, providing ye lift nae mair than's been lifted frae you. -That's the auld Border law made at Dundrennan in the days of the Black -Douglas.'" In _Waverley_ the hero suggests "to send to the nearest -garrison for a party of soldiers and a magistrate's warrant," but is -told that "he did not understand the state of the country and of the -political parties which divided it" (chap. xv.). The position of this -part of the country is best understood from the evidence of legal -records, showing how slowly the king's record ran in these parts. Thus -Mr. Clifford (_Hist. of Private Legislation_) quotes from Hodgson's -_Hist. of Northumberland_ (vol. iii. pt. 2, p. 171), a paper, in the -Cotton MS., on "The bounds and means of the 'batable land belonging to -England and Scotland." It was written in 1550 by Sir Robert Bowes, a -Northumbrian, at the request of the Marquis of Dorset, then Warden -General of the Marches, and gives a graphic picture of Border life at -that time. The writer describes Cassope bridge as "a common passage for -the thieves of Tyndalle, in England, and for the thieves of Liddesdalle, -in Scotland, with the stolen goods from one realm to the other." The -head of Tyndalle is a place "where few true men have list to lodge." -North Tyndall "is more plenished with wild and misdemeaned people" than -even South Tyndall. The people there "stand most by four surnames," the -Charltons, Robsons, Dodds, and Milbornes. "Of every surname there be -sundry families, or graves, as they call them, of every of which there -be certain headsmen that leadeth and answereth for all the rest. There -be some among them that have never stolen themselves, which they call -true men. And yet such will have rascals to steal either on horseback or -foot, whom they do reset, and will receive part of the stolen goods. -There be very few able men in all that country of North Tyndalle, but -either they have used to steal in England or Scotland. And if any true -man of England get knowledge of the theft or thieves that steal his -goods in Tyndalle or Ryddesdale, he had much rather take a part of his -goods again in composition than pursue the extremity by law against the -thief. For if the thief be of any great surname or kindred, and be -lawfully executed by order of justice, the rest of his kin or surname -bear as much malice, which they call deadly feade (feud), against such -as follow the law against their cousin the thief, as though he had -unlawfully killed him with a sword; and will by all means they can seek -revenge thereupon." At sundry times the dalesmen "have broken out of all -order, and have then, like rebels or outlaws, committed very great and -heinous attempts, as burning and spoiling of whole townships and -murdering of gentlemen and others whom they have had grief or malice -unto, so that for defence of them there have been great garrisons laid, -and raids and incourses both against them and by them, even as it were -between England and Scotland in time of war. And even at such times they -have done more harm than they have received." A number of the -Tyndaller's houses are set together, so that they may give each other -succour in frays, and they join together in any quarrel against a true -man, so that for dread of them "almost no man dare follow his goods -stolen or spoiled into that country." - -The sides in the game are under the different names or leadership of -Romans and English, King William's men, rovers and guardian soldiers, -Prince Charlie's men, King George's men, &c. These names have probably -been given in memory of some local rising, or from some well-known event -which stamped itself upon the recollection of the people. It is very -curious that in four or five versions a refrain, which may well be a -survival of some of the slogans or family "cries" (see "Three Dukes"), -should occur instead of the "Roman" and "English" soldiers, &c. These -refrains are, "My theerie and my thorie," "Metherie and metharie," -"Methory I methory," "Come a theeiry, come a thory," "Come a theory, -oary mathorie," "Cam a teerie, arrie ma torry," and the three which -apparently are still further degradations of these, "Ye o' the boatmen," -"Drunk and sober," "He I over." That "slogans" or "war cries" were used -in this species of tribal war there is little doubt. In the -Northumberland and Laurieston versions the name is "Cripple Dick," these -words, now considered as the name of a powerful and feared leader, may -also indicate the same origin. The versions with these refrains come -from Perthshire (three versions), Authencairn, and Northumberland; -Yorkshire has He I over; while the Romans and English, King George's -men, King William's men, guardian soldiers, rovers, &c., are found in -Shropshire, Staffordshire, Gloucester, Kent, Hants, Bath, Berks, -Northamptonshire, Sussex, some of which are Border counties to Wales, -and others have sea-coasts where at different times invasions have been -expected. In Sussex, Miss Chase says the game is said to date from the -alarm of Napoleon's threatened landing on the coast; this is also said -in Kent and Hampshire. Miss Burne considers the game in Shropshire to -have certainly originated from the old Border warfare. She also -considers that the bread and wine, barrels of ale, &c., are indications -of attempts made to bribe the beleaguered garrison and their willingness -to accept it; but I think it more probably refers to the fact that some -food, cattle, and goods were oftentime given to the raiders by the -owners of the lands as blackmail, to prevent the carrying off of all -their property, and to avoid fighting if possible. It will be noticed -that fighting ensues as the result of a sufficient quantity of food and -drink being refused. Scott alludes to the practice of blackmail, having -to be paid to a Highland leader in _Waverley_, in the raid upon the -cattle of the baron of Bradwardine (see chap. xv.). The farms were -scattered, and before the defenders could combine to offer resistance, -cattle and goods would be carried off, and the ground laid waste, if -resistance were offered. - -The tune of the Northants game (Rev. W. Sweeting) and Hants (H. S. May) -are so nearly like the Bath tune that it seemed unnecessary to print -them. The tune of the Surrey game is that of "Nuts in May." The words of -the Bath version collected by me are nearly identical with the -Shropshire, except that "We are the Romans" is said instead of "We are -the Rovers." They are not therefore printed here, but I have used this -version in my _Children's Singing Games_, series I., _illustrated_. The -tune of the Hants version (H. S. May) is similar to that of Wrotham, -Kent (Miss D. Kimball). - - -Weary - - Weary, weary, I'm waiting on you, - I can wait no longer on you; - Three times I've whistled on you-- - Lovey, are you coming out? - - I'll tell mamma when I go home, - The boys won't let my curls alone; - They tore my hair, and broke my comb-- - And that's the way all boys get on. - ---Aberdeen Training College (Rev. W. Gregor). - -The girls stand in a row, and one goes backwards and forwards singing -the first four lines. She then takes one out of the row, and they swing -round and round while they all sing the other four lines. - - -Weave the Diaper - - Weave the diaper tick-a-tick tick, - Weave the diaper tick; - Come this way, come that, - As close as a mat, - Athwart and across, up and down, round about, - And forwards and backwards and inside and out; - Weave the diaper thick-a-thick thick, - Weave the diaper thick. - ---Halliwell's _Nursery Rhymes_, p. 65. - -(_b_) This game should be accompanied by a kind of pantomimic dance, in -which the motions of the body and arms express the process of weaving, -the motion of the shuttle, &c. - -(_c_) Mr. Newell (_Games and Songs of American Children_, p. 80) -mentions a dance called "Virginia Reel," which he says is an imitation -of weaving. The first movement represents the shooting of the shuttle -from side to side and the passage of the woof over and under the threads -of the warp; the last movements indicate the tightening of the threads -and bringing together of the cloth. He also says that an acquaintance -told him that in New York the men and girls stand in rows by sevens, an -arrangement which may imitate the different colours of strands. Mr. -Newell does not say whether any words are sung during the dancing of the -reel. Halliwell gives another rhyme (p. 121), which may have belonged to -this weaving game. It is extremely probable that in these fragments -described by him we have remains of one of the old trade dances and -songs. - - -Weigh the Butter - -Two children stand back to back, with their arms locked. One stoops as -low as he can, supporting the other on his back, and says, "Weigh the -butter;" he rises, and the second stoops in his turn with "Weigh the -cheese." The first repeats with "Weigh the old woman;" and it ends by -the second with "Down to her knees."--_Folk-lore Journal_, v. 58. - -The players turn their backs to each other, and link their arms together -behind. One player then bends forward, and lifts the other off his [her] -feet. He rises up, and the other bends forward and lifts him up. Thus -the two go on bending and rising, and lifting each other alternately, -and keep repeating-- - - Weigh butter, weigh cheese, - Weigh a pun (pound) o' can'le grease. - ---Keith (Rev. W. Gregor). - -Mr. Northall (_English Folk Rhymes_) gives this game with the words as-- - - A bag o' malt, a bag o' salt, - Ten tens a hundred. - -This game is described as played in the same way in Antrim and Down -(Patterson's _Glossary_), and also by Jamieson in Roxburgh. - -See "Way-Zaltin." - - -When I was a Young Girl - -[Music] - ---Platt School, nr. Wrotham, Kent (Miss Burne). - -[Music] - ---Hanbury, Staffs. (Miss Edith Hollis). - -[Music] - ---Market Drayton, Salop (_Shropshire Folk-lore_). - -[Music] - ---Ogbourne, Wilts. (H. S. May). - - I. When I was a young girl, a young girl, a young girl, - When I was a young girl, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I had a sweetheart, a sweetheart, a sweetheart, - When I had a sweetheart, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I got married, got married, got married, - When I got married, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I had a baby, a baby, a baby, - When I had a baby, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When my baby died, died, died, - When my baby died, how sorry was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When my husband died, died, died, - When my husband died, how sorry was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I kept a donkey, a donkey, a donkey, - When I kept a donkey, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I was a washerwoman, a washerwoman, a washerwoman, - When I was a washerwoman, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - - When I was a beggar, a beggar, a beggar, - When I was a beggar, how happy was I. - This way and that way, and this way and that way, - And this way and that way, and this way went I. - ---Platt School, near Wrotham, Kent (Miss Burne). - - II. When I was a young girl, a young girl, a young girl, - When I was I young girl, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I was a school-girl, a school-girl, a school-girl, - When I was a school-girl, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I was a teacher, a teacher, a teacher, - When I was a teacher, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a sweetheart, a sweetheart, a sweetheart, - When I had a sweetheart, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a husband, a husband, a husband, - When I had a husband, oh! this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I had a baby, a baby, a baby, - When I had a baby, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my baby died, oh, died, oh, died, - When my baby died, how sorry was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I took in washing, oh, washing, oh, washing, - When I took in washing, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When I went out scrubbing, oh, scrubbing, oh, scrubbing, - When I went out scrubbing, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my husband did beat me, did beat me, did beat me, - When my husband did beat me, oh, this way went I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - - When my husband died, oh, died, oh, died, - When my husband died, how happy was I. - And this way and that way, and this way and that way, and - this way and that way, and this way went I. - Hurrah! - ---Barnes, Surrey (A. B. Gomme). - - III. When I was a young gell, a young gell, a young gell, - When I was a young gell, i' this a way went I. - An' i' this a way, an' i' that a way, an' i' this a way - went I. - - When I wanted a sweetheart, a sweetheart, a sweetheart, - When I wanted a sweetheart, i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I went a-courting, a-courtin', a-courtin', - When I went a-courtin', i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I did get married, get married, get married, - When I did get married, i' this a way went I. - An' i' this a way, an' i' this a way, an' i' this a way - went I. - - When I had a baby, &c. - - When I went to church, &c. - - My husband was a drunkard, &c. - - When I was a washerwoman, &c. - - When I did peggy, &c. - - My baby fell sick, &c. - - My baby did die, &c. - - My husband did die, &c. - ---Liphook, Wakefield (Miss Fowler). - - IV. When I wore my flounces, my flounces, my flounces, - When I wore my flounces, this a-way went I. - - When I was a lady, a lady, a lady, - When I was a lady, this a-way went I. - - When I was a gentleman, a gentleman, a gentleman, - When I was a gentleman, this a-way went I. - - When I was a washerwoman, &c. - - When I was a schoolgirl, &c. - - When I had a baby, &c. - - When I was a cobbler, &c. - - When I was a shoeblack, &c. - - When my husband beat me, &c. - - When my baby died, &c. - - When my husband died, &c. - - When I was a parson, &c. - ---Hanbury, Staffs. (Miss Edith Hollis). - - V. When I was a lady, a lady, a lady, - When I was a lady, a lady was I. - 'Twas this way and that way, and this way and that. - - When I was a gentleman, a gentleman, a gentleman, - When I was a gentleman, a gentleman was I. - 'Twas this way and that way, and this way and that. - - When I was a schoolgirl, a schoolgirl, a schoolgirl, - When I was a schoolgirl, a schoolgirl was I, &c. - - When I was a schoolboy, a schoolboy, a schoolboy, &c. - - When I was a schoolmaster, a schoolmaster, a schoolmaster, - &c. - - When I was a schoolmistress, a schoolmistress, a - schoolmistress, &c. - - When I was a donkey, a donkey, a donkey, &c. - - When I was a shoeblack, a shoeblack, a shoeblack, &c. - ---Ogbourne, Wilts. (H. S. May). - - VI. When I was a naughty girl, a naughty girl, a naughty girl, - When I was a naughty girl, a-this a-way went I! - And a-this a-way, and a-that a-way, - And a-this a-way, and a-that a-way, - And a-this a-way, and a-that a-way, - And a-this a-way went I! - - When I was a good girl, &c., a-this a-way went I! &c. - - When I was a naughty girl, &c. - - When I went courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When the baby cried, &c. - - When the baby died, &c. - ---Berrington (_Shropshire Folk-lore_, p. 514). - - VII. When I was a naughty girl, &c. [as above] - - When I went to school, &c. - - When I went a-courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When the baby fell sick, &c. - - When my baby did die, &c. - - When my husband fell sick, &c. - - When my husband did die, &c. - - When I was a widow, &c. - - Then I took in washing, &c. - - Then my age was a hundred and four, &c. - ---Market Drayton (_Shropshire Folk-lore_, p. 515). - - VIII. First I was a school-maid, a school-maid, how happy was I! - And a-this a-way, and a-that a-way went I! - - And then I got married, how happy was I! &c. - - And then I had a baby, how happy was I! &c. - - And then my husband died, how sorry was I! &c. - - And then I married a cobbler, how happy was I! &c. - - And then the baby died, how sorry was I! &c. - - And then I married a soldier, how happy was I! &c. - - And then he bought me a donkey, how happy was I! &c. - - And then the donkey throwed me, how sorry was I! &c. - - And then I was a washing-maid, how happy was I! &c. - - And then my life was ended, how sorry was I! - ---Chirbury (_Shropshire Folk-lore_, p. 515). - - IX. When first we went to school--to school--to school-- - How happy was I! - 'Twas this way and that way, - How happy was I! - - Next I went to service--to service--to service-- - How happy was I! - 'Twas this way, and that way, - How happy was I! &c. - - Next I had a sweetheart--a sweetheart--a sweetheart-- - How happy was I! &c. - - Next I got married--got married--got married-- - How happy was I! &c. - - Next I had a baby--a baby--a baby-- - How happy was I! &c. - - Next my husband died--he died--he died-- - How sorry was I! &c. - - Next my baby died--she died--she died-- - How sorry was I! &c. - ---Dorsetshire (_Folk-lore Journal_, vii. pp. 218-219). - - X. Oh! when I was a soldier, I did this way, this way. - - Oh! when I was a mower, I did this way, this way. - - Oh! when I was a hedge cutter, I did this way, this way. - - Oh! when I was a boot cleaner, I did this way, this way. - - Oh! when I was a teacher, I did this way, this way. - - Oh! when I was a governess, I did this way, this way. - - Oh! when I had a baby, I did this way, this way. - - Oh! when my baby died, I did this way, this way. - ---Fernham and Longcot Choir Girls, Berks. (Miss I. Barclay). - - XI. When I was a school-boy, a school-boy, a school-boy, - When I was a school-boy, this way went I. - - When I was a school-girl, &c. - - When I was a-courting, &c. - - When I got married, &c. - - When I had a baby, &c. - - When my baby died, &c. - - When my husband was ill, &c. - - When I was a shoe-black, &c. - - When I was a washerwoman, &c. - - When I was a soldier, &c. - - When I was a sailor, &c. - ---Frodingham and Nottinghamshire (Miss M. Peacock). - - XII. When I was a school girl, a school girl, a school girl, - When I was a school girl, a this way went I. - - When I was a teacher, a teacher, a teacher, - When I was a teacher, a this way went I. - -[Verses follow for courtin'-- - - married woman, - having a baby, - death of baby.] - ---Earls Heaton (H. Hardy). - - XIII. When I went a courting, I went just so. - When next I went a courting, I went just so; - When next I went a courting, I went just so; - When next I went a courting, I went just so. - ---Haxey, Lincolnshire (C. C. Bell). - -(_c_) The children join hands and form a ring. They all dance or walk -round singing the words of the first two lines of each verse. Then all -standing still, they unclasp hands, and continue singing the next two -lines, and while doing so each child performs some action which -illustrates the events, work, condition, or profession mentioned in the -first line of the verse they are singing; then rejoining hands they all -dance round in a circle again. The actions used to illustrate the -different events are: In the versions from Platt school, for "young -girl," each child holds out her dress and dances a step first to the -right, then to the left, two or three times, finishing by turning -herself quite round; for a "sweetheart," the children turn their heads -and kiss their hands to the child behind them; for "got married," they -all walk round in ring form, two by two, arm in arm; for having a baby, -they each "rock" and "hush" a pretended baby; when the baby dies, each -pretends to cry; when the husband dies, they throw their aprons or -handkerchiefs over their heads and faces; for "keeping a donkey," each -child pretends to beat and drive the child immediately in front of her; -for "washerwoman," each pretends to wash or wring clothes; for a -"beggar," each drops curtseys, and holds out her hand as if asking alms, -putting on an imploring countenance. The Barnes' version is played in -the same way, with the addition of holding the hands together to -represent a book, as if learning lessons, for "schoolgirl"; pretending -to hold a cane, and holding up fingers for silence, when a "teacher"; -when "my husband did beat me," each pretends to fight; and for "my -husband died," each child walks round joyfully, waving her handkerchief, -and all calling out Hurrah! at the end; the other verses being acted the -same as at Platt. The Liphook version is much the same: the children -beckon with their fingers when "wanting a sweetheart"; kneel down and -pretend to pray when "at church"; prod pretended "clothes" in a wash-tub -with a "dolly" stick when "I did peggy" is said; and mourn for the -"husband's" death. In the Hanbury game, the children dance round or -shake themselves for "flounces "; hold up dresses and walk nicely for -"lady"; bow to each other for "gentlemen"; pretend to mend shoes when -"cobblers"; brush shoes for "shoeblack"; clap hands when the "husband" -dies; and kneel when they are "parsons." In the Ogbourne game, the -children "hold up their dresses as ladies do" in the first verse; take -off their hats repeatedly when "gentlemen"; pretend to cry when -"schoolgirls"; walking round, swinging their arms, and looking as cocky -as possible, when "schoolboys"; patting each other's backs when -"schoolmasters"; clapping hands for "schoolmistresses"; stooping down -and walking on all fours for a "donkey"; and brushing shoes for -"shoeblack." In the Shropshire games at Berrington, each child "walks -demurely" for a good girl; puts finger on lip for "naughty girl"; walks -two and two, arm in arm, for "courting"; holds on to her dress for -"married"; whips the "baby," and cries when it dies. In the Market -Drayton game, each pretends to tear her clothes for "naughty girl"; -pretends to carry a bag for "schoolgirl"; walk in pairs side by side for -"courting"; the same, arm in arm, for "married"; "hushes" for a baby, -pretends to pat on the back for sick baby; covers her face with -handkerchief when baby dies; pats her chest when husband is sick, cries -and "makes dreadful work" when he dies; puts on handkerchief for a -widow's veil for a widow; hobbles along, and finally falls down when "a -hundred and four." In the Dorset game, when at "service," an imitation -of scrubbing and sweeping is given; walk in couples for sweethearts, and -married; the remaining verses the same as the Platt version. In the -Fernham game the children shoot out their arms alternately for a -soldier; for a mower, they stand sideways and pretend to cut grass; for -hedge-cutter, they pretend to cut with a downward movement, as with a -belt [_qy._ bill] hook, the other action similar to the Platt and Barnes -games. In the Frodingham game they stamp and pretend to drill for -"schoolboys," pretend to sew as "schoolgirls," kiss for "courting," put -on a ring for "getting married," run for a doctor when "husband" is ill, -punch and push each other for "soldiers," and haul ropes for "sailors." -In other versions, in which carpenters, blacksmiths, farmers, bakers -appear, actions showing something of those trades are performed. - -(_d_) It will be seen, from the description of the way this game is -played, that it consists of imitative actions of different events in -life, or of actions imitating trades and occupations. It was probably at -one time played by both girls and boys, young men and young women. It is -now but seldom played by boys, and therefore those verses containing -lines describing male occupations are not nearly so frequently met with -as those describing girls' or womens' life only. Young girl, sweetheart, -or going courtin', marriage, birth of children, loss of baby and -husband, widowhood, and the occupations of washing and cleaning, exactly -sum up the principal and important events in many working womens' -lives--comprising, in fact, the whole. This was truer many years ago -than now, and the mention in many versions of school girl, teacher, -governess, indicate in those versions the influence which education, -first in the shape of dame or village schools, Sunday schools, and -latterly Board schools, has had upon the minds and playtime of the -children. These lines may certainly be looked upon as introductions by -the children of comparatively modern times, and doubtless have taken the -place of some older custom or habit. This game is exactly one of those -to which additions and alterations of this kind can be made without -destroying or materially altering, or affecting, its sense. It can live -as a simple game in an almost complete state long after its original -wording has been lost or forgotten, and as long as occupations continue -and events occur which lend themselves to dumb action. The origin of the -game I consider to be those dances and songs performed in imitation of -the serious avocations of life, when such ceremonies were considered -necessary to their proper performance, and acceptable to the deities -presiding over such functions, arising from belief in sympathetic magic. - -At harvest homes it was customary for the men engaged in the work of the -farm to go through a series of performances depicting their various -occupations with song and dance, from their engagement as labourers -until the harvest was completed, and at some fairs the young men and -women of the village, in song and dance, would go through in pantomimic -representation, the several events of the year, such as courting, -marriage, &c., and their several occupations. - -Perhaps the most singular instance of imitative action being used in a -semi-religious purpose, is that recorded by Giraldus Cambrensis in the -twelfth century, who, speaking of the church of St. Almedha, near -Brecknock, says a solemn feast is held annually in the beginning of -August: "You may see men and girls, now in the church, now in the -churchyard, now in the dance, which is led round the churchyard with a -song, on a sudden falling on the ground as in a trance, then jumping up -as in a frenzy, and representing with their hands and feet before the -people whatever work they have unlawfully done on feast days; you may -see one man put his hands to the plough, and another, as it were, goad -on the oxen, one man imitating a shoemaker, another a tanner. Now you -may see a girl with a distaff drawing out the thread and winding it -again on the spindle; another walking and arranging the threads for the -spindle; another throwing the shuttle and seeming to weave" (_Itinerary -of Wales_, chap. ii.). - -For the significance of some of the pantomimic actions used, I may -mention that in Cheshire for a couple to walk "arm-in-arm" is -significant of a betrothed or engaged couple. - -Other versions have been sent me, but so similar to those given that it -is unnecessary to give them here. The tunes vary more. In some places -the game is sung to that of "Nuts in May." In Barnes the tune used was -sometimes that of "Isabella," vol. i. p. 247, and sometimes the first -one printed here. - -The game is mentioned by Newell (_Games_, p. 88). - - -Whiddy - - Whiddy, whiddy, way, - If you don't come, I won't play. - -The players, except one, stand in a den or home. One player clasps his -hands together, with the two forefingers extended, He sings out the -above, and the boys who are "home" then cry-- - - Warning once, warning twice, - Warning three times over; - When the cock crows out come I, - Whiddy, whiddy, wake-cock. Warning! - -This is called "Saying their prayers." The boy who begins must touch -another boy, keeping his hands clasped as above. These two then join -hands, and pursue the others; those whom they catch also joining hands, -till they form a long line. If the players who are in the home run out -before saying their prayers, the other boys have the right to pummel -them, or ride home on their backs.--London (J. P. Emslie, A. B. Gomme). - -See "Chickidy Hand," "Hunt the Staigie," "Stag," "Warney." - - -Whigmeleerie - -A game occasionally played in Angus. A pin was stuck in the centre of a -circle, from which there were as many radii as there were persons in the -company, with two names of each person at the radius opposite to him. -On the pin an index was placed, and moved round by every one in turn, -and at whatsoever person's radius it stopped, he was obliged to drink -off his glass.--Jamieson. - -A species of chance game, played apparently with a kind of totum. - - -Whip - -A boy's game, called in the South "Hoop or Hoop Hide." This is a curious -instance of corruption, for the name hoop is pronounced in the local -manner as hooip, whence whip.--Easther's _Almondbury Glossary_. - - -Whishin Dance - -An old-fashioned dance, in which a cushion is used to kneel -upon.--Dickinson's _Cumberland Glossary_. - -See "Cushion Dance." - - -Who goes round my Stone Wall - - I. Who's going round my stone wall? - Nobody, only little Jacky Lingo. - Pray don't steal none of my fat sheep, - Unless I take one by one, two by two, three by three, - Follow me. - Have you seen anything of my black sheep? - Yes! I gave them a lot of bread and butter and sent them up - there [pointing to left or right]. - Then what have you got behind you? - Only a few poor black sheep. - Well! let me see. - -[The child immediately behind Johnny Lingo shows its foot between her -feet, and on seeing it the centre child says] - - Here's my black sheep. - ---Winterton, Anderby, Nottinghamshire (Miss M. Peacock). - - II. Who's that going round my stony walk? - It's only Bobby Bingo. - Have you stolen any of my sheep? - Yes! I stole one last night and one the night before. - ---Enbourne School, Berks (Miss M. Kimber). - - III. Who goes round this stoney wa'? - Nane but Johnnie Lingo. - Tak care and no steal ony o' my fat sheep away! - Nane but ane. - ---Galloway (J. G. Carter). - - IV. Who goes round my pinfold wall? - Little Johnny Ringo. - Don't steal all my fat sheep! - No more I will, no more I may, - Until I've stol'n 'em all away, - Nip, Johnny Ringo. - ---Addy's _Sheffield Glossary_. - -[Illustration] - - V. Who's that walking round my sandy path? - Only Jack and Jingle. - Don't you steal none of my fat geese! - Yes, I will, or No, I won't. I'll take them one by one, and - two by two, and call them Jack and Jingle. - ---Barnes, Surrey (A. B. Gomme). - - VI. Who runs round my pen pound? - No one but old King Sailor. - Don't you steal all my sheep away, while I'm a wailer! - Steal them all away one by one, and leave none but old King - Sailor. - ---Raunds (_Northants Notes and Queries_, i. p. 232). - - VII. Who's that walking round my walk? - Only Jackie Jingle. - Don't you steal of my fat sheep; - The more I will, the more I won't, - Unless I take them one by one, - And that is Jackie Jingle. - ---Hersham, Surrey (_Folk-lore Record_, v. 85). - - VIII. Who's going round my sunny wall to night? - Only little Jacky Lingo. - Don't steal any of my fat chicks. - I stole one last night - And gave it a little hay, - There came a little blackbird, - And carried it away. - ---Bocking, Essex (_Folk-lore Record_, iii. 170). - - IX. Who's that round my stable door [or stony wall]? - Only little Jack and Jingo. - Don't you steal any of my fat pigs! - I stole one last night and the night before, - Chick, chick, come along with me. - ---Deptford, Kent (Miss Chase). - - X. Who's this walking round my stony gravel path? - Only little Jacky Jingle. - Last night he stole one of my sheep, - Put him in the fold, - Along came a blackbird, and pecked off his nose. - ---Hampshire (Miss Mendham). - - XI. Who is going round my fine stony house? - Only Daddy Dingo. - Don't take any of my fine chicks. - Only this one, O! - ---Ellesmere (Burne's _Shropshire Folk-lore_, p. 520). - - XII. Who is that walking round my stone-wall? - Only little Johnnie Nero. - Well, don't you steal any of my fat sheep! - I stole one last night and gave it a lock of hay, - Here come I to take another away. - ---Sporle, Norfolk (Miss Matthews). - - XIII. Who's that going round my pretty garden? - Only Jacky Jingo. - Don't you steal any of my fat sheep! - Oh, no I won't; oh, yes I will; and if I do I'll take them - one by one, so out comes Jacky Jingo. - ---Ogbourne, Wilts. (H. S. May). - - XIV. Who's going round my sheepfold? - Only poor Jack Lingo. - Don't steal any of my black sheep! - No, I won't, only buy one. - ---Roxton, St. Neots (Miss E. Lumley). - - XV. Who goes round my house this night? - None but Limping Tom. - Do you want any of my chickens this night? - None but this poor one. - ---Macduff (Rev. W. Gregor). - - XVI. Who goes round my house this night? - Who but Bloody Tom! - Who stole all my chickens away? - None but this poor one. - ---Chambers's _Pop. Rhymes_, 122. - - XVII. Who goes round the house at night? - None but Bloody Tom. - Tack care an' tack nane o' my chickens awa'! - None but this poor one. - ---Keith (Rev. W. Gregor). - - XVIII. Johnny, Johnny Ringo, - Don't steal all my faun sheep. - Nob but one by one, - Whaul they're all done. - ---Easther's _Almondbury Glossary_. - - XIX. Who's going round my stone wall? - Only an old witch. - Don't take any of my bad chickens! - No, only this one. - ---Hanbury, Staffs. (Miss E. Hollis). - -(_b_) The players stand in a circle, but they do not necessarily hold -hands, nor do they move round. One player kneels or stands in the -centre, and another walks round outside the circle. The child in the -centre asks the questions, and the child outside (Johnny Lingo) replies. -When the last answer is given, the outside player, or Johnny Lingo, -touches one of the circle on the back; this player, without speaking, -then follows Johnny Lingo and stands behind her holding her by her -dress, or round the waist. The dialogue is then repeated, and another -child taken. This is continued until all the circle are behind Johnny -Lingo. Then the child in the centre tries to catch one of them, and -Johnny Lingo tries to prevent it; as soon as one player is caught she -stands aside, and when all are caught the game is over. - -This is the usual way of playing. The variations are: in Galloway, -Enbourne, Keith, and Hanbury, the centre player shuts her eyes, or is -blindfolded. In the Almondbury version, when the centre child gets up to -look for his sheep, and finds them (they do not stand behind Johnny -Ringo, but hide), they run about "baaing;" when he catches them he -pretends to cut their heads off. In Chambers's description of the game, -all the players except two sit upon the ground in a circle (sitting or -lying down also obtains at Barnes), one of the two stands inside, and -the other personates "Bloody Tom." Bloody Tom tries to carry off a -player after the dialogue has been said, and the centre child tries to -prevent this one from being taken, and the rest of the circle "cower -more closely round him." In the Macduff version, when all the players -have been taken, the centre child runs about crying, "Where are all my -chickens?" Some of the "chickens," on hearing this, try to run away from -"Limping Tom" to her, and he tries to prevent them. He puts them all -behind him in single file, and the centre child then tries to catch -them; when she catches them all she becomes Limping Tom, and he the -shepherd or hen. Dr. Gregor says (Keith)--The game is generally played -by boys; the keeper kneels or sits in the middle of the circle; when all -the sheep are gone, and he gets no answers to his questions, he crawls -away still blindfolded, and searches for the lost sheep. The first -player he finds becomes keeper, and he becomes Bloody Tom. In the -Winterton version (No. I.) there is a further dialogue. The game is -played in the usual way at the beginning. When Jacko Lingo says, "Follow -me" (he had previously, when saying one by one and two by two, &c., -touched three children on their back in turn), the third one touched -leaves the ring, and stands behind him holding his clothes or waist. -This is done until all the children forming the circle are holding on -behind him. The child in the centre then asks the next question. When -she says, "Here's my black sheep," she tries to dodge behind Jacky -Lingo, and catch the child behind him. When she has done this she begins -again at "Have you seen anything of my black sheep," until she has -caught all the children behind Jacky Lingo. In two versions, Deptford -and Bocking, there is no mention of a player being in the centre, but -this is an obvious necessity unless the second player stands also -outside the circle. In the Raunds version the ring moves slowly round. -In the Hants version (Miss Mendham) the children sit in a line. The -thief takes one at a time and hides them, and the shepherd pulls them -out of their hiding-places. In the Shropshire game, the chickens crouch -down behind their mother, holding her gown, and the fox walks round -them. - -(_c_) This game appears to represent a village (by the players standing -still in circle form), and from the dialogue the children not only -represent the village, but sheep or chickens belonging to it. The other -two players are--one a watchman or shepherd, and the other a wolf, fox, -or other depredatory animal. The sheep may possibly be supposed to be in -the pound or fold; the thief comes over the boundaries from a -neighbouring village or forest to steal the sheep at night; the watchman -or shepherd, although at first apparently deceived by the wolf, -discovers the loss, and a fight ensues, in which the thief gets the -worse, and some of the animals, if not all, are supposed to be -recovered. The names used in the game,--pen pound, pinfold, fold, stone -wall, sunny wall, sandy path, gravel path, sheep fold, garden, house, -are all indications that a village and its surroundings is intended to -be represented, and this game differs in that respect from the ordinary -Fox and Geese and Hen and Chickens games, in which no mention is made of -these. - -Halliwell records two versions (_Nursery Rhymes_, pp. 61, 68). The words -and method of playing are the same as some of those recorded above. -There is also a version in _Suffolk County Folk-lore_, pp. 65, 66, which -beginning with "Who's going round my little stony wall?" after the sheep -are all stolen, continues with a dialogue, which forms a part of the -game of "Witch." The Rev. W. S. Sykes sends one from Settle, Yorkshire, -the words of which are the same as No. XIV., except that the last line -has "just one" instead of "buy one." Mr. Newell gives a version played -by American children. - - -Widow - - I. One poor widder all left alone, - Only one daughter to marry at home, - Chews [choose] for the worst, and chews for the best, - And chews the one that yew [you] love best. - - Now you're married, I wish ye good joy, - Ivery year a gal or a boy! - If one 'out dew, ye must hev tew, - So pray, young couple, kiss te'gither. - ---Swaffham, Norfolk (Miss Matthews). - - II. Here is a poor widow who is left alone, - And all her children married and gone; - Come choose the east, come choose the west, - Come choose the one you love the best. - - Now since you've got married, I wish you joy, - Every year a girl and boy; - Love one another like sister and brother, - I pray you couple come kiss together. - ---Perth (Rev. W. Gregor). - - III. One poor widow was left alone, - Daughter, daughter, marry at home; - Choose the worst, or choose the best, - Choose the young gentleman you love best. - - Now you are married, I wish you joy, - Father and mother, you must obey, - Love one another like sister and brother, - And now, young couple, come kiss together. - ---Bexley Heath (Miss Morris.) - - IV. One poor widow is left all alone, all alone, all alone, - Choose the worst, and choose the best, - And choose the one that you like best. - - Now she's married I wish her joy, - Her father and mother she must obey, - Love one another like sisters and brothers, - And now it's time to go away. - ---_Suffolk County Folk-lore_, p. 67. - - V. One poor widow was left alone, - She had but one daughter to marry alone; - Come choose the worst, come choose the best, - Come choose the young girl that you like best. - ---Maxey, Northants (Rev. W. D. Sweeting). - - VI. Here's a poor widow she's left alone, - She has got nothing to marry upon; - Come choose to the east, come choose to the west, - Come choose the one that you love best. - - Now they're married, we wish them joy, - Every year a girl and a boy; - Seven years old, seven years to come, - Now kiss the couple, and that's well done. - ---Auchterarder, N.B. (Miss E. S. Haldane). - -(_b_) The children form a ring by joining hands. One player stands in -the centre. The ring dance round singing the first verse; the widow then -chooses one player from the ring, who goes into the centre with her, and -the ring dances round singing the second part. The one first in the -centre then joins the ring, and the second player becomes the widow and -chooses in her turn. - -This belongs to the marriage group of Kiss in the Ring games. Northall -(_English Folk Rhymes_, p. 374), gives a version similar to the above. - -See "Kiss in the Ring," "Poor Widow," "Sally Water," "Silly Young Man." - - -Wiggle-Waggle - -The players sit round a table under the presidency of a "Buck." Each -person has his fingers clenched, and the thumb extended. Buck from time -to time calls out as suits his fancy: "Buck says, Thumbs up!" or, "Buck -says, Thumbs down!" or, "Wiggle-waggle!" If he says "Thumbs up!" he -places both hands on the table, with the thumbs sticking straight up. If -"Thumbs down!" he rests his thumbs on the table with his hands up. If -"Wiggle-waggle!" he places his hands as in "Thumbs up!" but wags his -thumbs nimbly. Everybody at the table has to follow the word of command -on the instant, and any who fail to do so are liable to a -forfeit.--Evan's _Leicestershire Words_. - -See "Horns." - - -Wild Boar - -"Shoeing the Wild Boar," a game in which the player sits cross-legged on -a beam or pole, each of the extremities of which is placed or swung in -the eyes of a rope suspended from the back tree of an outhouse. The -person uses a switch, as if in the act of whipping up a horse; when -being thus unsteadily mounted, he is most apt to lose his balance. If he -retains it, he is victor over those who fail.--Teviotdale (Jamieson). - - -Wild Birds - -"All the Wild Birds in the Air," the name of a game in which one acts -the dam of a number of birds, who gives distinct names of birds, such as -are generally known to all that are engaged in the sport. The person who -opposes tries to guess the name of each individual. When he errs he is -subject to a stroke on the back. When he guesses right he carries away -on his back that bird, which is subjected to a blow from each of the -rest. When he has discovered and carried off the whole, he has gained -the game.--Jamieson. Jamieson adds that this sport seems only to be -retained in Abernethy, Perthshire; and it is probable, from the -antiquity of the place, that it is very ancient. - -See "All the Birds in the Air," "Fool, Fool." - - -Willie, Willie Wastell - - Willie, Willie Wastell, - I am on your castle, - A' the dogs in the toun - Winna pu' Willie doun. - - Like Willie, Willie Wastel, - I am in my castel - A' the dogs in the toun - Dare not ding me doun. - ---Jamieson. - -A writer in the _Gentlemen's Magazine_ for 1822, Part I. p. 401, says -that the old distich-- - - "Willy, Willy Waeshale! - Keep off my castle," - -used in the North in the game of limbo, contains the true etymon of the -adjective "Willy." - -The same game as "Tom Tiddler's Ground." It is played in the same way. -Jamieson says the second rhyme given shows that the rhyme was formerly -repeated by the player holding the castle, and not, as now, by the -opposing players. - -See "King of the Castle," "Tom Tiddler's Ground." - - -Wind up the Bush Faggot - -[Music: _Andante_, with determined deliberation. - -Repeat from beginning till all are wound up.] - -[Music: _Allegro_, with unbounded vigour. - - _Note._--(1) The simplicity of time and no _dotted_ notes, also - _change_ of key for 2/4 music. - - (2) The game unites common and triple time very successfully. - - (3) Notwithstanding the injunction it is best _not_ to wind up - too _tight_.] - ---Essex (Miss Dendy). - -In the Essex game all the players join hands and form a long line. They -should stand in sizes, the tallest should be the first, and should -stand quite still. All the rest walk round this tallest one, singing-- - - Wind up the bush faggot, and wind it up tight, - Wind it all day and again at night, - -to the first part of the tune given--that in three-eight time. This is -to be repeated until all the players are wound round the centre or -tallest player, in a tight coil. Then they all sing-- - - Stir up the dumplings, the pot boils over, - -to the second part of the tune in 2-4 time. This is repeated, all -jumping simultaneously to the changed time, until there is a general -scrimmage, with shrieking and laughter, and a break up. The players -should look somewhat like a watch spring. [Illustration] As soon as the -last one is wound up, no matter in what part of the 3-8 time music they -may be, they leave off and begin to jump up and down, and sing to the -2-4 music.--Essex (Miss Dendy). - -This game is called "Wind up the Watch" in Wolstanton, North -Staffordshire Potteries, and is played in the same manner. The words are -only, "Wind up the Watch," and are said. When all the players are wound -up they begin to unwind, saying, "Unwind the Watch."--Miss Bush. Called -"Wind up Jack" in Shropshire. It is the closing game of any playtime, -and was played before "breaking-up" at a boys' school at Shrewsbury, -1850-56. The players form a line hand in hand, the tallest at one end, -who stands still; the rest walk round and round him or her, saying, -"Wind up Jack! Wind up Jack!" (or at Ellesmere, "Roll up the -tobacco-box"), till "Jack" is completely imprisoned. They then "jog up -and down," crying, "A bundle o' rags, a bundle o' rags!"--Berrington, -Ellesmere (_Shropshire Folk-lore_, p. 521). - -In Scotland the game is known as "Row-chow-Tobacco;" a long chain of -boys hold each other by the hands: they have one standing steadily -at one of the extremities, who is called the _Pin_. Round him the -rest coil like a watch chain round the cylinder, till the act of -winding is completed. A clamorous noise succeeds, in which the cry -Row-chow-Tobacco prevails; after giving and receiving the -_fraternal hug_, they disperse, and afterwards renew the process. -In West of Scotland, it is Rowity-chow-o'-Tobacco, pronounced, -_rowity-chowity-bacco_, and as the first syllable of each word is -shouted, another hug or squeeze is given. The game is not so common as -formerly. The same game is played in West Cornwall by Sunday-school -children at their out-of-door treats, and is called "Roll Tobacco." - -It is known as "The Old Oak Tree" in Lincoln, Kelsey, and Winterton, and -is played in the same manner. When coiling round, the children sing-- - - Round and round the old oak tree: - I love the girls and the girls love me. - -When they have twisted into a closely-packed crowd they dance up and -down, tumbling on each other, crying-- - - A bottle of rags, a bottle of rags. - -In the Anderby and Nottinghamshire version of the game the children -often sing-- - - The old oak tree grows thicker and thicker every Monday morning. - ---Miss M. Peacock. - -In Mid-Cornwall, in the second week in June, at St. Roche, and in one or -two adjacent parishes, a curious dance is performed at the annual -"feasts." It enjoys the rather undignified name of "Snails Creep," but -would be more properly called the "Serpent's Coil." The following is -scarcely a perfect description of it:--"The young people being all -assembled in a large meadow, the village band strikes up a simple but -lively air and marches forward, followed by the whole assemblage, -leading hand-in-hand (or more closely linked in case of engaged -couples), the whole keeping time to the tune with a lively step. The -band, or head of the serpent, keeps marching in an ever-narrowing -circle, whilst its train of dancing followers becomes coiled round it in -circle after circle. It is now that the most interesting part of the -dance commences, for the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter movement with almost military precision."--W. C. Wade (_Western -Antiquary_, April 1881). - -From this description of the "Snail Creep," it is not difficult to -arrive at an origin for the game. It has evidently arisen from a custom -of performing some religious observance, such as encircling sacred trees -or stones, accompanied by song and dance. "On May Day, in Ireland, all -the young men and maidens hold hands and dance in a circle round a tree -hung with ribbons and garlands, or round a bonfire, moving in curves -from right to left, as if imitating the windings of a serpent."--Wilde -(_Ancient Cures, Charms, and Usages of Ireland_, 106). - -It is easy to conjecture how the idea of "winding up a watch," or -"rolling tobacco," would come in, and be thought the origin of the game -from the similarity of action; but it is, I think, evident that this is -not the case, from the words "a bundle o' rags," the mention of trees, -and the "jogging" up and down, to say nothing of the existence of -customs in Ireland and Wales similar to that of "Snail Creep." It is -noticeable, too, that some of these games should be connected with -trees, and that, in the "Snail Creep" dance the young men should carry -branches of trees with them. - -See "Bulliheisle," "Eller Tree." - - -Wind, The - - I. The wind, the wind, the wind blows high, - The rain comes pouring from the sky; - Miss So-and-So says she'd die - For the sake of the old man's eye. - She is handsome, she is pretty, - She is the lass of the golden city; - She goes courting one, two, three, - Please to tell me who they be. - A. B. says he loves her, - All the boys are fighting for her, - Let the boys say what they will - A. B. has got her still. - ---Forest of Dean, Gloucestershire (Miss Matthews). - - II. The wind, wind blows, and the rain, rain goes, - And the clouds come gathering from the sky! - _Annie Dingley's_ very, very pretty, - She is a girl of a noble city; - She's the girl of one, two, three, - Pray come tell me whose she'll be. - - _Johnny Tildersley_ says he loves her, - All the boys are fighting for her, - All the girls think nothing of her. - Let the boys say what they will, - _Johnny Tildersley's_ got her still. - - He takes her by the lily-white hand - And leads her over the water, - Gives her kisses one, two, three, - Mrs. _Dingley's_ daughter! - ---Berrington, Eccleshall (_Shropshire Folk-lore_, p. 510). - - III. When the wind blows high, - When the wind blows high, - The rain comes peltering from the sky. - She is handsome, she is pretty, - She is the girl in all the city. - She [He?] comes courting one, two, three, - Pray you tell me who she be. - I love her, I love her, - All the boys are fighting for her. - Let them all say what they will, - I shall love her always still. - She pulled off her gloves to show me her ring, - To-morrow, to-morrow, the wedding bells ring. - ---Cowes, Isle of Wight (Miss E. Smith). - - IV. The wind, the wind, the wind blows high, - The rain comes falling from the sky. - She is handsome, she is pretty, - She is the girl of London city. - She goes a courting one, two, three, - Please will you tell me who is he? - [Boy's name] says he loves her. - All the boys are fighting for her. - Let the boys do what they will, - [Boy's name] has got her still. - He knocks at the knocker and he rings at the bell, - Please, Mrs. ----, is your daughter in? - She's neither ways in, she's neither ways out, - She's in the back parlour walking about. - Out she came as white as snow, - With a rose in her breast as soft as silk. - Please, my dear, will you have a drop of this? - No, my dear, I'd rather have a kiss. - ---Settle, Yorks. (Rev. W. G. Sykes). - - V. The wind, the wind, the wind blows high, - The rain comes sparkling from the sky, - [A girl's name] says she'll die - For a lad with a rolling eye. - She is handsome, she is pretty, - She is the flower of the golden city. - She's got lovers one, two, three. - Come, pray, and tell me who they be. - [A boy's name] says he'll have her, - Some one else is waiting for her. - Lash the whip and away we go - To see Newcastle races, oh. - ---Tyrie (Rev. W. Gregor). - -[Another version after-- - - ---- says he'll have her, - -is-- - - In his bosom he will clap her.] - -[Another one after-- - - She has got lovers one, two, three, - -continues-- - - Wait till [a boy's name] grows some bigger, - He will ride her in his giggie. - Lash your whip and away you go - To see Newcastle races, O!] - ---Pittulie (Rev. W. Gregor). - -[And another version gives-- - - ---- says she'll die - For the want of the golden eye.] - ---Fochabers (Rev. W. Gregor). - - VI. The wind blows high, and the wind blows low, - The snow comes scattering down below. - Is not ---- very very pretty? - She is the flower of one, two, three. - Please to tell me who is he. - ---- says he loves her, - All the boys are fighting for her. - Let the boys say what they will, - ---- loves her still. - ---Perth (Rev. W. Gregor). - -A ring is formed by the children joining hands, one player standing in -the centre. When asked, "Please tell me who they be," the girl in the -middle gives the name or initials of a boy in the ring (or _vice -versa_). The ring then sings the rest of the words, and the boy who was -named goes into the centre. This is the Forest of Dean way of playing. -In the Shropshire game, at the end of the first verse the girl in the -centre beckons one from the ring, or one volunteers to go into the -centre; the ring continues singing, and at the end the two children -kiss; the first one joins the ring, and the other chooses in his turn. -The other versions are played in the same way. - -Northall (_English Folk-Rhymes_, p. 380) gives a version from -Warwickshire very similar. - - -Wink-egg - -Elworthy (_West Somerset Words_) says--When a nest is found boys shout, -"Let's play 'Wink-egg.'" An egg is placed on the ground, and a boy goes -back three paces from it, holding a stick in his hand; he then shuts his -eyes, and takes two paces towards the egg and strikes a blow on the -ground with the stick--the object being to break the egg. If he misses, -another tries, and so on until all the eggs are smashed. In Cornwall it -is called "Winky-eye," and is played in the spring. An egg taken from a -bird's nest is placed on the ground, at some distance off--the number of -paces having been previously fixed. Blindfolded, one after the other, -the players attempt with a stick to hit and break it.--_Folk-lore -Journal_, v. 61. - -See "Blind Man's Stan." - - -Witch, The - -This game is played by nine children. One is chosen as Mother, seven are -chosen for her children, and the other is a Witch. The Mother and Witch -stand opposite the seven children. The _Mother_ advances and names the -children by the days of the week, saying-- - - Sunday, take care of Monday, - Monday, take care of Tuesday, - Tuesday, take care of Wednesday, - Wednesday, take care of Thursday, - Thursday, take care of Friday, - Friday, take care of Saturday. - Take care the Old Witch does not catch you, and I'll bring you - something nice. - -The Mother then goes away, and the Witch advances saying-- - -Sunday, your mother sent me for your best bonnet, she wants to get one -like it for Monday. It is up in the top long drawer, fetch it quick. - -Sunday goes away, and the Witch then seizes Saturday and runs off with -her. - -The Mother re-enters, and names the children again, Sunday, Monday, -Tuesday, Wednesday, Thursday, Friday, misses Saturday, and says-- - - Where's Saturday? - -The children all cry and say-- - - The Old Witch has got her. - -This part is then repeated until the Witch has taken all the children -and put them in a corner one by one, and stands in front to guard them. -The Mother sets out to find the children, she sees the Old Witch, and -says to her-- - -Have you seen my children? - -_Witch._ Yes, I saw them walking down High Street. - -_Mother_ then goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ Yes, I saw them going to school. - -_Mother_ then goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ Yes, they are gone to church. - -_Mother_ again goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ They are having dinner--you can't see them. - -_Mother_ again goes away, does not find them, and comes back asking-- - -Have you seen my children? - -_W._ They are in bed. - -_M._ Can't I go up and see them? - -_W._ Your shoes are too dirty. - -_M._ Can't I take them off? - -_W._ Your stockings are too dirty. - -_M._ Can't I take them off? - -_W._ Your feet are too dirty. - -_M._ Can't I cut them off? - -_W._ The blood would run on the floor. - -_M._ Can't I wrap them up in a blanket? - -_W._ The fleas would hop out. - -_M._ Can't I wrap them up in a sheet? - -_W._ The sheet is too white. - -_M._ Can't I ride up in a carriage? - -_W._ You would break the stairs down. - -The children then burst out from behind the Witch and they and the -Mother run after her, crying out, "Burn the Old Witch." They continue -chasing the Witch till she is caught, and the child who succeeds in -catching her, takes the part of the Witch in the next game.--Dartmouth -(Miss Kimber). - -The children choose from their party an Old Witch (who is supposed to -hide herself) and a Mother. The other players are the daughters, and are -called by the names of the week. The Mother says that she is going to -market, and will bring home for each the thing that she most wishes for. -Upon this they all name something. Then, after telling them upon no -account to allow any one to come into the house, she gives her children -in charge of her eldest daughter, Sunday, and goes away. In a moment, -the Witch makes her appearance, and asks to borrow some trifle. - -Sunday at first refuses, but, after a short parley, goes into the next -room to fetch the required article. In her absence the Witch steals the -youngest of the children (Saturday), and runs off with her. Sunday, on -her return, seeing that the Witch has left, thinks there must be -something wrong, and counts the children, saying, "Monday, Tuesday," -&c., until she comes to Saturday, who is missing. She then pretends to -cry, wrings her hands, and sobs out--"Mother will beat me when she comes -home." - -On the Mother's return, she, too, counts the children, and finding -Saturday gone, asks Sunday where she is. Sunday answers, "Oh, mother! an -Old Witch called, and asked to borrow ----, and, whilst I was fetching -it, she ran off with Saturday." The Mother scolds and beats her, tells -her to be more careful in the future, and again sets off for the market. -This is repeated until all the children but Sunday have been stolen. -Then the Mother and Sunday, hand in hand, go off to search for them. -They meet the Old Witch, who has them all crouching down in a line -behind her. - -_Mother._ Have you seen my children? - -_Old Witch._ Yes! I think by Eastgate. - -The Mother and Sunday retire, as if to go there, but, not finding them, -again return to the Witch, who this time sends them to Westgate, then to -Southgate and Northgate. At last one of the children pops her head up -over the Witch's shoulder, and cries out, "Here we are, Mother." Then -follows this dialogue:-- - -_M._ I see my children, may I go in? - -_O. W._ No! your boots are too dirty. - -_M._ I will take them off. - -_O. W._ Your stockings are too dirty. - -_M._ I will take them off. - -_O. W._ Your feet are too dirty. - -_M._ I will cut them off. - -_O. W._ Then the blood will stream over the floor. - -The Mother at this loses patience, and pushes her way in, the Witch -trying in vain to keep her out. She, with all her children, then chase -the Witch until they catch her; when they pretend to bind her hand and -foot, put her on a pile, and burn her, the children fanning the -imaginary flames with their pinafores. Sometimes the dialogue after -"Here we are, mother," is omitted, and the Witch is at once -chased.--Cornwall (_Folk-lore Journal_, v. 53-54). - -One child represents an old woman who is blind, and has eight children. -She says she is going to market, and bids her eldest daughter let no one -into the house in her absence. The eldest daughter promises. Then a -second old woman knocks, and bribes the daughter, by the promise of a -gay ribbon, to give her a light. Whilst the daughter is getting the -light, the Witch steals a child and carries it off. - -The daughter comes back, and makes all the other children promise not to -tell their Mother. The Mother returns and says: "Are all the children -safe?" - -The daughter says, "Yes." "Then let me count them." The children stand -in a row, and the Mother counts by placing her hands alternately on -their heads. The eldest daughter runs round to the bottom of the row, -and so is counted twice. - -This is repeated until all the children are gone. At the end the eldest -daughter runs away, and the Mother finds all her children gone. Then the -Witch asks the old woman to dinner, and the children, who have covered -their faces, are served up as beef, mutton, lamb, &c. Finally they throw -off their coverings and a general scrimmage takes place.--London (Miss -Dendy). - -At Deptford the game is played in the same way, and the dialogue is -similar to the Cornish version, then follows-- - - I'll ride in a pan. - That will do. - -The Mother gets inside to her children and says to them in turn, "Poke -out your tongue, you're one of mine," then they run away home.--Deptford -(Miss Chase). - -In another Deptford version the children are named for days of the week, -the Mother goes out, and the Witch calls and asks-- - - Please you, give me a match. - -The minder goes upstairs, and the Witch carries a child off. The Mother -comes home, misses child, and asks-- - - Where's Monday? - She's gone to her grandma. - -Mother pretends to look for her, and says-- - - She ain't there. - She's gone to her aunt's. - -Children own at last-- - - The bonny Old Witch has took her! - -The Mother beats the Daughter who has been so careless, goes to Witch, -and says-- - - Have you any blocks of wood? - No. - Can I come in and see? - No, your boots are too dirty, &c. - [Same as previous versions.] - -A number of girls stand in a line. Three girls out of the number -represent Mother, Jack, and Daughter. The Mother leaves her children in -charge of her Daughter, counts them, and says the following:-- - - I am going into the garden to gather some rue, - And mind old Jack-daw don't get you, - Especially you my daughter Sue, - I'll beat you till you're black and blue. - -While the Mother is gone Jack comes and asks for a match; he takes a -child and hides her up. The Mother comes back, counts her children, and -finds one missing. Then she asks where she is, and the Daughter says -that Jack has got her. The Mother beats the Daughter, and leaves them -again, saying the same words as before, until all the children have -gone.--Ipswich (_Suffolk Folk-lore_, p. 62). - - I'll charge my children every one - To keep good house till I come home, - Especially you my daughter Sue, - Or else I'll beat you black and blue. - ---Hersham, Surrey (_Folk-lore Record_, v. 88). - -Halliwell gives a version of this which he calls the game of the -"Gipsy." He gives no dialogue, but his game begins by the Mother saying -some lines to the eldest daughter, which are almost identical with those -given from Hersham, Surrey. Mr. Newell gives some interesting American -versions. - -This game appears in the versions given above to be a child-stealing -game, and it may originate from this being a common practice some years -ago, but it will be found on comparison to be so much like "Mother, -mother, the pot boils over" (vol. i. p. 396) that it is more probable -that this is the same game, having lost the important element of the -"giving of fire," or a "light from the fire" out of the house, so soon -as the idea that doing this put the inhabitants of the house into the -power of the receiver or some evil spirit had become lost as a popular -belief. "Matches" being asked for and a "light" confirms this. It will -be seen that a Witch or evilly-disposed person is dreaded by the Mother, -the eldest Daughter being specially charged to keep a good look-out. The -naming of the children after the days of the week, the counting of them -by the Mother, and the artifice of the eldest Daughter, in the London -version, who gets counted twice, are archaic points. The discovery by -tasting of the children by their Mother, and their suggested revival; -the catching and "burning" of the Witch in the Dartmouth and Cornish -games, are incidents familiar to us from nursery tales and from the -trials of people condemned for witchcraft. Of the Cornish version it is -said that "it has descended from generation to generation." - -Mr. Newell's versions tend, I think, to strengthen my suggestion in -"Mother, the pot boils over," that the "fire" custom alluded to is the -origin of that game and this. The fire incident has been forgotten, and -the game therefore developed into a child-stealing or gipsy game. - -See "Mother, Mother." - - -Witte-Witte-Way - -A game among boys, which I do not remember in the South.--Brockett's -_North Country Words_. Probably the same as "Whiddy," which see. - - -Wolf - - I. Sheep, sheep, come home! - We dare not. - What are you frightened of? - The wolf. - The wolf has gone home for seven days, - Sheep, sheep, come home. - ---Settle, Yorks. (Rev. W. S. Sykes). - - II. Sheep, sheep, come home! - I'm afraid. - What of? - The wolf. - The wolf's gone into Derbyshire, - And won't be back till six o'clock. - Sheep, sheep, come home. - ---Hanbury, Staffordshire (Miss Edith Hollis). - - III. Sheep, sheep, go out! - I'm afraid. - What you're 'fraid of? - Wolf. - Wolf has gone to Devonshire; - Won't be back for seven year. - Sheep, sheep, go out! - ---Hurstmonceux, Sussex, as played about forty years ago (Miss E. Chase). - - IV. Sheep, sheep, come home! - I'm afraid. - What of? - The wolf. - The wolf's gone to Devonshire, - And won't be back for seven year. - Sheep, sheep, come home. - ---Anderby (Miss M. Peacock), Barnes (A. B. Gomme). - - V., VI. Won't be back for eleven year. - ---Nottinghamshire (Miss M. Peacock). - ---Marlborough, Wilts (H. S. May). - -(_b_) One player acts as Shepherd, and stands at one side of the -playground or field; another acts as Wolf. He crouches in one corner, or -behind a post or tree. The other players are sheep, and stand close -together on the opposite side of the ground to the Shepherd. The -Shepherd advances and calls the sheep. At the end of the dialogue the -sheep run across to the Shepherd and the Wolf pounces out, chases, and -tries to catch them. Whoever he catches has to stand aside until all are -caught. The game is played in this way in all versions sent me except -Hurstmonceux, where there is the following addition:--The Wolf chases -until he has caught all the sheep, and put them in his den. He then -pretends to taste them, and sets them aside as needing more salt. The -Shepherd or Mother comes after them, and the sheep cover their heads -with their aprons. The Mother guesses the name of each child, saying, -"This is my daughter ----. Run away home!" until she has freed them all. - -Versions of this game, almost identical with the Anderby version, have -been collected from Sporle, Norfolk (Miss Matthews); Crockham Hill, Kent -(Miss E. Chase); Hersham, Surrey (_Folk-lore Record_, v. p. 88); -Marlborough, Wilts (H. S. May); Ash and Barnes, Surrey (A. B. Gomme). In -Nottinghamshire, Derbyshire is the place the wolf is said to have gone -to. Mr. M. L. Rouse sends the following fuller description of the game -as played at Woolpit, near Haughley, Suffolk, which gives, I think, the -clue to the earlier idea of the game:-- - -The game was played out of doors in a meadow. Two long parallel lines -were drawn about fifty yards apart, forming bases behind them. Two boys -stood some distance apart between the bases, and the rest of the players -all stood within one base. One of the two boys in the centre acting as -decoy cried "Sheep, sheep, come home!" The sheep represented by the boys -in the base cried back, "We can't, we're afraid of the Wolf." The decoy -then said-- - - The wolf's gone to Devonshire, - And won't be back for seven year. - Sheep, sheep, come home. - -The sheep then made rushes from different points, and tried to get -across to the other base. The other player in the centre tried to catch -the sheep as they ran. Those caught joined the side of the wolf, and -caught others in their turn. - -It appears clear that the "Decoy" is the correct character in this game -instead of a "shepherd" or "master," as now given. The decoy is -evidently assuming the character and voice of the shepherd, or -shepherd's dog, to induce the sheep to leave the fold where they are -protected, in order to pounce upon them as they endeavour to go in the -direction the voice calls them. The game owes its origin to times and -places, when wolves were prowling about at night, and sheep were penned -and protected against them by shepherds and watch-dogs. - - -Wolf and the Lamb, The - -Two are chosen--one to represent the wolf and the other the lamb. The -other players join hands and form a circle round the lamb. The wolf -tries to break through the circle, and carry off the lamb. Those in the -circle do all they can to prevent the wolf from entering within the -circle. If he manages to enter the circle and seize the lamb, then other -two are chosen, and the same process is gone through till all have got a -chance of being the lamb and wolf. This game evidently represents a lamb -enclosed in a fold, and the attempts of a wolf to break through and -carry it off. - ---Fraserburgh, Aberdeen, _April 14, 1892_ (Rev. W. Gregor). - - -Would you know how doth the Peasant - -[Music] - ---Monton, Lancashire (Miss Dendy). - - I. Would you know how doth the peasant? - Would you know how doth the peasant? - Would you know how doth the peasant - Sow his barley and wheat! - - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - And it's so, so, doth the peasant - Sow his barley and wheat! - - Would you know how doth the peasant, &c., - Reap his barley and wheat? - - It is so, so, doth the peasant, &c., - Reap his barley and wheat! - - Would you know how doth the peasant, &c., - Thresh his barley and wheat? - - It is so, so, doth the peasant, &c., - Thresh his barley and wheat! - - Would you know how doth the peasant, &c., - When the seed time is o'er? - - It is so, so, doth the peasant, &c., - When the seed time is o'er! - - Would you know how doth the peasant, &c., - When his labour is done? - - It is so, so, doth the peasant, &c., - When his labour is done! - - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - And it's so, so, doth the peasant, - When his labour is o'er. - ---Monton, Lancashire (Miss Dendy). - - II. It is so, so, does the peasant [or, farmer], - It is so, so, does the peasant, - It is so, so, does the peasant, - When sowing times come. - - It is so, so, does the peasant, &c., - When reaping time comes. - - It is so, so does the peasant, &c., - When his threshing times comes. - - It is so, so, does the peasant, &c., - When the hunting's begun. - - It is so, so does the peasant, &c., - When the day's work is done. - ---Frodingham, Lincoln and Notts (Miss M. Peacock). - -(_c_) The leader of this game stands in the middle, the players stand in -a ring round him; when there are a sufficient number of players, several -rings are formed one within the other, the smallest children in the -inner ring. The different rings move in alternate directions when -dancing round. All the children sing the words of each verse and dance -round. They unclasp hands at the end of each alternate verse, and suit -their actions to the words sung. At the end of the first verse they -stand still, crook their arms as if holding a basket, and imitate action -of sowing while they sing the second verse; they then all dance round -while they sing the third, then stand still again and imitate reaping -while they sing the fourth time. Then again dance and sing, stand still -and imitate "thrashing" of barley and wheat; after "seed time is o'er," -they drop on one knee and lift one hand as if in prayer, again dancing -round and singing. Then they kneel on one knee, put their hands -together, lay their left cheek on them, and close their eyes as if -asleep; while singing, "when his labour is o'er," at the last verse, -they all march round, clapping hands in time. - -This is the Monton game. The Frodingham game is played in the same way, -except that the children walk round in a circle, one behind another, -when they sing and imitate the actions they mention. "When the hunting's -begun" they all run about as if on horseback; "when the day's work is -done," they all kneel on one knee and rest their heads on their hands. - -This game is evidently a survival of the custom of dancing, and of -imitating the actions necessary for the sowing and reaping of grain -which were customary at one time. Miss Dendy says--"It is an undoubtedly -old Lancashire game. It is sometimes played by as many as a hundred -players, and is then very pretty. The method of playing varies slightly, -but it is generally as described above." The fact that this game was -played by such a large number of young people together, points -conclusively to a time when it was a customary thing for all the people -in one village to play this game as a kind of religious observance, to -bring a blessing on the work of the season, believing that by doing so, -they caused the crops to grow better and produce grain in abundance. - -See "Oats and Beans and Barley." - - - - -ADDENDA - - -A' the Birdies. [See "All the Birds," vol. i. p. 2; "Oranges and -Lemons," vol. ii. pp. 25-35.] - - A' the birdies i' the air - Tick tae to my tail. - -A contest game of the oranges and lemons class. Two players, who hold -hands and form the arch, call out the formula, and the other players, -who are running about indifferently, go one by one to them and decide, -when asked, which side they will favour, and stand behind one or the -other. - -After the tug the side which has lost is called "Rotten eggs, rotten -eggs."--Aberdeen (Rev. Dr. Gregor). - - -All the Boys. [Vol. i. pp. 2-6.] - -Two versions of this game, one from Howth and another from St. Andrews, -sent me by Miss H. E. Harvey, do not differ sufficiently from the -versions i. and ii. printed as above to be given here in full. - -The St. Andrews game, after the line, - - "I love you, and you love me" - -(as printed in vol. i. version ii.), continues-- - - When we get married, I hope you will agree, - I'll buy the chest of drawers, you'll buy the cradle. - Rock, rock, bubbly-jock, - Send her upstairs, lay her in her bed, - Send for the doctor before she is dead. - In comes the doctor and out goes the clerk, - In comes the mannie with the sugarally hat. - Oh, says the doctor, what's the matter here? - Oh, says Johnny, I'm like to lose my dear. - Oh, says the doctor, nae fear o' that. - - -American Post. - -One player of a party acts as post and leaves the room. When he is -outside he knocks at the door. Another player, who is the doorkeeper -(inside), calls out, "Who's there?" The reply is, "American post." "What -with?" "A letter." "For whom?" The name of one of the players in the -room is given by the post. The one named then must go outside, and kiss -the post, and in turn becomes post.--Fraserburgh (Rev. Dr. Gregor). - -This, sometimes called "Postman," is now more generally played as a -penalty when forfeits are being performed. The player whose penalty it -is, is the first one to be "post." Postage is demanded, the amount being -paid by kisses. - - -As I was Walking. - -The players, usually girls, stand in line up to a wall. One in front -sings, going backwards and forwards. - - As I was walking down a hill, down a hill, down a hill, - As I was walking down a hill, - Upon a frosty morning. - Who do you think I met coming down, coming down, &c., - Who do you think I met, &c. - -She then chooses one from the line and both sing:-- - - I met my true love coming down, &c. - He gave me kisses, one, two, three (clap hands), - Upon a frosty morning.--Cullen (Rev. Dr. Gregor). - - -Auld Grannie. [A version of "Hen and Chickens," vol. i. pp. 201, 202.] - -Here a variation of dialogue occurs. The game is played as previous Hen -and Chicken games. The Hen says-- - - What are ye scrapin' for? - -Auld grannie says-- - - A darning needle? - - What are ye going to do with the darning needle? - - Mak a poke. - - What to do with the poke? - - To gang to the peat moss to get some peats. - - What for? - - To make a fire, to make some tea, to pour over your wee chickens. - -Auld grannie rushes at them, and pretends to throw the water over them. -When she has caught some players, and the sides are about equal in -strength, the game ends in a tug of war.--Dalry, Galloway (J. G. -Carter.) - -Another, called "Grannie's Needle," has a slightly different parley. - - What are you looking for, granny? - - My granny's needle. - - What are you going to do with the needle, granny? - - To make a bag. - - And what are you going to do with the bag, granny? - - To gather sand. - - What are you going to do with the sand, granny? - - To sharpen knives. - - And what are you going to do with the knives, granny? - - To cut off your chickens' heads. - ---Belfast (W. H. Patterson). - - -Ball. [Pots, vol. ii. p. 64.] - -1. Throw the ball up against a wall three times and catch it. - -2. Throw it up and clap hands three times before catching it. - -3. Throw it up and put your hands round in a circle. - -4. Throw it up and clap your hands before and behind. - -5. Throw it up and clap and touch your shoulder. - -6. Throw it up and clap and touch your other shoulder. - -7. Throw it up three times with your right hand and catch it with your -right. - -8. Throw it up with your left and catch it with your left. - -9. Throw it up with your right and catch it with your right, dog snack -fashion (_i.e._ as a dog snacks, knuckles up). - -10. Throw it up with your left and catch it with your left (dog snack). - -11. Throw it up and clap and touch your knee. - -12. Throw it up and clap and touch your other knee. - -13. Throw it up and turn round. - -These actions should each be performed three times.--Laurieston School, -Kircudbrightshire (J. Lawson). - -This is a more complete version of "Pots." - -Another game is-- - -One girl takes a ball, strikes it on the ground, and keeps pushing it -down with her hand. While she is doing this, the other players stand -beside her, and keeping unison with the ball, repeat-- - - Game, game, ba' ba', - Twenty lasses in a raw, - Nae a lad amon them a' - Bits game, game, ba', ba'. - -If the girl keeps the ball dancing up and down--"stottin'" during the -time the words are being repeated, it counts one game gained. She goes -on "stottin'" the ball, and the others go on repeating the words till -she allows the ball to escape from her control.--Fraserburgh (Rev. Dr. -Gregor); Dalry, Galloway (J. G. Carter). - -Another rhyme for a ball game is-- - - Little wee laddie, foo's yer daidie? - New come oot o' a basket shadie. - A basket shadie's ower full, - New come oot o' a roarin' bull. - A roarin bull's ower fat, - New come oot o' a gentleman's hat. - A gentleman's hat's ower fine, - New come oot o' a bottle o' wine. - A bottle o' wine is ower reid, - New come oot o' a crust o' breid. - A crust o' breid is ower broon, - New come oot o' a half-a-croon. - A half-a-croon is ower little, - New come oot o' a weaver's shuttle. - A weaver's shuttle's ower holey, - New come oot o' a paint pottie, - Game, game, game, game, game! - ---Rev. Dr. Gregor. - - -Bannockburn. [See Fool, Fool, come to school, vol. i. p. 132.] - -Played as "Fool" with these differences. The namer cries to the fool in -the same formula as the Sussex version (vol. i. p. 133). The fool, -called here "Bannockburn," says, "Are ye it?" to each player pointing to -them in turn. When she points at the correct one that player runs off. -Bannockburn runs after and tries to catch her. If the first runner can -get back into the row untouched she gets renamed, if caught she has to -take Bannockburn's place. - -During the naming, Bannockburn tries to overhear the names given. But -when noticed coming near, those being named, cry "Bannockburn away dune -the sea."--Dalry, Galloway (J. G. Carter). - - -Black Doggie. - -[see Drop Handkerchief, vol. i. 109-112.] - -A form of Drop Handkerchief differing from those versions previously -given. - -The players join hands, form a circle and stretch out as far as each -one's arms will allow. One player is outside the ring. When she sees -they can stretch no further she cries out "Break," when they all loose -hands and stand as far apart as possible. The player outside then goes -round the ring singing, "I have a black doggie, but it winna' bite you, -nor you, nor you," until she comes to one whom she chooses; she then -throws the handkerchief down on the ground behind this one quietly. If -this player does not notice the handkerchief, not one in the circle must -tell her, or they are "out." The player who dropped the handkerchief -walks round until she comes again to the one behind whom she dropped it. -She picks it up and tells her she is "burnt." Then this player has to -stoop down on her knees and is out of the game. Should the selected -player notice the handkerchief, she picks it up and pursues the other -round and through the ring, following wherever the first one leads until -she catches her; they then change places; should she not follow the -exact way the first player went, she too is out and must go down on her -knees.--Rosehearty (Rev. Dr. Gregor). - -Another version from Fraserburgh says that the players may either join -hands in a ring or sit upon the ground on their knees. The outside -player goes round the circle three times, first saying "Black Doggie -winna tack you, nor you." Then she goes round again and drops the -handkerchief behind any one she pleases. She then runs and is pursued -until caught, the other child following Black Doggie in and out wherever -she goes. - - -Bonnet Ridgie. - -["Scots and English," vol. ii. pp. 183-184.] - -Players are chosen alternately by two chiefs. The line is drawn between -the two sides, and the caps of each side are placed on the ground at -each of the ends. When the two sides are ranged, the players try to -catch and pull each other across the line. If one is pulled across he is -called a "slink," and must stand till he is set at liberty by one of his -own side crossing the line and touching him. If this one manages to -touch him before he is crowned, _i.e._, has the crown of his head -touched by one of his opponents, and if he is able to regain his own -side before the same operation takes place, both are free. Each player -watches an opportunity to gather up the caps of the opposing side. If -one is clever and swift enough to reach the caps and gather them all -before he is crowned, his side wins.--Dyke School (Rev. Dr. Gregor.) - - -Button, The. - -["Diamond Ring," vol. i. p. 96; "Forfeits," p. 137; "Wads and the -Wears," vol. ii. pp. 327-8.] - -Played as "Diamond Ring," except that all sit round the fire, one man -takes a button, puts it between his two hands, and goes round to each of -the other players, who have their two hands held out, palms together, -saying, "Don't tell what you got," and quietly dropping the button into -one player's hands. He then asks the first man, saying, "Who has the -button?" One player is named. The master of the game says then "What -forfeit will you give me that he has it?" The player gives a forfeit. So -on all round, every one guessing and giving a forfeit (including he who -holds the button, who, of course, keeps his secret). When all the -forfeits are in the master says, "Button, button, show, and let all -fools know;" then those who have guessed right receive back their -forfeits. The holder of the button then kneels down to deliver sentences -on the others. The master takes a forfeit and holds it over the -kneeler's head, saying, "Fine, fine, superfine, what's the owner of this -fine thing of [gentleman's or lady's] wear to do?" The man kneeling -gives a sentence, such as--to take the broom, ride it three times round -the room, and each time kiss the crook hanging in the chimney--and so -on. - -If a man refuses to perform his sentence he is made to kneel down, and -everything that can be got hold of is piled on his back.--Kiltubbrid, -Co. Leitrim (L. L. Duncan). - - -Canlie. - -[See "Tom Tiddler's Ground," vol. ii. p. 298.] - -Name for "Friar's Ground," in Co. Cork. "Canlie" is the Friar. The game -is played as at Chirbury.--Co. Cork (Mrs. B. B. Greene). - - -Carry my Lady to London. - -[Vol. i. p. 59.] - - Carry a lady to London town, - London town, London town; - London town's a bonny place, - It's a' covered o'er in gold and lace. - -Or-- - - Carry a lady to London town, - London town, London town; - Carry a lady to London town - Upon a summer's day. - -Another rhyme for "Carry my Lady to London," and played in the same -way.--Galloway, N. B. (J. G. Carter). - - -Cat and Dog Hole. - -[Vol. i. p. 63; "Tip-cat," vol. ii. p. 294.] - -Two versions of this, differing somewhat from those given previously. - -(1.) Played by two players. A hole is dug in the ground, and one player -with a "catch-brod" stands in a stooping attitude in front of it, about -a foot and a-half away, placing one end of the "catch-brod" on the -ground. The other player goes to a distance of some yards, to a fixed -point called "the stance." From here he throws a ball, intending to -land it in the hole. The other player's object is to prevent this by -hitting it away with his "catch-brod." If the bowler succeeds they -change places. - -(2.) This also is played by two players, and in the same way, except -that a stone is substituted for the hole, and the bowler's object is to -strike the stone with the ball. Sometimes it is played with three -players, then running is allowed. When the ball is hit the batter tries -to run to the "stance" and back, the bowler or the third player then -tries to hit the "stance" with the ball while the batter is away making -the run. If the third player can catch the ball before it touches the -ground he tries to hit the stone with it, thus sending the batter -out.--Keith (Rev. Dr. Gregor). - - -Catch the Salmond. - -Two boys take each the end of a piece of rope, and give chase to a third -till they contrive to get the rope round him. They then pull him hither -and thither in all directions. - ---Banchory (Rev. Dr. Gregor). - -Evidently an imitation of net-fishing. - - -Chicken come Clock. [See "Fox and Goose," "Hen and Chicken," vol. i. pp. -139-141, 201; vol. ii. p. 404.] - -The children, boys and girls, squat down and take hold of hands, going -round, and saying-- - - Chicken come clock around the rock, - Looram, lorram, lumber lock. - Five mile and one o'clock, - Now the thief is coming. - In comes Tod with his long rod, - And vanishes all from victim vad. - It is, it was, it must be done, - Tiddlum, toddlum, twenty-one. - Johnny, my dear, will you give me the loan of your spear, - Till I fight for one of those Kildares, - With a hickety, pickety pie. - -At these words one lad, who has been hiding behind a tree, runs in to -catch one of the chickens. As the rhyme is finished, they all run, and -the fox tries to catch one, another player, the old hen, trying to stop -him, the chickens all taking hold of her by the tail. - -The fox has to keep on his hands and feet, and the old hen has to keep -"clocking" on her "hunkers." - -Some of the children substitute these words for the latter part of the -above:-- - - The crow's awake, the kite's asleep, - It's time for my poor chickens - To get a bit of something to eat-- - What time is it, old granny? - ---Kiltubbrid, Co. Leitrim (L. L. Duncan). - -Mr. Duncan says this game has almost died out, and the people were -rather hazy about the words they used to say. - - -Chippings, or Cheapings. - -[See "Tops," vol. ii. pp. 299-303.] - -A game with peg tops played by two or more boys. A large button, from -which the shank has been removed, or a round piece of lead about the -size of a penny, is placed on the ground between two agreed goals. The -players divide into sides, each side tries to send the button to -different goals, the tops are spun in the usual way, and then taken up -on the hand while spinning, and allowed to revolve once round the palm -of the hand, and then thrown on the ground on the button in such a way -that the button is projected some distance along the ground. Then a boy -on the opposite side spins his top and tries to hit the button in the -opposite direction. This is continued alternately until one or other -side succeeds in getting the button to the goal.--London Streets (A. B. -Gomme). - - -Chucks. - -[Vol. i. p. 69; also "Five-stones," pp. 122-129, "Huckle-bones," pp. -239-240.] - -A rhyme repeated while playing at "Chucks" with five small stones, -lifting one each time. - - Sweep the floor, lift a chair, - Sweep below it, and lay it down. - Cream the milk, cream the milk, - Quick, quick, quick, - Spread a piece and butter on it thick, thick, thick. - ---Perth (Rev. Dr. Gregor). - - -Churning. - - Churn the butter-milk, quick, quick, quick, - I owe my mother a pint of milk. - -This game used to be played on the shore, just as the tide went out, -when the feet sank easily into the sand. The children turned half-way -round as they repeated the words.--Isle of Man (A. W. Moore). - - -Codham, or Cobhams. - -["Tip it," vol. ii. p. 292.] - -A game resembling "Tip it," and a better form of the game. The parties -are decided by a toss up. The object is passed from hand to hand under -the table, until the leader of the opposite side calls out "up" or -"rise." When all the closed hands are on the table, the leader orders -any hands off which he thinks do not contain the object. If the last -hand left on the table contains the object the sides change places, if -not the same sides repeat, twelve successful guesses making "game," each -failure counting one to the opposite side. The game is called "Up -Jenkins" in the North of Scotland. The words have to be called out when -the hands are called to show. Another name is "Cudlums;" this word was -called out when the leader pointed to the hand which he believed held -the object.--Bedford (Mrs. A. C. Haddon). - - -Colley Ball. - -["Monday," vol. i. p. 389.] - -The same game as "Monday," with this difference. The player who first -throws the ball against the wall calls out the name of the child he -wishes to catch it, saying "A---- B----, no rakes, no better ball." If -the ball goes on the ground the one called has to snatch the ball up and -throw it at one of the retreating children.--Hemsby, Norfolk (Mrs. A. C. -Haddon). - -Also sent me from Isle of Man (A. W. Moore), where it is called -"Hommer-the-let." - - -Dan'l my Man. - -["Jack's Alive," vol. i. p. 257.] - -A little slip of wood or straw is lit and blown out, and while it is red -it is passed round from one to another, each man repeating as fast as he -can-- - - Dan'l, my man, - If ye die in my han', - The straddle and mat is sure to go on. - -The man in whose hand the spark dies has to go down on his knees. A -chair, or some other article, is held over him, and he has to guess what -it is, the others crying out-- - - Trum,[15] trum, what's over your head? - -If he is wrong it is left on him and another article brought, and so -on.--Kiltubbrid, Co. Leitrim (L. L. Duncan). - - [15] "Trum" is for the Irish "trom," = heavy. - - -Deil amo' the Dishes, The. - -["Ghost at the Well," vol. i. p. 149.] - -One player acts as mother, and sends off one of the other players (her -daughters) to take a message. She comes back, pretends to be frightened, -and says she can't go, as there's something "chap, chap, chappin'." The -mother sends another daughter with her this time, telling them "It's -only your father's breeks, drap, drap, drappin'." These two return in -the same way, saying again "There's something chap, chap, chappin'." -Another daughter is now sent with the other two, the mother saying "Its -only the ducks, quack, quack, quackin'." They all come back again more -frightened saying the same thing. Then the mother and all the others go -together to see what the matter is. They come upon another player who -has been sitting apart making a noise with a stone. They all cry out -"The deil's amo' the dishes," and there is a great chase.--Aberdeen -(Rev. Dr. Gregor). - - -Dig for Silver. - - Dig for silver, dig for gold, - Dig for the land that I was told. - As I went down by the water side - I met my lad with a tartan plaid. - My wee lad is a jolly sailor, - And shall be for evermore. - (Name of boy) took the notion - To go and sail on the ocean. - He took poor (name of girl) on his knee, - And sailed across Kilmarnock sea. - Stop your weeping, my dear ----, - He'll come back and marry you. - He will buy you beads and earrings, - He will buy you a diamond stone, - He will buy a horse to ride on, - When your true love is dead and gone. - What care I for the beads and earrings, - What care I for the diamond stone, - What care I for the horse to ride on, - When my true love is dead and gone. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -Another version is-- - - Billy Johnston took a notion - For to go and sail the sea; - He has left his own true love - Weeping on the Greenock quay. - I will buy you beads and earrings, - I will buy you diamonds three, - I will buy you beads and earrings, - Bonny lassie, if you marry me. - What care I for beads and earrings, - What care I for diamonds three, - What care I for beads and earrings, - When my own true love is far from me. - ---Perth (Rev. Dr. Gregor). - -Compare with this "Keys of Heaven," p. 437, and "Paper of Pins," p. 450. - - -Dilsee Dollsie Dee. - -[See "Here's a Soldier," vol. i. p. 206, and "Three Dukes," vol. ii. pp. -233-255]. - -A ring is formed, one child standing in the middle, all sing the words-- - - Which of us all do you love best, do you love best, do you love - best, - Which of us all do you love best, my dilsee dollsie dee. - Which of us all do you love best, my dilsee dollsie dofficer. - -The child in the centre says-- - - You're all too black and ugly (three times), my dilsee dollsie dee, - You're all too black and ugly, my dilsee dollsie dofficer. - -The first verse is repeated, and the child in the centre points to one -in the ring and says-- - - This is the one that I love best, that I love best, that I love - best, - This is the one that I love best, my dilsee dollsie dee. - This is the one I love the best, my dilsee dollsie dofficer. - -The centre child takes the one selected by the hand, and they stand -together in the centre, while the ring dances round and sings-- - - Open the gates to let the bride out, to let the bride out, to let - the bride out, - Open the gates to let the bride out, my dilsee dollsie dee. - Open the gates to let the bride out, my dilsee dollsie dofficer. - -The children then unclasp hands, and the two children walk out. Another -child goes in the centre and the game is begun again, and continued -until the ring is too small for dancing round. Sometimes, instead of -this, the two children return to the ring singing, "Open the gates and -let the bride in," and then they take places in the circle, while -another goes in the centre.--(Dr. A. C. Haddon.) - - -Doagan. - -An extraordinary game, which was played by Manx children sixty years -ago. A rude wooden representation of the human form was fastened on a -cross, and sticks were thrown at it, just after the fashion of the -modern "Aunt Sally." But it is quite possible that this game, taken in -connection with the following very curious words which the children -repeated when throwing the sticks, is a survival of a more serious -function-- - - Shoh dhyt y Doagan. - "This to thee, the Doagan." - Cre dooyrt y Doagan? - "What says the Doagan?" - Dar y chrosh, dar y chron, - "Upon the cross, upon the block," - Dar y maidjey beg, jeeragh ny cam, - "Upon the little staff, straight or crooked," - Ayns y cheylley veg shid hoal, - "In the little wood over yonder." - My verrys oo yn kione jeh'n Doagan, - "If thou wilt give the head of the Doagan," - Verym y kione jeeds er y hon.[16] - "I will give thy head for it." - -Mr. Moore writes that Kelly, who gives these words in his Dictionary, -says that Doagan was a play, and that it refers to the head of Dagon -being broken off. Does he mean the Philistine god of that name? As he is -capable of seeing a reference to the god, Baal, in the Manx word for -May-day, Boaldyv, it is quite possible that his imagination may lead him -so far!--Isle of Man (A. W. Moore). - - [16] Manx Society, vol. xiii. p. 63. - - -Down in Yonder Meadow. - -[Vol. i. p. 99; ii. p. 323; "All the Boys," i. 2-6.] - - Down in yonder meadow where the green grass grows, - Where (name of girl) she bleaches her clothes; - She sang, she sang, she sang so sweet, - She sang (name of boy) across the street. - He kissed her, he kissed her, he bought her a gown, - He bought her a gown and a guinea gold ring, - A guinea, a guinea, a guinea gold ring, - A feather for the church and a pea-brown hat. - Up the streets and down the streets the windows made of glass, - Oh, isn't (name of girl) a braw young lass. - But isn't (name of boy) as nice as she, - And when they get married I hope they will agree. - Agree, agree, I hope they will agree, - And when they get married I hope they will agree. - ---Laurieston School, Kirkcudbrightshire (J. Lawson). - - Down in yonder meadow where the green grass grows, - Where so and so (a girl's name) she bleaches her clothes; - She sang, and she sang, and she sang so sweet, - Come over (a boy's name), come over, come over the street. - So and so (same girl's Christian name) made a pudding so nice and - sweet, - So and so (same boy's Christian name) took a knife and tasted it. - Taste, love; taste, love; don't say no, - For the next Sabbath morning to church we must go. - Clean sheets and pillowslips, and blankets an' a', - A little baby on your knee, and that's the best of a'. - Heepie tarrie, heepie barrie, bo barrie grounds, - Bo barrie ground and a guinea gold ring, - A guinea gold ring and a peacock hat, - A cherry for the church and a feather at the back. - She paints her cheeks and she curls her hair, - And she kisses (boy's name) at the foot o' the stair. - ---Fraserburgh (Rev. Dr. Gregor). - -The above are played in the same way as previously described. - -Another version, from Perth, says, after the line, "She sang, and she -sang" (as above). - - Come over the water, come over the street, - She baked him a dumpling, she baked it so sweet - That bonny (Billie Sanders) was fain for to eat, &c. - - Down in the meadows where the green grass grows, - There's where my Nannie she sound her horn; - She sound, she sound, she sound so sweet; - - . . . . . - - Nannie made the puddin' so nice and so sweet, - Johnny took a knife and he taste a bit; - Love, taste; love, taste, and don't say nay, - For next Sunday mornin' is our weddin'-day. - Off wid the thimble and on wid the ring; - A weddin', a weddin', is goin' to begin. - O Nannie, O Nannie, O Nannie my joy, - Never be ashamed for to marry a boy! - For I am but a boy, and I'll soon be a man, - And I'll earn for my Nannie as soon as I can. - And every evenin' when he comes home, - He takes her for a walk on the Circular Road. - And every little girl that he sees passin' by, - He thinks 'tis his Nannie he has in his eye. - ---Howth, Dublin (Miss H. G. Harvey). - - -Draw a Pail of Water. - -[Vol. i. pp. 100-107]. - - A lump of sugar, - Grind your mother's flour, - Three sacks an hour, - One in a rush, two in a crush, - Pray, old lady, creep under the bush (all jump round). - ---Girton village, Cambridgeshire (Dr. A. C. Haddon). - - -Drop Handkerchief. - -[Vol. i. pp. 109-112; "Black Doggie," vol. ii. p. 407.] - -As played at Fochabers the game varies slightly in the way it is played -from those previously described. The words are-- - - "I dropt it, I dropt it, a king's copper next, - I sent a letter to my love, and on the way I dropt it." - -The players forming the ring are forbidden to look round. The one having -the handkerchief endeavours to drop it at some one's back without his or -her knowledge, and then to get _three_ times round the ring without -being struck by the handkerchief. If the player does not manage this she -has to sit in the centre of the ring as "old maid;" the object in this -version evidently is not to let the player upon whom the handkerchief is -dropped be aware of it.--Fochabers, N.E. Scotland (Rev. Dr. Gregor). - - -Dumb Crambo. - -[See "Hiss and Clap," vol. i. p. 215.] - -The players divide into two sides: one side goes outside the room, the -other remains in the room, and decides on some verb to be guessed and -acted by the other. The outside party is told that the chosen verb -"rhymes with ----." The outside party decide on some verb, and come in -and act this word in dumb show, whilst the inside party sit and look on, -hissing if the guess is wrong, and clapping if the acting shows the -right word is chosen. No word must pass on either side.--Bedford, and -generally known (Mrs. A. C. Haddon). - - -Dump. - -[Vol. i. p. 117.] - -A version of this game played by three children. The three sit close -together, close their hands and place them over each other, the first -one on the knee of one of them. One then asks, "Faht's that cockin' up -there?" "Cock a pistol; cock it aff," replies another. The same process -is gone through till only one hand is left on the knee. Then the one -whose hand was uppermost at the beginning of the game says-- - - Faht's in there? - Gold and money (is the answer). - Fahr's my share o't? - The moosie ran awa' wi't. - Fahr's the moosie? - In her hoosie. - Fahr's her hoosie? - In the wood. - Fahr's the wood? - The fire brunt it. - Fahr's the fire? - The water quencht it. - Fahr's the water? - The broon bull drank it. - Fahr's the broon bull? - At the back a (of) Burnie's hill - Fahr's the back a Burnie's hill? - A' claid wi' snaw. - Fahr's the snaw? - The sun meltit it. - Fahr's the sun? - Heigh, heigh up i' the air. - -He who speaks first, or laughs first, or lats (lets) their teeth be -seen, gets nine nips, nine nobs, an' nine double douncornes, an' a gueed -blow on the back o' the head.--Corgarff (Rev. Dr. Gregor). - - -Eendy, Beendy. - - Eendy, Beendy, baniba, roe, - Caught a chicken by the toe; - To the east, to the west, - To the old crow's nest, - Hopping in the garden, swimming in the sea, - If you want a pretty girl, please take me. - ---N. Scotland, locality forgotten (Rev. Dr. Gregor). - -One girl dances forward from a line of children singing the words. -Another from a line opposite responds, and they dance together. They -look first to the east and then to the west by turning their heads in -those directions alternately. - - -Farmer's Den, The. - -All players but one form a ring, this one stands in the centre. The ring -dances round singing the words-- - - The farmer in his den, the farmer in his den, - For it's oh, my dearie, the farmer's in his den. - For the farmer takes a wife, - For the farmer takes a wife; - For it's oh, my dearie, the farmer takes a wife. - -The child in centre then chooses one from the circle, who goes in the -middle, and the ring dances round again singing-- - - For the wife takes a child, &c. (as above). - -And choosing another child from the ring, then-- - - For the child takes a nurse, &c. (as above). - - For the nurse takes a dog, &c. (as above). - -Then all the players join in singing-- - - For we all clap the dog, - For we all clap the dog. - For it's oh! my dearie, we all clap the dog. - -While singing this all the players pat the one who was chosen as "dog" -on his or her back.--Auchencairn, N.B. (Mary Haddon). - - -Fire on the Mountains. - -[See "Round Tag," vol. ii. pp. 144-145.] - -The players arrange themselves into a double circle with a space between -each pair. The one at the back stands and the inside players kneel. -Another player stands in the centre and cries out, "Fire on the -mountain; run, boys, run!" Those players who are standing in the outer -circle begin to run round, those kneeling remaining in that position. -They continue running until the centre player cries "Stop!" They all -then (including the centre player) make a rush to get a stand behind one -of the kneeling players, the one who is left out going into the -centre.--Auchterarder, N.B. (Miss E. S. Haldane). - -This game may possibly suggest an origin for "Round tag," although the -incident of "catching" or "touching" a runner does not appear, and the -inner circle of players apparently are always stationary. - - -Fool, Fool, come to School. - -[Vol. i. p. 132.] - -Played in the usual way with the following difference in the formula. -The leader says, "Fool, foolie, come to your schoolie." When the fool -comes, the leader says, "What have you been doing to-day?" Fool says, -"Cursin' and swearin'." Fool is then chased off, recalled, and again -questioned. Fool answers, "Suppin' my porridge and readin' my Bible." -She is then welcome, and asked in the usual way to point out one from -the school.--Aberdeen (Rev. Dr. Gregor). - -Another formula sent me by Mr. C. C. Bell is to say, when the fool is -sent back, "Fool, fool, go back to school, and learn more wit." - - -French Jackie, - -name for "Round Tag" and "Two and Threes," in Tyrie (Rev. Dr. Gregor). - - -Galloping. - - Galloping, galloping to the fair, - Courting the girls with the _red_ petticoats; - Galloping, galloping all day long, - Courting the girls with the _speckled_ petticoats. - -Girls sing this resting one knee on the ground, striking the other knee -with their right hand as they say each word. The length of the song -depends upon the ingenuity of the players in finding new colours for the -petticoats each time.--Isle of Man (A. W. Moore). - -The game is not known now. - - -Gallant Ship. - -[See "Round and Round the Gallant Ship," vol. ii. p. 143.] - - Up spoke a boy of our gallant ship, - And a well-spoken boy was he-- - I have a mother in London town, - This night she'll be looking for me. - - She may look, she may sigh, with the tear in her eye, - She may look to the bottom of the sea. - Three times round went our gallant ship, - And three times round went she! - And three times round went our gallant ship, - Till she came to the bottom of the sea! - -The players form a ring and dance round, getting quicker as they sing -"Three times round," &c. When the last line is sung they let go hands -and sink to the ground. The player who sinks down first is taken away by -the others and asked whom he or she loves best. The ring is then -reformed, and the child who has given her sweetheart's name is placed in -the centre. The ring then dances round singing out the name of the -sweetheart. - - Mrs. Brown is new comed hame, - A coach and four to carry hame. - ---Galloway (J. G. Carter). - - -Galley, Galley Ship. - -[See "Merry-ma-tansa," vol. i. pp. 369-376; ii. p. 443.] - - Three times round goes the galley, galley ship, - And three times round goes she; - Three times round goes the galley, galley ship, - And she sank to the bottom of the sea. - - Choose your neighbours one or two, - One or two, one or two; - Choose your neighbours one or two, - Around about Mary Matanzie. - - A treacle scone to tell her name, - To tell her name, to tell her name; - A treacle scone to tell her name, - Around about Mary Matanzie. - - A guinea gold watch to tell his name, - To tell his name, to tell his name; - A guinea gold watch to tell his name, - Around about Mary Matanzie. - - (Name of boy) is his name, - Is his name, is his name, - ---- is his name, - Around about Mary Matanzie. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -A version of "Merry-ma-tansa," incomplete. [See vol. i. p. 375.] - -Another is-- - - Three times around goes our gallant ship, - And three times around goes she, she, she; - And three times around goes our gallant ship, - And she sinks to the bottom of the sea. - -Played in ring form with one child in centre. All sink down on the -ground when the above lines are sung, and the last to rise must tell the -name of her sweetheart. Then the circle forms around her, and all sing-- - - Here's the bride just new come in, - Just new come in, just new come in; - Here's the bride just new come in, - Around the merry guid tanzy. - - Guess wha's her guid lad, - Her guid lad, her guid lad; - Guess wha's her guid lad, - Around the merry guid tanzy. - - (Willie Broon) is his name, - Is his name, is his name, - (Willie Broon) is his name, - Around the merry guid tanzy. - ---St. Andrews and Howth (Miss H. E. Harvey). - -Miss Harvey writes: I believe "tanzy" is the name of a kind of dance. - - -Glasgow Ships. - - Glasgow ships come sailing in, - Come sailing in, come sailing in; - Glasgow ships come sailing in, - On a fine summer morning. - - You daurna set your foot upon, - Your foot upon, your foot upon; - You daurna set your foot upon, - Or gentle George will kiss you. - - Three times kiss you, four times bless you, - Five times butter and bread - Upon a silver salver. - - Who shall we send it to, - Send it to, send it to? - Who shall we send it to? - To Mrs. ----'s daughter. - Take her by the lily-white hand, - Lead her over the water; - Give her kisses, one, two, three. - She is the favourite daughter. - ---Perth (Rev. Dr. Gregor). - - Glasgow ships come sailing in, &c. (three times) - Three times bless you, three times kiss you, - Three times butter and bread upon a silver saucer. - Whom shall I send it to, I send it to, I send it to? - To Captain Gordon's daughter. - ---Rosehearty (Rev. Dr. Gregor). - - The Glasgow ships come sailing in, &c. (as first version). - Three times down and then we fall, then we fall, then we fall, - Three times down and then we fall, in a fine summer morning. - Three times butter and bread, butter and bread, butter and bread, - Three times butter and bread upon a silver saucer. - Come, choose you east, come choose you west, - Come, choose you east, come choose you west, - To the very one that you love best. - ---Nairn (Rev. Dr. Gregor). - - Glasgow ships come sailing in, &c. (as first version) - She daurna set a foot upon, &c. - Or gentle John will kiss her. - Three times round the ring, three times bless her, - I sent a slice of bread and butter upon a silver saucer. - Whom shall we send it to? &c. - To Captain ----'s daughter. - Her love's dead and gone, dead and gone, dead and gone, - She turns her back to the wa's again. - She washes her face, she combs her hair, - She leaves her love at the foot of the stair, - She wears on her finger a guinea gold ring, - And turns her back to the wa's again. - -All join hands and form a ring. At the end of verses the girl named -turns her back, and the game is resumed.--Fochabers (Rev. Dr. Gregor); -Port William School, Wigtonshire. - -In a version from Auchterarder, N. B., sent by Miss E. S. Haldane, the -words are very similar to these. After all the children have turned -their backs to the inside they have what is called the "pigs' race," -which is running swiftly round in this position. See "Uncle John," vol. -ii. pp. 321-322. - - -Granny's Needle. - -[See "Auld Grannie."] - - -Green Gravel. - -[Vol. i. pp. 170-183.] - - Round apples, round apples, by night and by day, - There stands a valley in yonder haze; - There stands poor Lizzie with a knife in her hand, - There's no one dare touch her, or she'll go mad; - Her cheeks were like roses, and now they're like snow, - Poor Lizzie! poor Lizzie! you're dying, I know, - We'll wash you with milk, and we'll dry [or roll] you with silk, - And we'll write down your name with a gold pen and ink. - ---New Galloway (Rev. Dr. Gregor). - -Boys and girls take hands and go round saying-- - - Round the green gravel - Grass grows green, - Many's the lady fit to be seen, - Washed in milk and dried in silk. - The last pops down! - -The last boy or girl to pop down has to tell who he (or she) is -courting.--Kiltubbrid, Co. Leitrim (L. L. Duncan). - - -Green Grass. - -[Vol. i. pp. 153-169.] - -All the girls arrange themselves in a line, and one stands in front. The -one in front sings-- - - Dis-a-dis-a green grass, - Dis-a-dis-a-dis; - Come all ye pretty fair maids, - And walk along wi' us. - Will ye have a duck, my dear (pointing to one of the girls in the - line), - Or will ye have a drake, - Or will ye have a young man - To answer for your sake? - -The girl pointed to answers-- - - I'll neither have a duck, my dear, - Nor will I have a drake; - But I will have a young man - To answer for my sake. - -She now leaves the line and takes her stand beside the one that stands -in front, and all begin to clap their hands and sing-- - - The bells will ring, - And the psalms will sing, - And we'll all claps hands together. - -The two in front then begin to sing what the one first sang, and the -same goes on till all are chosen.--Peterhead; St. Andrews (Mrs. Stewart, -when a girl). - - Here we go in a merry band, - Round about the berry buss; - Come all ye pretty fair maids, - And dance along with us; - We shall have a duck and drake, - We shall have a dragon, - We shall have a young man, - The prince of the Saigen. - The young man dies, - And leaves the girl a widow. - The birds shall sing, the bells shall ring, - And we will all clap hands together. - Here we go a roving, - A roving in a band; - I will take my pretty Mary, - I will take her by the hand. - ---Perth (Rev. Dr. Gregor). - -Another version, very similar to that given in vol. i. pp. 161-162 from -Congleton Workhouse School, and sent me by Mr. J. Lawson, Laurieston -School, Kirkcudbrightshire, begins, "Will you take silver and gold?" - -Another Scottish version of this game is given in _Notes and Queries_, -3rd ser., v. 393, as follows:-- - - A duss, a duss of green grass, - A duss, a duss, a duss; - Come all you pretty maidens, - And dance along with us; - You shall have a duck, my dear, - And you shall have a dragon, - And you shall have a young gudeman, - To dance ere you're forsaken. - The bells shall ring, - The birds shall sing, - And we'll all clap hands together. - - -Green Grass. - -[A game so called by Dr. Gregor, but apparently not belonging to the one -usually known under that name.] - -The girls stand in a line, and one stands in front. All sing-- - - Green grass suits us, - As my boots are lined with silver; - E. I. O, E. I. O, my ain bonnie (a girl's Christian name). - -The girl in front then chooses the girl named, and both girls join hands -and wheel round, whilst all sing-- - - I kissed her once, I kissed her twice, - I kissed her three times over. - Hop, hop, the butcher's shop, - I cannot stay any longer. - If I stay my mother will say - I played with the boys up yonder. - ---Tyrie (Rev. Dr. Gregor). - -Another version is-- - - Green grass set her fair, a bunch of gold and silver, - A white rosette upon her breast, a gold ring on her finger, - A I O, my Jessie O; I wish I had my Jessie O. - I kissed her once, &c., as above. - - -Heap the Cairn. - -[See "More Sacks to the Mill," vol. i. p. 390.] - -One boy is thrown flat on the ground, then another is thrown over him, -and then another and another, and the bigger boys dash the smaller ones -on those that are down, while all keep shouting-- - - Heap the cyarn-- - Dirt and sharn. - ---Keith (Rev. Dr. Gregor). - -Hear all! Let me at her. - - Hear all! let me at her; - Hear all! let me go; - Hear all! let me at her, - When my mammy will or no. - - ---- has ta'en a notion - For to go and sail the sea; - There he's left his own dear ----, - Weeping on the Greenland sea. - - Hold your tongue, my own dear ----, - Take your baby on your knee. - Drink his health, my jolly sailors, - I'll come back and marry thee. - - I will buy thee beads and ear-rings, - I will buy thee diamond stones, - I will buy thee silken ribbons, - When thy baby's dead and gone. - - ---- says she'll wear the ribbons, - ---- says she'll wear them a'-- - ---- says she'll wear the ribbons - When her baby's dead and gone. - -A ring is formed, one player in the centre. When the verses are sung the -girl in the middle chooses another to take her place.--Fochabers (Rev. -Dr. Gregor.) - - -Hen and Chickens. - -[See "Auld Grannie," p. 404.] - - -High Windows. - -[See "Drop Handkerchief," vol. i. pp. 109-112; "Black Doggie," vol. ii. -pp. 407-408.] - -Boys hold hands and go round in ring form. - -One player stands in the middle and strikes one of those in the ring -with a bit of grass; both players then run out of the ring, and the boy -who was in the midst must catch the other before he goes round three -times. At the third time the boys all cry "High Windows," raising their -hands at the same time to let the two inside the circle.--Kiltubbrid, -Co. Leitrim (L. L. Duncan). - - -Hot Cockles. - -[Vol. i. p. 229.] - -A version of this game, in which a dell or goal is appointed. The -players stand together, one player places his head between the knees of -another, who bends down, and slaps him on the back, keeping time to the -following rhyme, saying-- - - Skip, skip, sko, - Where shall this young man go? - To the east, or the west? - Or the young crow's nest? - -The kneeling boy shouts out the name of the dell, and the other players -all rush off shouting out its name. The one who gets there first wins -the game.--Meiklefolla, Aberdeenshire (Rev. Dr. Gregor). - - -Hulla-balloo-ballee. - -[See "Lubin," vol. i. pp. 352-361.] - -One version of Lubin Loo, from Forfar, Linlithgow, and Argyllshire, is -the same as those given in vol. i. A Nairnshire version is called -"Hullabaloo-ballee." - - Hulla-balloo, ballee, - Hulla-balloo, ballight; - Hulla-balloo, ballee, - All on a winter's night, - Put your right foot in, &c. - Turn round about. - -At "turn round about," they reverse the direction, and dance round the -other way, and so on.--Rev. Dr. Gregor; and Mrs Jamieson. - -Another version is-- - - Old Simon, the king, young Simon, the squire, - Old Simon, the king, sat round a nice warm fire; - Keep your right hand in, shove your right hand out, - Shake it a little, a little, and turn yourself about! - Keep your right foot in, shove your left foot out, - Shake it a little, a little, and turn yourself about. - Hally gallee, gallee, gallee; - Hally gallo, gallo, gallo; - Hally gallee, gallee, gallee, - Upon a Saturday night. - Keep your right hand in, &c. - ---Galloway (J. G. Carter). - -Several versions of this game are given by Mr. E. W. B. Nicholson in his -interesting little book "Goldspie," pp. 176-184. He considers -"Hilli-ballu," "Hulla-baloo," and similar words to be the original of -the English forms "Here we dance Looby Loo," or Lubin, and all of these -to be derived from hunting cries, such as ha, la bas! loup! uttered by -huntsmen to definite musical notes, possibly introduced into songs and -afterwards adapted as lullabies because of their resemblance to the -lulling-cries ba (= bye) and lulli. - - -Isabella. - -[Vol. i. pp. 247-256.] - -Two or three versions which vary slightly in method of playing may be -given. The first is played in the usual way until the last line is said, -when the player turns her back to the circle facing outwards as in -Wall-flowers. - - Isabella, Isabella, Isabella, farewell; - There is my hand, love, there is my hand, love, farewell! - Over the mountains, over the mountains, over the mountains, - farewell! - Her love's dead and gone, dead and gone, dead and gone! - Her love's dead and gone, turn your back behind her. - ---Perth (Rev. Dr. Gregor). - -Another version is-- - - Isabella, fare ye wella; Isabella, fare ye wella; Isabella, - farewell! - -One player then leaves the ring singing-- - - "I'm off to the Indies," &c. - -The ring all sing-- - -"Over the mountains" (as above) six times, ending with-- - - "Isabella, Isabella, farewell" (as above). - -The player who had previously left the ring returns singing, "I'm come -back from the Indies," &c. - -A ring is formed, one player kneels in the centre, the players in the -ring fix their eyes steadily on the kneeling girl all the -time.--Fochabers, N.E. Scotland (Rev. Dr. Gregor). - -In the next version the words of each verse are:-- - - Isabella, farewella, &c. - Back from London, &c. - Go to London, &c. - Pull the brooch off my bosom, &c. - Pull the ring off my finger, &c. - ---Laurieston School, Kircudbrightshire (J. Lawson). - - -Jenny Jones. - -[Vol. i. pp. 260-283.] - -The versions printed here vary, it will be seen, from those printed in -vol. i., principally in the words used towards the end of the game, the -earlier portions being very similar. The first one is an exceedingly -interesting variant, the funeral details being fuller, and the idea of -the spirit of the dead or Ghost surviving also. - -The first lines of each verse are as follows:-- - - I've come to see Jenny Jones, - How does she do? - She is washing, &c., you can't see her now. - I've come to see Jenny Jones, &c. - She is scrubbing, &c., you can't see her now. - I've come to see, &c. - She is ill, &c. - I've come to see, &c. - She's very ill, &c. - I've come to see, &c. - She's dying, &c. - I've come to see. - She's dead. - We'll come in blue, blue, blue. Will that suit? - Blue is for sailors, &c. That won't suit. - We'll come in red, &c. - Red is for soldiers, &c. - We'll come in white, &c. - White is for weddings, &c. - We'll come in black, &c. - Black is for mourning, &c. That will suit. - -They then take up Jenny Jones, and carry her to a little distance off, -lay her on the ground, and all stand round. One child stands over the -grave, and while sprinkling Jenny with dust, says-- - - Ashes to ashes, dust to dust. - If God won't have you, the devil must. - -Then Jenny jumps up and runs after the other children, who try to -escape. The one she catches is "Jenny" next time.--Barrington (Dr. A. C. -Haddon). - -In another version called "Georgina" one player selected to act as -Georgina kneels down against a wall, and the others stand round to -conceal her. Two go apart to act as callers, while another stands near -the group as mother. The callers come forward and say-- - - We came to see Georgina, &c. - And how is she to-day? - She's upstairs washing, &c., - And you can't see her to-day. - Farewell, ladies. - -They then retire, but return in a little while, and put the question as -before. She is then "starching," said as above; and next time she is -"ironing," the fourth time the mother's answer is, "She fell downstairs -and broke her arm, and you can't see her to-day;" the fifth time, "Two -doctors are at her;" the sixth, she is "worse;" and the seventh, she is -"dead." The two callers remain when this reply is given. At this point -Georgina makes a noise by rapping two stones together. The two at once -exclaim, "Oh! mother, mother, what's that knocking?" and she answers, -"The coach going by." The knocking is repeated, and the question, and -she says, "The wall falling down." On the knocking being heard a third -time, she tells them to "take a candle and look." They pretend to do so, -and "Georgina" starts up to chase them. They all run off shouting, "The -Ghost."--Strichen and Fochabers (Rev. Dr. Gregor). - - I came to see Georgina, Georgina, Georgina, - I came to see Georgina, and how is she to-day? - She's upstairs ironing. - I came to see Georgina, &c. (as above). - She fell downstairs and broke her muckle toe. - I'm very sorry to hear that, &c. - She's dead. - Bad news, bad news, bad news to-day. - What shall we dress her in? &c. - Dress her in red. - Red is for the soldier, and that won't do, &c. - What shall we dress her in? &c. - Dress her in blue. - Blue is for the sailor, &c. - What shall we dress her in? &c. - Dress her in white. - White is for the angels, that will do, &c. - Mother, mother, what's that? &c. - A gig running past. - Mother, mother, what's that? &c. - The boys playing at marbles. - Mother, mother, what's that? what's that? what's that? - Mother, mother, what's that? - Georgina's ghost!! - -Ending with a general stampede. - ---Nairnshire (Mrs. Jamieson). - - We've come to see poor Janet, - And how is she to-day? - She's up the stairs washing, - She can't come down to-day. - Very well, we'll call another day. - We've come to see poor Janet, - And how is she to-day? - She's up the stairs ironing, &c. - Well, we'll call, &c. - We've come to see poor Janet, &c. - She's fallen downstairs and broken her horn toes, &c. - Poor Janet, we'll call, &c. - We've come, &c. - She's dead, &c. - What's she to be dressed in? - Red. - That's for soldiers; that won't do. - Blue. - That's for sailors; that won't do. - White. - That will do. - ---Rosehearty (Rev. Dr. Gregor). - -Played in usual way until the end. Janet is then carried off and laid -down on the ground, but she starts up and chases them. - -Many other versions have been sent me, but none with different features. -The best is one from Mr. J. G. Carter, Dalry, Galloway, called "Jenny -Jo," but presenting no fresh details, and where white is used for the -burial. Four children stand on one side with Jenny at their back, the -other players on the opposite. She is buried with great mourning. In a -version from Hemsby (Mrs. Haddon) the words are the same, except: "White -is the colour for weddings," and black is for funerals. Then Jenny is -carried to the grave, the other children walking behind two by two; they -kneel round Jenny, and have a good cry over her. Another version from -Laurieston School (Mr. J. Lawson), called "Jerico," very similar to -above, gives two additional verses. The first lines are, "Carry a poor -soldier to the grave," and "Now the poor mother's weeping at the grave." -In one version, after Jenny has been carried to her grave, the children -stand round and sprinkle earth over her, and say, "Dust and dust, dust -and dust," and then pretend to strew flowers. This I got in London. -Another version from North Scotland begins, "I come to see _Geneva_" -continues in usual way until "she is lying" instead of "ill"; then -"she's dying," followed by "she's dead"; then the funeral. In another -version Dr. Haddon sent me, the game is only a fragment. After "Jenny -Jo's dead and gone, all the day long," they continue, "Pipes and tobacco -for Jenny Jo" (repeat twice), "Pipes and tobacco for Jenny Jo, all the -day long." - - -Jockie Rover. - -[See "Stag," vol. ii. pp. 212, 374.] - -One is chosen to be Rover, and a place is marked off called "The Den," -from which he starts, and to which he and the others caught can run for -protection. He has to clasp his hands and set off in pursuit of one of -the players, whom he must crown without unclasping his hands. Before he -leaves the den he calls out-- - - Jockie Rover, - Three times over, - If you do not look out, - I'll gie you a blover. - -When he catches one he unclasps his hands, and makes for the den along -with the one caught. The players close in upon them, and beat them with -their caps. The two now join hands, and before leaving the den repeat -the same words, and give chase to catch another. When another is caught, -the three run to the den, followed by the others pelting them. - -During the time they are running to catch another player, every attempt -is made by the others to break the band by rushing on two outstretched -arms, either from before or from behind. Every time one is taken or the -band broken, all already taken rush to the den, beaten by those not -taken.--Dyke (Rev. Dr. Gregor). - -A form of "Warney," "Whiddy." - - -Jolly Lads, Bold. - -[Vol. i. pp. 294-296.] - - Here come two bold, jolly lads, - Just new come from the shore: - We'll spend our time in drinking wine, - As we have done before. - -Then the ring dances round, singing-- - - We will have a round, and a round, - We will have a pretty, pretty girl, - For to dance upon the ground. - Her shoes are made of morocco, - Her stockings lined with silk, - Her teeth are white as anything, - And her skin as white as milk. - We shall have a round, and a round, &c. - ---Auchterarder, N. B. (Miss E. S. Haldane). - -A ring is formed by players joining hands. Two other players dance round -the ring in opposite directions, singing the first four lines while the -ring stands still. Then the ring dances round singing the rest of the -lines. The two outside then each take a player from the ring and begin -again. - -The words of the dance game, "Here we go around," vol. i. p. 205, are -practically the same as the latter part of this, and suggests that this -or a similar round is its original. - - -Jolly Miller. [Vol. i. pp. 289-293.] - -This is played with the usual double ring, boys on the outside, girls -inside, one child in centre. At the last a rush is made to obtain a -vacant place. - - He was a jolly miller, - He lived by himself. - As the wheel went round, he made his wealth, - One hand in his pocket, the other at his back, - As the mill went round, he made his wealth. - -The girls being in the inside, turn and go the opposite way; and, while -doing so, sing-- - - A hunting we will go, - A hunting we will go, - We'll catch a little fox, and we'll put him in a box, - And a hunting we will go. - ---Auchterarder, N. B. (Miss E. S. Haldane). - -In this version the "grab" appears to be lost, and the "hunting" put in -before the rush for the vacant place is made. - - -Keys of Heaven. - - I will give you a golden ring, - And jewels to hang and birds to sing, - If you'll be my true lover, - And true love of mine. - - I will give you the keys of the chest, - And gold enough to dress you in church, - If you'll be my true lover, - And true love of mine. - - I will give you the keys of even [heaven], - And angels to wait upon you six and seven, - If you'll be my true lover, - And true love of mine. - ---Marylebone (A. B. Gomme). - -Children form a ring by joining hands; they dance round. One stands in -centre. She chooses another from the ring after singing the words, and -the two dance round together. - -This game is evidently but a fragment, the proper way of playing being -forgotten. It would originally have been played in line form instead of -a circle, and answers of "No" or "Yes," or other verses implying -negative and then affirmative, given by the chosen or selected girl. -These lines, and those given _post_ (p. 450), as "Paper of pins," are -interesting fragments probably of one and the same game. - - -Kick the Block. - -[See vol. i. p. 401.] - -A small circle is made, and the stone or block is put in it. A boy -stands with his foot on the stone and his eyes shut until all the other -players are hid. He then tries to find them, and keep his block in its -place. If one should come out when he is away from his block it is -kicked out, and all the boys that were found hide again.--Laurieston -School, Kirkcudbrightshire (J. Lawson). - -Another version of the same game, sent me by Mr. William P. Merrick, -Shepperton, Middlesex, is called "Fly Whip." - -The same game as "Mount the Tin," played somewhat differently. - - -Lady of the Land. - -[Vol. i. pp. 313-319.] - -A number of girls stand in a line. One of them represents the widow and -the other the children. Another stands in front. All sing-- - - There came a poor widow from Sunderland, - With all her children in her hand, - One can bake, and one can sew, - And one can do the hilygoloo. - Please take one out. - -The player who is standing alone in front of the other players chooses -one from the line. The two then join right and left hands and wheel -round in front, all singing-- - - Oh there's poor (girl's name chosen), - She has gone without a farthing in her hand, - Nothing but a guinea gold ring, - Good-bye (girl's name), - Good-bye, good-bye. - -The mother shakes hands with the one chosen. - ---Fraserburgh (Rev. Dr. Gregor). - -Another version-- - - There is a poor widow from Sankelone, - With all her children in her hand, - One can knit, and one sew, - And one can play the liligolor. - -The widow then says-- - - Please take one in, - Please take one in. - -The one in front picks out one and places her at her back, and she lays -hold of her dress, then all sing-- - - Now for poor (girl's name who has been chosen), she is gone, - Without her father (? farthing) in her hand, - She has lost her guinea gold ring, - Good-bye, good-bye, - Good-bye, good-bye. - -The widow shakes hands with the girl. This is repeated till all are -taken out and the widow is left by herself. She cries, and tries to take -back her daughters. All run off. - ---Cullen (Rev. Dr. Gregor). - -Another Isle of Man version varies slightly, beginning, "We're three -young mothers from Babylon," and continuing in a similar way to the one -in vol. i. p. 315-- - - One can wash, and one can sew, - Another can sit by the fire and spin, - The other can make a fine bed for the king, - Please, ma'am, to take one in. - -The queen then says-- - - Come, my dearest . . . and give me your hand, - And you shall have the nicest things in all this pleasant land. - -The girls are thus gradually chosen. - ---Isle of Man (A. W. Moore). - - Here's a poor widow from Babylon, - Six poor children left alone, - One can bake, and one can brew, - And one can shape, and one can sew. - One can sit by the fire and spin, - And one can make a bed for a king; - Come Tuesday east, come Tuesday west, - Come choose the one that you love best. - ---Galloway, N. B. (J. G. Carter). - - -Leap-Frog. - -[Vol. i. pp. 133, 327, 328.] - -The chief rules of this game, obtaining in N.E. Scotland in Dr. Gregor's -boyhood, were:--The boy that stooped his back was called "the bull," -pronounced "bill." The bull was not to "horn," _i.e._, throw up his back -when the player placed his hands on it to leap over, or to bend his back -down, and that the player was to lay his hands on the bull's back quite -flat, and not to "knockle," _i.e._, drive the knuckles into it. The best -way to play was:--A line was drawn beside the bull, over which the heel -of the player must not pass. All the players, the one after the other in -succession, leaped over the bull. The one last over called out, "Fit -it," _i.e._, foot it, which meant that the bull had to measure from the -line a breadth and a length of his foot. This done he stooped, and all -the players went over as before, and another breadth and length of foot -were added. This went on as long as the players thought they were able -to leap over the bull. When they thought they could not do so, the last -player called out, "Hip it," _i.e._, take a hop. This done, the bull put -himself into position, and each player now took a hop from the line to -the bull, and then went over him. Here the same process of footing was -gone through as before, as long as the players were able to go clear -over the bull. Then came a step with as much footing as was considered -safe, and then came a jump with so much footing. It was now with the -players "hip, step, an' jump," and over the bull. Then more "fitin'," -and perhaps another "hip," and so on--two hips, two steps, two jumps, -and a flying leap over the bull. It was not often the game reached this -point. Some one of the players had failed to pass right over the bull -and caused him to fall, or had overstepped the line. When any player did -either the one or the other, he had to become bull.--Keith (Rev. Dr. -Gregor). - -This is a fuller and more complete description than that of "Foot and -Over" (vol. i. p. 133). - -Another mode of playing leap-frog is: the players stand with their backs -to the leapers, and only bend the head and the leaper's hands are placed -between the shoulders. Instead of running a few yards in front, each -player advances only a few feet, leaving just as much room as to allow -the player scope to fall and spring again. This mode requires -considerable agility and practice. The higher the leap, so much the -greater the fun.--Keith (Rev. Dr. Gregor.) - - -London Bridge. - -[Vol. i. pp. 333-350.] - -In the following versions of the game only the first lines of each verse -are given, as said by each side. Descriptions of method of playing were -not in all cases sent me. They are probably the same as those given -under this game in vol. i., which is for two players to form an arch by -holding up their joined hands, and the other players running under it. - - (1.) London Bridge is falling down, &c, my fair lady. - What will it take to build it up? &c. - Needles and pins will build it up, &c. - Needles and pins will not hold, &c. - Bricks and mortar will build it up, &c. - Bricks and mortar will wash away, &c. - Silver and gold will build it up, &c. - Silver and gold will be stolen away, &c. - We will set a watchman to watch all night, &c. - What if the watchman falls asleep, &c. - We will set a dog to bark, &c. - See the robbers passing by, &c. - What have the robbers done to you? &c. - They have broke my locks and stole my gold, &c. - Off to prison they must go, &c. - What will you take to set them free? &c. - ---Perth (Rev. Dr. Gregor). - - (2.) London Bridge is broken down, - Build it up with lime and stone; - Lime and stone will build and break; - Set an old man to watch all night. - Perhaps this man will run away, - Ten times the wedding day. - ---Tyrie (Rev. Dr. Gregor). - - (3.) Broken bridges falling down, falling down, falling down, my - fair lady. - What will you give to mend it up? &c. - -Those running under the arch say-- - - A guinea gold ring will mend it up, &c. - -The two players say no. - - A pin I'll give to mend it up. - No! - A thousand pounds to mend it up; - This will waste away, my fair lady; - We'll mend it up with golden pins, my fair lady, - For golden pins will never rust, never rust, my fair lady. - ---Fochabers, N.E. Scotland (Rev. Dr. Gregor). - - (4.) The broken bridge is falling down, falling down, falling - down, - The broken bridge is falling down, my fair lady; - Stones and bricks will build it up, &c. - ---Nairnshire (Rev. Dr. Gregor). - - (5.) Broken bridges falling down, - My fair lady, which will you have? - Open the door for the king's soldiers. - What king are you? - I am true to the very last one. - ---Isle of Man (A. W. Moore). - -Versions of this game from Scotland have been sent me, which show great -similarity to those previously printed, but the game is more or less in -a state of decadence. The best version is that from Perth. One from St. -Andrews, Peterhead, though only consisting of the first verse, has -preserved the refrains, "Dance o'er the Lady Lee" and "With a gay lady" -of Halliwell's version. The others commence "broken bridges." The Isle -of Man version is still more incomplete. A version sent me by Dr. Haddon -from Barrington is similar to the one given, vol. i. p. 338-9, from -Enborne School, and is not therefore printed here. - - -Magician. - -A mirror is covered with a cover, and a girl or boy is taken into the -room. She or he is then asked what animal or thing they would like to -see. As soon as the wish is stated, the cover is raised, and the child -sees his or herself.--London (A. B. Gomme). - - -Mannie on the Pavement. - -One player has charge of the pavement. It is his duty to keep the others -off. The others try how often they can touch the wall, and when the -"mannie" catches one, that one becomes "mannie."--Aberdeen (Rev. Dr. -Gregor). - - -Merry-ma-Tansa. - -[Vol. i. pp. 369-376; ii. 422-424.] - - Here we go round by jingo ring, by jingo ring, by jingo ring, - Here we go round by jingo ring, in a cold and frosty morning. - Twice about and then we fall, and then we fall, and then we fall, - Twice about and then we fall, in a cold and frosty morning. - -All bend down. The one who rises up last goes into the centre of the -circle, and those in the circle sing-- - - Choose your maidens all around, all around, all around, - Choose your maidens all around, on a cold and frosty morning. - -The one in the centre chooses two from the ring, and retires with them a -short distance away, when the name of a boy is selected as the lover. -During the time the three are standing apart, those in the ring let go -each other's hands, and take hold of the sides of their dresses, and -make as if they were sweeping a house, singing the while-- - - Swype the hoose till the bride comes hame, the bride comes hame, the - bride comes hame, - Swype the hoose till the bride comes hame, on a cold and frosty - morning. - -When the three come back, the one that was in the centre takes up the -same position, and the two she picked out join those in the circle. Then -all wheel round and sing-- - - A golden pin to tell her name, tell her name, tell her name, - A golden pin to tell her name, in a cold and frosty morning. - -The answer is-- - - ---- (girl's name is given) is her name, is her name, is her name, - ---- is her name, in a cold and frosty morning. - -Then comes the lover's name-- - - A golden watch to tell his name, tell his name, tell his name, - A golden watch to tell his name, in a cold and frosty morning. - -The answer is-- - - So-and-so is his name, is his name, is his name, - So-and-so is his name, in a cold and frosty morning. - -The one in the middle is then blindfolded, and all wheel round and -sing-- - - Blindfolded dinna catch me, dinna catch me, dinna catch me, - Blindfolded dinna catch me, on a cold and frosty morning. - -The blindfolded tries to catch one in the ring. The ring should not -break, but it is often broken by the one that is on the eve of being -caught. The one caught takes her stand in the centre, and the game -begins anew from that point.--Dyke (Rev. Dr. Gregor). - -This is a most interesting variant of this game--blindfolding the -bridegroom in order that he must first catch his bride, and her attempts -to elude his caresses, are significant of early custom. - - Here we go round by jing-ga-ring, - Jing-ga-ring, jing-ga-ring; - Here we go round by jing-ga-ring, - Around the merry-ma-tansy. - - Three times round, and then we fall, - Then we fall, then we fall; - - Three times round, and then we fall, - Around the merry-ma-tansy. - - Choose your maidens all around, - All around, &c.; - - High gates till the bride comes in, - The bride comes in, &c. - - A golden pin to tell her name, - To tell her name, &c. - - (Mary Anderson) is her name, - Is her name, &c. - - Blindfold you all around, - All around, &c. - -A ring with one child in centre, who chooses one from the circle, at the -end of third verse, after whispering the bride's name together _outside_ -the circle, they are admitted at "high gates," when all the girls hold -up their hands in arches as they dance round. All players in the ring -are then blindfolded, and have to catch the child in the -centre.--Nairnshire (Rev. Dr. Gregor). - -Another version is-- - - Here we go round by jingo-ring, - By jingo-ring, by jingo-ring, - Here we go round by jingo-ring, - And round by merry matansy. - Twice about, and then we fall, - And then we fall, and then we fall. - Twice about, and then we fall, - And round by merry matansy. - ---Fochabers (Rev. Dr. Gregor). - -In another version from St. Andrews and Peterhead, with same words, the -players all flop down, then rise again and dance round. - -Another form of words is-- - - Here we go round by jingo-ring, - Jingo-ring, jingo-ring. - Here we go round by jingo-ring - In a cold and frosty morning. - - Three times round, and then we fall, - Then we fall, then we fall, - Three times round, and then we fall, - In a cold and frosty morning. - ---Nairn (Rev. Dr. Gregor). - -Another similar version from N. Scotland, locality not known. - - Round about the jingo-ring, &c. - Round about the jingo-ring, &c. - First time is catching time, &c, round, &c. - A fine gold ring to tell her name, &c. - (---- ----) is her name, &c. - Third time is kissing time, &c., round, &c. - ---London (A. B. Gomme), from Scotch source. - - -Milking Pails. - -[Vol. i. pp. 376-388.] - -A version sent me by Mr. M. L. Rouse, Blackheath, is similar to those -previously printed, varying only at the end. After the "wash in the -river," and "the stream will carry the clothes away," the children say, -"Men, you may run after them." Hereupon they all run off, but the mother -does not chase them. They return, and a dialogue ensues similar to a -part of "Mother, may I go out to play," follows between the mother and -children:-- - -"Where have you been all day?" - -"Working for Jack, or aunt." - -"What did he give you?" - -"A piece of plum-pudding as big as a flea, or a piece of bread as big as -a house, and a piece of cheese as big as a mouse." - -The children then run off again, come quickly back with the news that -they had seen a large bull in the meadow. - -"Where's the butcher?" - -"Behind the stable door cracking nuts, and you may have the shells." The -mother then chases the children, beating all she can catch. - - -My Delight's in Tansies. [See "Sunday Night," vol. ii. p. 221.] - -All the girls stand in a line except one who stands in front of the -others. This one walks or dances backwards and forwards. All sing the -words-- - - My delight's in tansies, O! - My delight's in bransies, O! - My delight's in a red, red rose; - The colour o' my ---- - -the name of one in the line chosen by the one in front is said. The two -in front join right and left hands, and all sing-- - - Hey ho, my ----, O! - My bonnie, bonnie ----, O! - A' the warld wid I gie, - For a kiss o' ----, O. - My delight's in Nancy, O! - My delight's in tancy, O! - My delight's in a red, red rose, - [She chooses out a girl] - Call her, oh! my (a girl's name), O! - Hey, ho, my ----, O! - My bonnie, bonnie ----, O! - A' the warld wad I gie - For a kiss o' ----, O! - ---Fraserburgh (Rev. Dr. Gregor). - - -Namer and Guesser. - -[Vol. i. p. 409.] - -Another version of this game. It is begun in the same way. As each -player gets his name, he or she turns their back to the namer. When all -are named, and are standing with their backs to the namer, the namer -calls out, "Baker, baker, your bread is burnin'," or "Bakerie, bakerie, -your bread is burnin'." The guesser answers, "Will you give a corner of -it to me?" or "Give me a corner of it," and takes a stand beside the -namer. The namer then says-- - - Come, cheese me east, - Come, cheese me west, - Come, cheese me to "Rose." - -The guesser points to one of the players. If the guess is right, the -player goes to the guesser's side; if wrong, to the namer's side, when -all the players except one are chosen. This one gets two names, say -"Needles" and "Preens." The namer then says to the guesser, "Needles" -or "Preens"? A guess is made. This is done three times, and each time -the names are changed. If the last guess is made correctly, then the -player goes to the guesser, if not, to the namer. Sometimes it is -decided by "the best o' three." Then comes the "tug of war." The gaining -side calls out "Rotten eggs, rotten eggs!"--Fraserburgh (Rev. Dr. -Gregor). - - -Needle Cases. - - Needle cases, needle cases, in a silver saucer. - Who shall I direct it to but Captain ----'s daughter. - What will you give to tell her name, tell her name, tell her name? - A hundred pounds and a glass of wine. - (The girl's name is given, and she then asks)-- - What will you give to tell his name? - (The others answer)-- - Two hundred pounds and a glass of wine. - (Boy's name given by girl). - As I gaed down to borrow a pan, - I saw her sitting kissing her man; - She off with the glove and on with the ring. - To-morrow, to-morrow the wedding begins. - Clean the brass candlesticks, clean the fireside, - Draw up the curtains and let's see the bride. - -All the players but one stand in a circle--this one goes round with a -handkerchief, singing the first lines. When the girl's name is mentioned -she tells her sweetheart's name to the girl with the handkerchief, sits -down in the centre, and covers her face with her hands. The one with the -handkerchief goes round again, asking, "What will you give?" and the -ring answers. Her name is then given, and the girl with the handkerchief -again asks, "What will you give to tell _his_ name?" The ring answers -again, and the sweetheart's name is then given. The girl with the -handkerchief goes round again and sings the last lines, the ring singing -with her. Then the one in the centre joins the ring, and the game begins -again.--Aberdeen (Rev. Dr. Gregor). - - -Nuts in May. - -[Vol. i. pp. 424-433.] - -Many versions of this have been sent me, but none differ materially from -those printed previously. - - -Odd Man. - -A game played by two or three hundred persons who form a circle; every -one places his stick in the ground before him, by way of barrier. A -person called the odd man stands in the middle and delivers his bonnet -to any one in the ring. This is nimbly handed round, and the owner is to -recover it; and on succeeding, takes the place of the person whom he -took it from, and that person takes the middle place.--Pennant's "Voyage -to the Hebrides," p. 231. - - -Old Cranny Crow. - -[Vol. i. p. 201; ii. pp. 404-405.] - -This game resembles "Hen and Chickens," but though of that class of game -it is not, it will be seen, the usual form of "Hen and Chickens" at its -conclusion. The earlier part of the game and dialogue, if any, may, -however, have been similar. Mr. Rouse says: "I cannot recollect more of -Old Cranny Crow than that she entices children one by one out for a -walk, and steals them from their supposed mother. The mother is then -invited to dine by Old Cranny Crow, and has a pie (one of her children) -set before her, with pepper and salt, which she pretends to eat, and -when doing so discovers it to be just like her Tommy (or other child's -name). Then Cranny Crow puts another pie before her; this she discovers -to be just like her Katy. She finds out all her children one by one, and -they come to life again and run home."--M. L. Rouse, Blackheath. [See -"Mother, mother, pot boils over," "Witch."] - - -Old Johanny Hairy, Crap in! - -All players sit round the fire and put out their right feet. The Master -of the game repeats-- - - Onery, twoery, dickery dary, - Wispy, spindey, spoke of the lindey, - Old Johanny Hairy - Crap in![17] - -Each word is repeated to a man; and when the leader comes to "Crap in," -the man specified draws in his foot. When all have drawn in their feet -but one, this one must then kneel down, and his eyes being blindfolded, -the master of the game puts his elbow on his back and strikes him with -his elbow or fist, saying-- - - Hurley, burley, trump the trace, - The cow ran through the market-place. - Simon Alley hunt the buck, - How many horns stand up? - -At the same time holding up several fingers. The man kneeling down has -to guess the number. If he guesses correctly, the master of the game -takes his place. If he fails to guess he is kept down, and another man -goes and strikes his back, and so on.--Kiltubbrid, Co. Leitrim (L. L. -Duncan.) - -A version of "Hot Cockles," with interesting variations. - -Mr. Duncan, when sending me the games he collected, said--"It is very -possible that the people may have brought some of the games from England -when returning from harvesting. This, however, does not apply to 'Old -Johanny Hairy, crap in,' as it is now called in English. Crap isteach is -the Irish for 'draw in,' as in Mr. O'Faharty's 'Sports of the Winter' -there is a Gaelic version. This, I should imagine, makes it certain -that, although well known elsewhere, the game also obtained in the West -of Ireland." - - [17] Crap--draw. - - -Paper of Pins. - - Paper of pins to you I bring; - Say is my love worth anything? - - Gold and silver to you I bring; - Say is my love worth anything? - - No, I'll not have anything; - -or, - - Yes, I will have what you bring. - -A ring is formed, and one player walks round outside saying the first -four lines, stopping at any child she chooses who answers "Yes" or "No." -If "Yes," the two go into the ring and kiss.--Marylebone, London (A. B. -Gomme). - -This is interesting, as a possible fragment of the old Keys of -Canterbury [Halliwell's "Nursery Rhymes," No. cccclxvi.] and of the -Paper of Pins, described so fully by Mr. Newell in "Games and Songs of -American Children," pp. 51-55. - -See "Keys of Heaven," _ante_, p. 437. - - -Pickie. A form of Hopscotch. - -[See "Hopscotch," vol. i. pp. 223-227.] - -[Illustration] - -One player commences first by winning the toss. The pick (a small flat -stone) is pitched into No. 1 bed. It is then moved out of this first -place, backward across the front line, and not otherwise by touching or -forcing it with one foot, the other foot being kept up; that is, the -player must hop and use the foot on the ground to strike "pick." No line -must be touched. If this happens, or if the pick, when being driven -towards the pitching line, gets away otherwise than across the front -line, the player is "out," and the next boy goes in. All the beds are -done likewise, and all must be then done in a reverse way, beginning -with No. 10. The first player who completes the game wins.--Waterville, -Co. Kerry (Mrs. B. B. Green). - - -Poor Widow. - -[Vol. ii. pp. 62, 63.] - - Here's a poor widow from Babylon, - All her sons and daughters are gone. - Come choose to the east, come choose to the west, - Come choose you the very one that you like best. - Now they are married I wish them joy, - Every year a girl and boy. - Loving each other like sister and brother, - A happy new couple may kiss together. - ---Laurieston School, Kircudbrightshire (J. Lawson). - -A circle is formed, two children in the centre, one of whom kneels, the -other walks round singing-- - - I am a poor widow go walking around, - Go walking around, go walking around, my own. - And all of my children are married but one, - Are married but one, are married but one, my own. - - I put on a nightcap to keep her head warm, - To keep her head warm, to keep her head warm, my own. - Then rise up my daughter and choose whom you please, - And choose whom you please, and choose whom you please, my own. - -The mother then joins the circle, and the daughter becomes poor widow. -On the mention of the nightcap a white handkerchief is spread over the -head, the circle walking around slowly, and chanting the words slowly -and dismally. - ---Penzance (Miss Courtney). - -See "Widow," _ante_, p. 381. - - -Rashes. - -A game played by children with rushes in Derbyshire, which is a relic of -the old custom of rush-bearing. In the warm days of May and June the -village children proceed in parties to the sedges and banks of dyke and -brook, there to gather the finest and best rushes. These are brought -with childish ceremony to some favourite spot, and then woven into -various articles, such as baskets, parasols, and umbrellas. Small -arbours are made of green bushes and strewn with rushes, inside which -the children sit and sing and play at "keeping house" with much lordly -ceremony. At these times they play at a game which consists in joining -hands in a circle, and going round a heap of rushes singing or saying-- - - Mary Green and Bessy Bell, - They were two bonny lasses; - They built a house in yonder hill, - And covered it with rashes. - Rashes, rashes, rashes! - -At each repetition of the word "rashes" (rushes) they loosen hands, and -each picking up a lot of rushes, throw them into the air, so that they -may fall on every one in the descent. Many of the articles made with -rushes are hung over the chimney-piece in houses, and in children's -bedrooms, as ornaments or samples of skill, and there remain until the -next season, or until the general cleaning at Christmas.--Thomas. -Radcliffe, in "Long Ago," vol. i. p. 49 (1873). - - -Queen Anne. - -[Vol. ii. pp. 90-102.] - - Lady Queen Anne, she sits in her pan, - As fair as a lilly, as white as a lamb; - Come tittle, come tattle, come tell me this tale, - Which of these ladies doth carry the ball? - My father sent me three letters, please deliver the ball. - -If a correct guess is made by the opposite side, the queen and the child -who had the ball say-- - - The ball is mine, it is not yours, - You may go to the garden and pick more flowers. - ---Isle of Man (A. W. Moore). - - -Sally Water. - -[Vol. ii. pp. 150-179.] - - Sally, Sally, Walker, sprinkling in a pan, - Rye, Sally; rye, Sally, for a young man, - Come, choose to the east, come, choose to the west, - And come choose to the very one that you love best. - -The choice is made here, and the two stand in the centre as usual. - - Now there's a couple married in joy, - First a girl and then a boy. - ---- made a pudding nice and sweet, - ---- took a knife and tasted it. - Taste, love; taste, love, don't say no, - Next Monday morning is our marriage day. - Seven years after, seven years to come, - This young man shall be kissed and be done. - ---Fochabers, N. E. Scotland (Rev. Dr. Gregor). - - Sally, Sally, Water, sprinkled in a pan, - Rise, Sally; rise, Sally, for a young man. - Choose the best, leave the worst, - Choose the prettiest you can. - - Now you're married we wish you joy, - First a girl and then a boy, - Seven years after son and daughter, - Kiss before you go over the water. - ---London (Dr. A. C. Haddon, from Miss E. A. Passmore). - -Played in usual way. - - -Shuffle the Brogue. - -[See "Hunt the Slipper," vol. i. pp. 241, 242.] - -The boys sat on their haunches in a circle. One of the players takes a -small object, and hands it from one to another under the legs from -behind. The players as they pass the brogue repeat the words-- - - Shuffle the brogue once, - Shuffle the brogue twice, - Shuffle the brogue thrice. - -The object has always to be passed along in the same direction. One -player who is blindfolded has to catch it as it is passing along. The -one in whose hand it is found becomes the catcher. --Crossmichael, -Kirkcudbrightshire (Rev. Dr. Gregor). - - -Soldiers, Soldiers. - - Soldiers, soldiers, march away, - Monday morning's here again; - The drums shall rattle, the pipes shall play - "Over the hills and far away." - Now you're married I wish you joy, - First a girl and then a boy; - If one don't kiss, the other must, - So kiss, kiss, kiss. - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - -A circle is formed, and the children sing the first four lines. One -chooses a partner, and they dance round in the ring. - - -Three Dukes. - -[Vol. ii. pp. 233-255.] - -In a version of the Three Dukes, collected by Dr. A. C. Haddon, the -first lines are-- - - Here comes one duke a riding by, a riding by, - A riding by (repeat). - Rasima, Tasima, Tisima tay; - Pray what is your will, sir? - My will is to get married. - Will any of my fair daughters do? - They're all as stiff as pokers. - We can bend as well as you, sir. - -The duke goes round, chooses one, and sings-- - - I go to the kitchen, I go to the hall, - I pick the fairest one of all (as previous versions). - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - - -Three Knights from Spain. [Vol. ii. pp. 257-279.] - -A version of this game called "Gipsies," varies slightly from those -previously printed. - - Here comes one gipsy come from Spain, - To call upon your daughter Jane; - - Our daughter Jane is far too young, - To be controlled by flattering tongue. - - Oh, very well, I must away; - I'll call again some other day. - - Come back, come back, - Your tails are flag, - And choose the fairest one you see. - -The gipsy then chooses a girl from the line of players, and asks her to -come. The girl asked replies, "No." Then the gipsy turns round and -dances, saying, "Naughty girl, she won't come out (repeat), to help me -in my dancing." Again the gipsy asks the girl, when she replies, "Yes," -and goes to the gipsy, who says, "Now we have got the flower of May, -the flower of May, &c., to help us with our dancing."--Auchencairn, N. -B. (Mary Haddon). - - -Tug-of-War Game. - - Apples and oranges, two for a penny, - Come all ye good scholars, buy ever so many. - Come choose the east, come choose the west, - Come choose the one you love the best. - -Played like "Oranges and Lemons." One child is "Apple," and another -"Orange."--Ross-shire (Rev. Dr. Gregor). - -Played in the same way is-- - - Pancakes and flitters is the wax of cantailers,[18] - I owe you two farthings, I'll pay you to-morrow; - Here comes a candle to light you to bed, - Here comes a hatchet to chop off your head. - ---Isle of Man (A. W. Moore). - - [18] Mr. Moore says he does not know the meaning of this word. - - -We are the Rovers. - -[Vol. ii. pp. 343-360]. - -In a version sent me by Dr. Haddon, there is a slight variation. The -first lines of each verse are-- - - Have you any bread and wine? - We are the Romans. - Have you, &c. - - Yes, we have some bread and wine, - We are the English. - Yes, we have, &c. - - Will you give us some of it, &c. - No; we'll give you none of it, &c. - We will tell our magistrates, &c. - We don't care for your magistrates, &c. - We will tell our new-born prince, &c. - We don't care for your new-born prince, &c. - Are you ready for a fight? - Yes, we're ready for a fight. - Tuck up sleeves and have a fight. - -General scrimmage follows.--Girton Village, Cambridgeshire (Dr. A. C. -Haddon). - - -When I was a Young Girl. - -[Vol. ii. pp. 362-374.] - -The first lines are-- - - When I was a naughty girl, &c., and this way went I (shrugging - shoulders), - When I was a good girl, &c. (folding arms, walking soberly), - When I was a teacher (beating time or whacking, optional), - When I went a-courting (walking arm in arm), - When I had a baby (nursing apron as baby), - When my baby died (crying), - When my father beat me (hitting one another), - When my father died, - How I did laugh! (laughing). - ---Girton Village, Cambridgeshire (Dr. A. C. Haddon). - - - - -MEMOIR ON THE STUDY OF CHILDREN'S GAMES - - -Children's games have not hitherto been studied in the same way as -customs and superstitions and folk-tales have been studied, namely, as a -definite branch of folk-lore. It is well however, to bear in mind that -they form a branch by themselves, and that, as such, they contribute to -the results which folk-lore is daily producing towards elucidating many -unrecorded facts in the early history of civilised man. - -Although games have been used by Dr. Tylor and others as anthropological -evidence, these authorities have mostly confined themselves to those -games of skill or chance which happen to have parallels in savage life; -and the particular point of their conclusions rests rather upon the -parallels, than upon the substantive evidence of the games themselves. - -I will first point out the nature of the material for the study. It will -be seen that the greater number of games printed in these two volumes -have been collected by myself and many kind correspondents, from -children in the present day--games that these children have learned from -other children or from their parents, and in no case, so far as I am -aware, have they been learned from a printed source. To this collection -I have added all printed versions of the traditional game, that is, -versions of games written down by the collector of folk-lore and -dialect--in some cases unconscious collectors of folk custom--from any -available source. A distinctive feature of the collection is, therefore, -that I have printed all versions of each game known to me which show -differences of words or methods of play. The importance of having all -the principal variants from different parts of the country will be -obvious when definite conclusions as to the origin and significance of -traditional games are being considered. - -Strutt mentions many games played by boys in his day, but his remarks -are confined principally to games of skill with marbles, tops, &c., and -games like "Prisoner's Base," "Scots and English," "Hot Cockles," &c. He -records none of those interesting dialogue games which we know now as -singing games. It may be that these games were in his day, as now, the -property more of girls than of boys, and he may not have looked for or -thought of recording them, for it can hardly be imagined that he was -unaware of their existence. He records swinging and ball and shuttlecock -playing as girls' amusements, but very little else, and it cannot even -be suggested that the singing game and dialogue game have arisen since -his time. Indeed, an examination of the games will, I hope, prove for -them a very remote origin, showing traces of early beliefs and customs -which children could not have invented, and would not have made the -subjects of their play unless those beliefs and customs were as familiar -to them as cabs, omnibuses, motor cars, and railways, are to the -children of to-day, who use these things as factors in games which they -make up. - -I do not pretend to have made a complete collection of all versions of -games to be found in the United Kingdom and Ireland. It will be seen -from my list that some counties are entirely unrepresented; but I think -examples enough have been brought together from a sufficient number of -different places to show that, even could I obtain the games of every -county, I could not reasonably hope to obtain any that would be -completely different from those appearing here. Versions differing, more -or less, in words from these would, doubtless, appear, but I do not -think an entirely different game, or any variants that would materially -alter my conclusions, will now be found. All those sent me during the -progress of the volumes through the press--and these are a considerable -number--show no appreciable differences. - -A detailed examination of each game has led me to draw certain -conclusions as to the origin of many of the games. These conclusions -differ materially from those advanced by Halliwell, Strutt, or the -earlier writers, when they have attempted to suggest the origin of a -game. I also differ from Mr. Newell in many of the conclusions advanced -in his admirable collection of American children's games, although I -fully recognise the importance of his method of research. I believe, -too, that hitherto no attention has been paid to the manner or method in -which the game is played. It is to the "method" or "form" of play, when -taken together with the words, that I wish to draw particular attention, -believing it to be most important to the history of the games. - -I do not, of course, claim that all the games recorded in these two -volumes are traditional in their present form, or have had independent -origins; many of these now known under different names have a common -origin. There is, probably, not one game in the same condition, -especially as regards words, as it was fifty or a hundred years ago; but -I consider the "form" or "method" would remain practically the same even -if the words get materially altered. - -All games seem primarily to fall into one of two sections: the first, -dramatic games; the second, games of skill and chance. Now the game -proper, according to the general idea, must contain the element of -winning or losing. Thus, the games of skill and chance are played either -for the express purpose of winning property of some sort from a less -fortunate or skilful player, or to attain individual distinction. Games -of this kind are usually called boys' games, and are played principally -by them; but beyond these generally recognised games is the important -section of dramatic games, which are regarded as the property of the -girls, and played principally by them. - -These two sections are generally considered as the peculiar - -and particular property of each sex. Although this idea is borne out by -a study of the traditional game, it will be found that the boys have -dramatic games of their own, and the girls have special games of skill -and chance. It has so happened, however, that the development in the -case of the boys' dramatic games has been in the direction of -increasing the rules or laws of a game, introducing thereby so much -variety that it is difficult to recognise them as descendants of the -dramatic originals. This has probably been the result of their use in -school playgrounds, while the girls' dramatic games, not being utilised -as a means of exercise, have been left alone, and are dying a natural -death. - -It will be convenient if, at this point, the games are classified as I -shall use them in discussing the question of origin. The first necessary -classification will relate to the incidents which show the customs and -rites from which the games have descended; the second classification -will relate to the dramatic force of the games, as it is from this that -I hope to construct the ladder by which the game can be shown to have -descended from a long past stage of culture. - -The classification, according to incident, is as follows, the name of -each game referring to the title-name in the dictionary:-- - - -MARRIAGE GAMES. - - All the Boys. - Babbity Bowster. - Cushion Dance. - Down in the Valley. - Galley, Galley, Ship. - Glasgow Ships. - Hear all! let me at her. - Here comes a Virgin. - Here's a Soldier left alone. - Here stands a Young Man. - Isabella. - Jolly Miller. - King William. - Kiss in the Ring. - Mary mixed a Pudding. - Merry-ma-tanza. - Nuts in May. - Oats and Beans. - Oliver, Oliver, follow the King. - Pretty little Girl of Mine. - Queen Anne. - Rosy Apple. - Round and round the Village. - Sally Water. - Silly Old Man, he walks alone. - Three Dukes. - Three Knights. - Three Sailors. - Widow. - - -COURTSHIP AND LOVEMAKING GAMES. - - Curly Locks. - Dig for Silver. - Gallant Ship. - Here comes a Lusty Wooer. - Here I sit on a Cold Green Bank. - Hey Wullie Wine. - Jolly Hooper. - Jolly Sailors. - Knocked at the Rapper. - Lady on the Mountain. - Paper of Pins. - Pray, pretty Miss. - Queen Mary. - Ring me Rary. - Salmon Fishers. - Shame Reel. - Soldier. - Sun Shines. - Three Old Bachelors. - Wind, The. - - -FORTRESS GAMES. - - Barbarie, King of the. - Canlie (Addenda). - How many Miles to Babylon. - King of the Castle. - London Bridge. - Tower of London. - Willie Wastell. - - -FUNERAL GAMES. - - Booman. - Green Grass. - Green Gravel. - Jenny Jones. - Old Roger. - Wallflowers. - - -HARVEST GAMES. - - Oats and Beans and Barley. - Would you know how doth the Peasant? - - -TRADE GAMES. - - Dumb Motions. - Trades. - - -GHOST GAMES. - - Deil amo' the Dishes. - Ghost at the Well. - Mouse and Cobbler. - - -WELL WORSHIP GAME. - - Draw a Pail of Water. - - -RUSH-BEARING GAME. - - Rashes. - - -TREE WORSHIP GAME. - - Eller Tree. - - -WINDING UP GAMES. - - Bulliheisle. - Port the Helm. - Snail Creep. - Tuilzie Wap. - Wind up the Bush Faggot. - - -TABU GAME. - - Old Soldier. - - -DIVINATION GAMES. - - Dan'l my Man. - Hot Cockles. - Jack's Alive. - Keppy Ball. - 'Ot millo. - Priest Cat. - Ragman. - Ringie Red Belt. - Shuttlefeather. - Swinging. - - -VICTIMISING OR PENALTY GAMES. - -(_Forms of Torture._) - - Block, Hammer, and Nail. - Bonnety. - Carrying the Queen a Letter. - Cat Beds. - Cobbin Match. - Cry Notchil. - Dump. - Ezzeka. - Father's Fiddle. - Heap the Cairn. - Hecklebirnie. - Hewley Puley. - Hickety Bickety. - Hiry Hag. - Hot Cockles. - Jack's Alive. - Magic Whistle. - More Sacks to the Mill. - Namers and Guessers. - Priest of the Parish. - Pun o' mair Weight. - Ronin the Bee. - Sacks. - Salt Eel. - Shoe the Auld Mare. - Wild Birds. - - -CHARM GAMES. - - Cockeldy Bread. - Thun'er Spell. - - -EFFIGY GAME. - - Drawing Dun out of the Mire. - - -IMITATION OF SPORT GAMES. - - All a Row. - Cock-fight. - Hare and Hounds. - Hunting. - Knights. - Puff in the Dart. - - -IMITATION OF SPORTS (WITH ANIMAL) GAMES. - - Badger the Bear. - Bull in the Park. - Call the Guse. - Cockertie-hooie. - Cock-fight. - Cock's-heading. - Doncaster Cherries. - Fox. - Fox in the Fold. - Fox in the Hole. - Frog in the Middle. - Garden Gate. - Hare and Hounds. - Shue-Gled-Wylie. - Wolf. - - -WEIGHING GAMES. - - Bag o' Malt. - Honey Pots. - Rockety Row. - Way Zaltin'. - Weigh the Butter. - - -WITCH OR CHILD STEALING GAMES. - - Gipsy. - Keeling the Pot. - Mother, Mother, the Pot boils over. - Old Cranny Crow. - Steal the Pigs. - Three Jolly Welshmen. - Witch. - - -ANIMAL CONTEST GAMES. - - Chickens, come clock. - Fox and Geese. - Gled-Wylie. - Hen and Chickens. - Letting the Buck out. - Old Dame. - Shepherds and Sheep. - Who goes round my Stone Wall? - Wolf. - Wolf and Lamb. - - -FISHING GAME. - - Catch the Salmond. - - -CHURNING GAME. - - Churning. - - -CONUNDRUM GAMES. - - Cross Questions. - Thing done. - Three Flowers. - - -GUESSING GAMES. - - All the Birds in the Air. - Bannockburn. - Bird Apprentice. - Birds, Beasts, and Fishes. - Brother Ebenezer. - Buck, Buck. - Buff. - Dumb Crambo. - Fool, Fool, come to School. - Handy Croopen. - Handy Dandy. - Hiss and Clap. - Hot Cockles. - King Plaster Palacey. - Little Dog I call you. - Namers and Guessers. - Old Johnny Hairy. - Priest-Cat (2). - Religious Church. - Thimble Ring. - Trades. - - -CONTEST GAMES. - - -_To take Prisoners._ - - Bedlams. - Blackthorn. - Buckey-how. - Canlie. - Chickidy Hand. - Click. - Cock. - Flowers. - Hornie. - Hunt the Staigie. - Johnny Rover. - King Caesar. - King Come-a-lay. - King of Cantland. - Lamploo. - Over Clover. - Prisoner's Base. - Range the Bus. - Rax. - Relievo. - Rin-im-over. - Save all. - Shepherds. - Stacks. - Stag. - Stag Warning. - Warney. - - -_Prisoners and Possession of Ground._ - - Barley Break. - French and English. - How many Miles to Babylon (2). - Pi-cow. - Prisoner's Base. - Range the Bus. - Rigs. - Scots and English. - - -_Catching and Touching for "he" or "it."_ - - Black Doggie. - Blackman's Tig. - Boggle about the Stacks. - Canlie. - Cross Tig. - Cutters and Trucklers. - Drop Handkerchief. - Fire on the Mountains. - Hand in and Hand out. - High Windows. - Jinkie. - King o' the Castle. - Letting the Buck out. - Long Terrace. - Mannie on the Pavement. - One Catch all. - Push in the Wash Tub. - Puss in the Corner. - Rakes and Roans. - Round Tag. - Ticky Touchwood. - Tig. - Time. - Tom Tiddler's Ground. - Touch. - Tres-acre. - Twos and Threes. - - -_Tug of War._ - - A' the Birdies. - Namers and Guessers. - Oranges and Lemons. - Sun and Moon. - Three Day's Holidays. - Through the Needle 'ee. - - -DANCE GAMES. - -(_With words and singing._) - - All the Soldiers in the Town. - Alligoshee. - Auntie loomie. - As I was walking. - Ball of Primrose. - Basket. - Bell-Horses. - Betsy Bungay. - Bingo. - Bold Jolly Lads. - Boys and Girls. - Carry my Lady to London. - Chicamy. - Click, Clock, Cluck. - Contrary, Rules of. - Dinah. - Duck Dance. - Duck under the Water. - Farmer's Den. - Frincy-francy. - Galloping. - Green Grass (Addenda). - Green grow the Leaves (2). - Green grow the Leaves. - Here we go Around. - Jenny Mac. - Jingo Ring. - Leap Candle. - Leaves are Green. - Long Duck. - Lubin. - My delight's in Tansies. - Ph[oe]be. - Pop goes the Weasel. - Pray, pretty Miss. - Pretty Miss Pink. - Push the Business on. - Queen Mary. - Ring by Ring. - Ring o' Roses. - Round and Round went the Gallant - Ship. - Sailor Lad. - Sally go round. - Sunday Night. - Three Little Ships. - Town Lovers. - Trip and Go. - Turn Cheeses. - Turn the Ship. - Turvey Turvey. - Uncle John. - Up the Streets. - Weary. - Weave the Diaper. - - -DANCE AND SEE-SAW GAMES. - - Cobble. - Cobbler's Hornpipe. - Curcuddie. - Cutch-a-Cutchoo. - Harie Hutcheon. - Hirtschin Hairy. - Huckie Buckie down the Brae. - See-saw. - Skiver the Guse. - - -HIDE AND SEEK GAMES. - - -(1.) PERSONS-- - - Bicky. - Cuckoo. - Gilty Galty. - Hide and Seek (1). - Howly. - Kick the Block. - King by your Leave. - Mount the Tin. - Salt Eel. - Spy Arm. - Strike-a-licht. - - -(2). OBJECTS-- - - Codham. - Find the Ring. - Gigg. - Hide and Seek (2). - Kittlie-cout. - Odd-man. - Peesie Weet. - Priest Cat (2). - Shuffle the Brogue. - Smuggle the Gig. - Thimble Ring. - Tip it. - - -LEAP-FROG AND HOPPING GAMES. - - Accroshay. - Bung the Bucket. - Cat Gallows. - Foot and Over. - Half Hammer. - Hop Frog. - Hopscotch. - Leap-frog. - Loup the Bullocks. - Saddle the Nag. - Ships. - Skin the Goatie. - - -CARRYING GAMES. - - Betsy Bungay. - Carry my Lady to London. - King's Chair. - Knapsack. - Knights. - - -BLINDFOLD GAMES. - - Blind Bell. - Blindman's Buff. - Blindman's Stan. - Buff. - Cock Stride. - Dinah. - French Blindman's Buff. - Giddy. - Hot Cockles. - Kick the Block. - Muffin Man. - Old Johnny Hairy, Crap in! - 'Ot millo. - Pillie Winkie. - Pointing out a Point. - Queen of Sheba. - - -FOLLOW MY LEADER GAMES. - - Follow my Gable. - Follow my Leader. - Jock and Jock's Man. - Quaker. - Quaker's Wedding. - Religious Church. - Solomon. - The Drummer Man. - - -FORFEIT GAMES. - - American Post. - Button. - Cross Questions. - Diamond Ring. - Fire, Air, Water. - Follow my Gable. - Forfeits. - Genteel Lady. - Jack's Alive. - Malaga Raisins. - Mineral, Animal, Vegetable. - Minister's Cat. - Mr. Barnes. - Old Soldier. - Turn the Trencher. - Twelve Days of Christmas. - Wads and the Wears. - - -BALL, HAND. - - Ball. - Ball in the Decker. - Balloon. - Balls and Bonnets. - Burly Whush. - Caiche. - Colley Ball. - Cuck-ball. - Cuckoo. - Han'-and-Hail. - Hats in Holes. - Keppy Ball. - Monday, Tuesday. - Pat-Ball. - Pize Ball. - Pots. - Stones. - Teesty-Tosty. - Trip-Trout. - Tut-ball. - - -BALL, FOOT. - - Camp. - Football. - Hood. - - -BALL GAMES. - -(_With bats and sticks played by rival parties._) - - Bad. - Baddin. - Bandy-ball. - Bandy-cad. - Bandy-hoshoe. - Bandy-wicket. - Bittle-battle. - Buzz and Bandy. - Cat and Dog. - Cat and Dog Hole. - Catchers. - Cat i' the Hole. - Chinnup. - Chow. - Church and Mice. - Codlings. - Common. - Crab-sowl. - Crooky. - Cuck-ball. - Cudgel. - Dab-an-Thricker. - Doddart. - Hawkey. - Hockey. - Hornie Holes. - Hummie. - Hurling. - Jowls. - Kibel and Nerspel. - Kirk the Gussie. - Kit-Cat. - Lobber. - Munshets. - Nur and Spel. - Peg and Stick. - Rounders. - Scrush. - Shinney. - Sow-in-the-Kirk. - Stones. - Stool-ball. - Tip-cat. - Trap-bat and ball. - Tribet. - Trippet and coit. - Troap. - Trounce hole. - Trunket. - Waggles. - - -GAMES OF SKILL AND CHANCE. - -AIM--_Throwing sticks or stones to hit particular object._ - - All in the Well. - Cockly Jock. - Cogs. - Doagan. - Duck at the Table. - Duckstone. - Loggats. - Mag. - Nacks. - Paip. - Pay Swad. - Peg-fiched. - Penny Cast. - Penny Prick. - Roly Poly. - - -BUTTONS. - - Banger. - Buttons. - Cots and Twisses. - Hard Buttons. - Pitch and Toss. - Skyte the Bob. - - -CHANCE, or GAMBLING. - - Chuck Farthing. - Cross and Pile. - Dab. - Davie Drap. - Hairry my Bossie. - Headicks and Pinticks. - Heads and Tails. - Hustle Cap. - Jingle-the-Bonnet. - Lang Larence. - Neivie-nick-nack. - Odd-man. - Odd or Even. - Pednameny. - Pick and Hotch. - Pinch. - - -CHERRY STONES. - - Cherry Odds. - Cherry-pit. - Paip. - - -EGGS. - - Blindman's Stan. - Cogger. - Jauping Paste-eggs. - Pillie Winkie. - Wink-egg. - - -MARBLES. - - Boss-out. - Bridgeboard. - Bun-hole. - Capie-hole. - Castles. - Chock or Chock-hole. - Cob. - Crates. - Dumps. - Ho-go. - Hoilakes. - Holy Bang. - Hundreds. - Hynny-pynny. - Lab. - Lag. - Long-Tawl. - Marbles. - Nine holes. - Pig-ring. - Pit-Counter. - Pits. - Plum pudding. - Pyramids. - Ring-taw. - Ship-sail. - Shuvvy-Hawle. - Span-counter. - Spangle. - Spannims. - Splints. - Stroke. - Three Holes. - - -NUTS ON STRING. - - Cob-nut. - Cock-battler. - Cogger. - Conkers. - Conquerors. - Jud. - Peggy nut. - - -ON DIAGRAM OR PLAN. - - Corsicrown. - Fipenny Morell. - Fox and Geese (2). - Hap-the-beds. - Hickety-Hackety. - Hopscotch. - Kit-cat-cannio. - London. - Nine Men's Morris. - Noughts and Crosses. - Pickie. - Tip-tap-toe. - Tit-tat-toe. - Tods-and-lambs. - Tray Trip. - Troy Town. - - -PENCE. - - Chuck Farthing. - Chuck Hole. - - -PINS. - - Hattie. - Pinny-Show. - Pins. - Pop-the-Bonnet. - Push-pin. - - -SHUTTLECOCK. - -Shuttlefeather. - - -STONES AND DICE. - - Chance Bone. - Checkstones. - Chucks. - Dalies. - Dibbs. - Ducks and Drakes. - Gobs. - Huckle-Bones. - Jackysteauns. - - -TOPS. - - Chippings. - Gully. - Hoatie. - Hoges. - Peg-in-the-Ring. - Peg Top. - Scop-peril. - Scurran-Meggy. - Tops. - Totum. - Whigmeleerie. - - -WITH FINGERS AND STRING. - - Cat's-Cradle. - -This leaves over a few games which do not come under either of these -chief heads, and appear now to be only forms of pure amusement. These -are:-- - - Blow-point. - Bob Cherry. - Bummers. - Chinny-mumps. - Cuddy among the Powks. - Dish-a-loof. - Dust Point. - Handy Dandy. - Level Coil. - Lug and a Bite. - Lugs. - Magician. - Malaga Raisins. - Musical Chairs. - Neighbour, I torment thee. - Obadiah. - Penny Hop. - Pigeon Walk. - Pinny Show. - Pins. - Pirly Peaseweep. - Pon Cake. - Poor and Rich. - Prick at the Loop. - Robbing the Parson's Hen Roost. - Scat. - She Said, and She Said. - Stagging. - Sticky-stack. - Stroke Bias. - Sweer Tree. - Thing Done. - Troco. - Troule-in-Madame. - Truncher. - Turn Spit Jack. - Wiggle Waggle. - Wild Boar. - -In order to show the importance of this classification, let me first -refer to the games of skill. These are (1) where one individual plays -with some articles belonging to himself against several other players -who play with corresponding articles belonging to them; (2) where one -player attempts to gain articles deposited beforehand by all the players -as stakes or objects to be played for. These games are played with -buttons, marbles, cherry-stones, nuts, pins, and pence. In the second -group, each player stakes one or more of these articles before beginning -play, which stakes become the property of the winner of the game. The -object of some of the games in the first group is the destruction of the -article with which the opponent plays. This is the case with the games -of "conkers" played with nuts on a string, and peg-top; the nuts and top -are broken, if possible, by the players, to prevent their being used -again, the peg of the top being retained by the winner as a trophy. The -successful nut or top has the merit and glory of having destroyed -previously successful nuts or tops. The victories of the one destroyed -are tacked on and appropriated by each victor in succession. So we see a -nut or a top which has destroyed another having a record of, say, -twenty-five victories, taking these twenty-five victories of its -opponent and adding them to its own score. In like manner the pegs of -the tops slain in peg-top are preserved and shown as trophies. That the -destruction of the implements of the game, although not adding to the -immediate wealth of the winner, does materially increase his importance, -is manifest, especially in the days when these articles were -comparatively much more expensive than now, or when it meant, as at one -time it must have done, the making of another implement. - -These games are of interest to the folk-lorist, as showing connection -with early custom. We know that playing at games for stakes involving -life or death to the winner, or the possession of the loser's magical or -valuable property or knowledge, is not only found in another branch of -folk-lore, namely, folk-tales, but there is plenty of evidence of the -early belief that the possession of a weapon which had, in the hands of -a skilful chief, done great execution, would give additional skill and -power to the person who succeeded in obtaining it. When I hear of a -successful "conker" or top being preserved and handed down from father -to son,[19] and exhibited with tales of its former victories, I believe -we have survivals of the form of transmission of virtues from one person -to another through the means of an acquired object. I do not think that -the cumulative reckoning and its accompanying ideas would occur to -modern boys, unless they had inherited the conception of the virtue of a -conquered enemy's weapon being transferred to the conqueror's. - - [19] I know of one nut which was preserved and shown to admiring boys - as a conqueror of 1000. - -Other games of skill are those played by two or more players on diagrams -or plans. Many of these diagrams and plans are found scratched or carved -on the stone flooring or walls of old churches, cathedrals, and monastic -buildings, showing that the boys and men of the Middle Ages played them -as a regular amusement--probably monks were not averse to this kind of -diversion in the intervals of religious exercise; plans were also made -on the ground, and the games played regularly by shepherds and other -people of outdoor occupation. We know this was so with the well-known -"Nine Men's Morris" in Shakespeare's time, and there is no reason why -this should not be the case with others, although "Nine Men's Morris" -appears to have been the favourite. These diagram games are primitive in -idea, and simple in form. They consist primarily of two players trying -to form a row of three stones in three consecutive places on the plan; -the one who first accomplishes this, wins. This is the case with -"Kit-Cat-Cannio" (better known as "Noughts and Crosses") "Corsicrown" -and "Nine Men's Morris." - -Now, in "Noughts and Crosses" the simplest form of making a "row of -three," where only two players play, and in another diagram game called -"Tit-Tat-Toe," it is possible for neither player to win, and in this -case the result is marked or scored to an unknown or invisible third -player, who is called "Old Nick," "Old Tom," or "Old Harry." In some -versions this third player is allowed to keep all the marks he -registers, and to win the game if possible; in others, the next -successful player takes "Old Nick's" score and adds it to his own. Here -we have an element which needs explanation, and it is interesting to -remind oneself of the primitive custom of assigning a certain proportion -of the crops or pieces of land to the devil, or other earth spirit, -which assignment was made by lot. It seems to me that a game in which an -invisible player takes part must come from an era in which unknown -spirits were believed to take part in people's lives, the interpretation -of such part being obtained by means of divination. - -Again, in the games played with ball (hand) are remains of divination, -and the ball games played by two opposite parties with bats and sticks, -the origin of our modern cricket and football, have been developed from -those early contests which have played such an important part in parish -and town politics. Even in the simple game of "Touch" or "Tig" a -primitive element can be found. In this game, as in many others, it is -one of the fundamental rules, now unfortunately being disregarded, that -the player who is "he" or "it" must be chosen by lot; one of the -"counting out" rhymes is said until all the players but one are counted -out--this one is then "he." This "he" is apparently a "tabooed" person; -he remains "he" until he succeeds in touching another, who becomes -"tabooed" in turn, and the first is then restored to his own -personality. There would be no necessity for this deciding by lot unless -something of an ignominious or "evil" character had been originally -associated with the "unnamed" or "tabooed" player. In some games the -player who is counted out is the victim of the rough play or punishment, -which is the motive of the game. It is possible that the game of "Touch" -has developed from the practice of choosing a victim by lot, or from -tabooing people suffering from certain diseases or subjected to some -special punishment. - -The "counting out" rhymes of children are in themselves an interesting -and curious study. They contain the remains in distorted form of some of -the early numerals. The fact of a counting-out rhyme being used in the -games is of itself evidence of antiquity and old usage. For those -interested in this branch of study I can refer to the valuable book on -this subject by Mr. H. Carrington Bolton, which contains hundreds of -these rhymes collected from various sources. - -I mention these instances of possible connection between the games of -skill and ancient belief and custom, to show that the anthropological -significance of traditional games is not absent from what might perhaps -be considered quite modern games. This is important to my argument, -because when I turn to the dramatic section of children's games there is -so much evidence of the survival of ancient custom and belief, that I am -supported in the arguments which I shall advance by the fact that the -whole province of children's play, and not particular departments, -contribute to this evidence. It will be seen from the classification -that many customs are dramatised or represented in a more or less -imperfect form in a large number of games, and that these customs have -been those which obtained a firm hold on the people, and formed an -integral part of their daily life. Courtship, love, and marriage form -the largest number; then the contest games for the taking of prisoners -and of territory are the next in point of numbers. Funerals appear as -the next most widely spread, then harvest customs, while the practice of -divination, the belief in ghosts and charms, well-worship, tree-worship, -and rush-bearing, witches, and child-stealing, are fully represented. -Next come imitations of sports (animal), and contest games between -animals, and then a number of games in which "guessing" is a principal -feature, and a large number dealing with penalties or punishments -inflicted for breach of rules. - -A survey of the classification scheme of traditional games introduces -the important fact that games contain customs; in other words, that -games of skill and chance have come down from a time when practices were -in vogue which had nothing originally to do with games, and that -dramatic games have come down from times when the action they dramatise -was the contemporary action of the people. It becomes important, -therefore, to work more closely into the details of these games, to -ascertain if we can what customs are preserved, to what people or period -of culture they might have belonged. In many instances enough is said -under each game to show the significance of the conclusions, but when -brought together and compared one with another these conclusions become -more significant. The fact that marriage custom is preserved in a given -form becomes of immense value when it is found to have been preserved in -many games. I shall not go further into the games of skill and chance, -but confine myself to the important class of dramatic games. - -By the dramatic game I mean a play or amusement which consists of words -sung or said by the players, accompanied by certain pantomimic actions -which accord with the words used, or, as I prefer to put it, of certain -definite and settled actions performed by the players to indicate -certain meanings, of which the words are only a further illustration. - -To take the method of play first, I have found five distinct and -different methods:-- - -(1) The line form of game, played by the children being divided into two -sides of about an equal number on each side, with a space of ground of -about eight or ten feet between the two lines. Each line joins hands, -and advances and retires in turn while singing or saying their parts. - -(2) The circle form, played by the children joining hands and forming a -circle, and all walking or dancing round together when singing the -words. - -(3) The individual form, where the children take separate characters and -act a little play. - -(4) The arch form, in which two children clasp each other's hands, hold -their arms high, and so form a kind of arch, beneath which all the other -players run in single file. - -(5) Winding-up form, in which the players, clasping hands, wind round -another player until all are wedged closely together, and then unwind -again, generally assuming a serpentine form in so doing. - -It will be well, in the first place, to arrange the games played under -each of these methods:-- - - -GAMES PLAYED IN LINE FORM (_with singing and action_). - - Babbity Bowster. - Green Grass. - Hark the Robbers (_one form_). - Here comes a Lusty Wooer. - Here comes one Virgin on her Knee. - Jenny Jones (_one form_). - Jolly Hooper (_only one line advance_). - Lady of the Land. - London Bridge (_one form_). - Mary Brown (_one form_). - Milking Pails. - Nuts in May. - Pray, pretty Miss (_one form_). - Queen Anne. - Three Dukes. - Three Knights. - Three Sailors. - We are the Rovers. - - -CIRCLE FORM (_singing and action subdivided into three methods_). - - (1) Green Gravel. - Jolly Miller. - London Bridge (_some versions_). - Lubin. - Mulberry Bush. - Nettles. - Oats and Beans and Barley. - Ring a Ring o' Roses. - Rushes. - Wallflowers. - When I was a Young Girl. - Would You know how doth the Peasant? - - (2) All the boys. - Down in the Valley. - Glasgow Ships. - Here stands a Young Man. - Isabella. - Jolly Fisherman. - Jolly Sailors. - King William. - Kiss in the Ring. - Knocked at the Rapper. - Lady on the Mountain. - Mary Brown. - Mary mixed a Pudding. - Merry-ma-tanza. - Needle Cases. - Old Widow. - Oliver, Oliver, follow the King. - Poor Mary sits a-weeping. - Poor Widow. - Pretty little Girl of Mine. - Punch Bowl. - Queen Mary. - Rosy Apple, Lemon, and Pear. - Round and Round the Gallant Ship. - Sally Water. - Silly Old Man. - Uncle John. - Wind. - - (3) Booman. - Old Roger. - Round and Round the Village. - Who goes round my Stone Wall? - - -INDIVIDUAL FORM (_dialogue game_). - - Auld Grannie. - Baste the Bear. - Fox and Goose. - Ghost at the Well. - Gipsey. - Gled-wylie. - Hen and Chickens. - Honey Pots. - Jack, Jack, the Bread's a-burnin'. - Keeling the Pot. - King of the Barbarie. - Lady on yonder Hill. - Lend Me your Key. - Mother, may I go out? - Mother Mop. - Mother, Mother, the Pot boils over. - Mouse and Cobbler. - Old Granny Crow. - Old Woman. - Shepherds and Sheep. - Steal the Pigs. - Three Jolly Welshmen. - Witch. - -The arch form of game, or tug-of-war as it is usually called, subdivide -into two methods:-- - - -ARCH FORM. - - (1) Draw a Pail of Water. - Hark the Robbers (_some versions_). - How many Miles to Babylon. - London Bridge. - Long Duck. - Thread the Needle. - Through the Needle Eye. - - (2) Fool, Fool, come to School. - Hark the Robbers (_some versions_). - Little Dog, I call you. - Namers and Guessers. - Oranges and Lemons. - Three Days' Holidays. - Tug of War. - - -WINDING UP, OR SERPENT'S COIL FORM. - - Bulliheisle. - Eller Tree. - Port the Helm. - Snail Creep. - Tuilzie Wap. - Winding up the Bush Faggot. - -The first or line form of games is characterised by no one player being -distinguished above his fellows; there are no distinct or separate -characters to be played. All the players on one line say the same words -and perform the same actions; all advance together and retire together. -Each line stands still while the other line advances, retires, and has -its "say." In this way questions are asked and answers are given. -Questions and answers form an essential part of the line form of game. -The one line of players imply action of a party composed of several -persons who are of the same opinion, and the line on the opposite side -is a party who hold different opinions, and express these in words and -by actions; so that in no game played in line form do we get unanimous -action of all the players, but half and half. - -These line games represent in the main a contest, and there are contests -of different kinds; that is, war between the people of two different -locations, between parishes or border countries of different -nationalities, and contests for wives, of a more or less friendly -nature. That the lines or sides indicate people who come from one -country or district to another country or district is shown, I think, by -the fact that a line is drawn in the middle of the ground, which line -separates the territory of the two sides. Players can go as far as the -line on their own side, but one step over lands them in the enemy's -territory. In a marriage game of the line form, the girl when unwilling -is pulled across the line, and when willing she walks across to the -opposite side. It is also clear that in the marriage games the party on -one side represents young men, and on the other side young women. - -In the second group, the circle form, all the players join hands to form -a circle. They all perform the same actions and say the same words. This -circle form is used in three ways. - -In the first or simplest class all the players perform the same actions, -sing the same words all together. There is no division into parties, and -no individual action or predominance. This method is adopted when a -certain recurring custom is celebrated or a special event is -commemorated. The event is described in pantomimic action, and -accompanied with dance and song. - -In the second class the circle is formed, the players all clasp hands, -dance round together, and sing the same words; but the action is -confined to first one and then two players, who are taken by "choice" -from those forming the circle. This class principally consists of -courtship, love-making, and marriage games. The two principal parties -concerned usually have no words to say, though in some "love" games the -centre player does express his or her own feelings in verse. The fact -that this form is used for love and marriage games accounts for the much -larger number of games in this class and their greater variety. - -In the third class of the circle game the players form the circle to act -the part of "chorus" to the story. There are also two, three, or four -players, as required, who act parts in dumb show suitable to the -character personified. In this class the circle personate both animate -and inanimate objects. The circle is stationary--at least the players -forming it do not dance or walk round. They sometimes represent houses; -a village, and animals are usually represented rather than people. - -The circle games I consider to be survivals of dramatic representations -of customs performed by people of one village or of one town or -tribe--representations of social customs of one place or people, as -distinct from the "line" form of games, which represent a custom -obtaining between two rival villages or tribes. Thus I am inclined to -consider the joining of hands in a circle as a sign of amity, alliance, -and kinship. In the case of the line games hands are clasped by all -players on each side, who are thus in alliance against those on the -opposite side. When hands are joined all round so that a circle is -formed, all are concerned in the performance of the same ceremony. There -is no division into parties, neither is difference of opinion shown -either by action or words in circle games. - -In the third class of game there are several distinct characters, and -the game partakes more of the nature of what we should call a play -proper, and may be considered an outcome of the circle play. There are -several characters, usually a mother, a witch or old woman, an elder -daughter and several younger children, a ghost, and sometimes animals, -such as sheep, wolves, fox, hen, and chickens. The principal characters -(not more than two or three) are played by different children, and these -having each a part allotted to them, have also a certain amount of -dialogue to say, and corresponding actions to perform. The remaining -characters, whether children or animals, merely act their part when -action is required, all doing the same thing, and have no words to say. -The dialogue in these games is short and to the point. It has not been -learnt from written sources, but orally, and as long as the main idea -and principal incidents are not departed from, the players may, -according to their capacity, add to or shorten the dialogue to heighten -the situation. There is no singing in these games, though there is what -perhaps might be called the remains of rhyme in the dialogue. - -The fourth form, that of the arch, is played in two ways. In the first, -two children clasp their hands and hold them up to form an arch. Under -this all the other players run as if going through an arch or gateway, -and the players are generally stopped by the two who form the arch. Then -a circle is formed, and all the players join hands and dance round -together. In the second way, the arch is formed as above, and all the -players run under. These players are then caught one by one within the -arch, and have to choose one of the two leaders, behind whom they stand. -A tug-of-war then ensues between the two leaders and their followers. - -The first of these, that ending with the circle or dancing, indicates -the celebration of an event in which all the people join, and all are of -one way of thinking--differing from this group of customs celebrated by -the simple circle game by each person in turn performing a ceremony, -signified in games by the action of going under or through an arch. - -The second way, when the "tug" follows, represents a contest, but I do -not think the contest is of the same kind as that of the line form. This -rather represents the leaders of two parties who are antagonistic, who -call, in the words of the rhymes, upon the people of a town, or faction, -to join one of the two sides. The fact that each player in the line or -string is caught by the leaders, and has to choose which of them he will -fight under, together with the tug or pulling of one side over a marked -line, by the other side, indicates a difference in the kind of warfare -from the line contests, where territory is clearly the cause of the -struggle and fight. The line contest shows a fight between people of -different lands; and the arch contest, a method of choosing leaders by -people living in one land or town. - -In the fifth form, "winding up games," the players join hands in a long -line, and wind round and round one player at the end of the line, -usually the tallest, who stands still until all are formed in a number -of circles, something like a watch spring. They then unwind, sometimes -running or dancing, in a serpentine fashion until all are again in -straight line. These games probably refer to the custom of encircling -trees, as an act of worship. They differ from the circle game in this -way: The players in a circle game surround something or some one. In the -"winding up" game they not only surround, but attachment or "hold" to -the thing surrounded has to be kept. - -The fact that these games lend themselves to such treatment, and the -fact that I am obliged to use the terms, district, tribe, localities, -obliged to speak of a state of contest between groups, of the sacred -encircling of a tree, and of other significant usages, go far to suggest -that these games must contain some element which belongs to the -essential part of their form, and my next quest is for this element. I -shall take each class of game, and endeavour to ascertain what element -is present which does not necessarily belong to games, or which belongs -to other and more important branches of human action; and it will depend -on what this element is as to what can ultimately be said of the origin -of the games. - -Of the games played in "line" form, "We are the Rovers" is the best -representative of pure contest between two opposing parties. If -reference is made to the game (vol. ii. pp. 343-356), the words will be -found to be very significant. In my account of the game (pp. 356-60), I -suggest that it owes its origin to the Border warfare which existed on -the Marches between England and Scotland and England and Wales, and I -give my reasons, from analysing the game, why I consider it represents -this particular form of contest rather than that of a fight between two -independent countries. Both sides advancing and retiring in turn, while -shouting their mutual defiance, and the final fight, which continues -until all of one side are knocked down or captured, show that a -deliberate fight was intended to be shown. I draw attention, too, to the -war-cry used by each side, which is also significant of one of the old -methods of rallying the men to the side of their leader--an especially -necessary thing in undisciplined warfare. This game, then, contains -relics of ancient social conditions. That such a contest game as this is -represented by the line form combining words, singing, and action, is, I -submit, good evidence of my contention that the line form of game -denotes contest. This game, then, I consider a traditional type of -contest game. - -It is remarkable that among the ordinary, now somewhat old-fashioned, -contest games played by boys there should be some which, I think, are -degenerate descendants of this traditional type. There are a number of -boys' games, the chief features of which are catching and taking -prisoners and getting possession of an enemy's territory--as in the -well-known "Prisoner's Base" and "Scots and English." "Prisoner's Base" -(ii. pp. 80-87) in its present form does not appear to have much in -common with games of the type of "We are the Rovers," but on turning to -Strutt we find an earlier way of playing (_ibid._ p. 80). Now, this -description by Strutt gives us "Prisoner's Base" played by two lines of -players, each line joining hands, their homes or bases being at a -distance of twenty to thirty feet apart. That the line of players had to -keep to their own ground is, I think, manifest, from it being necessary -for one of the line to touch the base. There is no mention of a leader. -Thus we have here an undoubted form of a contest game, where the taking -of prisoners is the avowed motive, played in almost the same manner as -the line dramatic game. When the dramatic representation of a contest -became formulated in a definite game, the individual running out and -capturing a certain player on the opposite side would soon develop and -become a rule of the game, instead of all on one side trying to knock -down all on the other side. It may be a point to remember, too, that in -primitive warfare the object is to knock down and kill as many of the -enemy as possible, rather than the capture of prisoners. - -In other games of a similar kind, the well-known "Scots and English" -(ii. p. 183), for example, we have the ground divided into two parts, -with a real or imaginary line drawn in the middle; the players rush -across the line and try to drag one of the opposite side across it, or -to capture the clothes of the players. - -In other boys' games--"Lamploo," "Rax," "King of Cantland," "King -Caesar," "Stag"--there are the two sides; the players are sometimes all -on one side, and they have to rush across to the other, or there are -some players on each side, who rush across to the opposite, trying to -avoid being taken prisoner by a player who stands in the middle between -the opposite goals. When this player catches a boy, that boy joins hands -with him; the next prisoner taken also joins hands, and these assist in -capturing others. This is continued until all the players are caught and -have joined hands in a long line, practically reverting to the line form -of game, and showing, according to my theory of the line game, that all -joining hands are of one side or party. If the line gets broken the -players can run back to their own side. There are many other games which -are played in a similar way (see Contest Games), though farther removed -from the original form. In most of these we have practically the same -thing--the sides have opposite homes, and the leader, though individual -at first, becomes merged in the group when the line is formed, and the -game ends by all the players being on one side. It must be mentioned, -too, that in these boys' games of fighting, the significant custom of -"crowning," that is, touching the head of the captured one, obtains. If -this is omitted the prisoner is at liberty to escape (see "Cock," "King -of Cantland"). - -Although there is no dialogue between the opposing parties in these -contest games, there are in some versions undoubted remains of it, now -reduced to a few merely formal words called a "nominy." These "nominys" -must be said before the actual fight begins, and the remains are -sufficient to show that the nominy was originally a defiance uttered by -one side and answered by the other. For these nominys, see "Blackthorn," -"Chickidy Hand," "Hunt the Staigie," "Scots and English," "Johnny -Rover," "Shepherds," "Stag," "Warney," &c. - -The next most important games in line form are marriage games. In the -well-known "Nuts in May" (vol. i. p. 424-433) there is a contest between -the two parties, but the contest here is to obtain an individual for the -benefit of the side. A line is drawn on the ground and a player is -deliberately sent to "fetch" another player from the opposite side, and -that this player is expected to conquer is shown by the fact that he is -selected for this purpose, and also because the ceremony of "crowning" -prevails in some versions. The boy, after he has pulled the girl across -the line, places his hand on her head to complete the capture and to -make a prisoner. This custom of "crowning" prevails in many games where -prisoners are made, and I have already mentioned it as occurring in the -boys' contest games. If the crowning is performed, the capture is -complete; if not performed, the prisoner may escape. - -The evidence of this game, I consider, points to customs which belong to -the ancient form of marriage, and to what is technically known as -marriage by capture. - -In the game of the "Three Dukes" (vol. ii. p. 233-255), it will be -noticed that the actions are very spirited. Coquetry, contempt, and -annoyance are all expressed in action, and the boys imitate riding and -the prancing of horses. I must draw special attention to the remarks I -have made in my account of the game, and for convenience in comparing -the line marriage games I will repeat shortly the principal points here. - -In some versions, the three dukes each choose a wife at the same time, -and when these three are "wived" or "paired" another three do the same. -In another version "five" dukes each choose a wife, and all five couples -dance round together. But most significant of all is the action of the -dukes after selecting the girl, trying to carry her off, and her side -trying to prevent it. - -In this game, then, I think we have a distinct survival of or -remembrance of the tribal marriage--marriage at a period when it was the -custom for the men of a clan or village to seek wives from the girls of -another clan--both belonging to one tribe. The game is a marriage game -of the most matter-of-fact kind. Young men arrive from a place at some -distance for the purpose of seeking wives. The maidens are apparently -ready and expecting their arrival. They are as willing to become wives -as the men are to become husbands. It is not marriage by force or -capture, though the triumphant carrying off of a wife appears. It is -exogamous marriage custom. The suggested depreciation of the girls, and -their saucy rejoinders, are so much good-humoured chaff and banter -exchanged to enhance each other's value. There is no mention of "love" -in the game, nor courtship between the boy and girl. The marriage -formula does not appear, nor is there any sign that a "ceremony" or -"sanction" to marry is necessary, nor does "kissing" occur. Another -interesting point about this game is the refrain, "With a rancy, tancy, -tee," which refrain, or something similar, accompanies all verses of all -versions, and separates this game from others akin to it. This refrain -is doubtless a survival of an old tribal war-cry. - -The game of "The Three Knights from Spain" (ii. pp. 257-279), played in -the same way as "Three Dukes," may appear at first to be a variant of -the "Three Dukes"; but it is significant that the form of marriage -custom is different, though it is still marriage under primitive -conditions of society. The personal element, entirely absent from the -"Three Dukes," is here one of the principal characteristics. The -marriage is still one without previous courtship or love between two -individuals, but the parental element is present here, or, at any rate, -if not parental, there is that of some authority, and a sanction to -marry is given, although there is no trace of any actual ceremony. The -young men apparently desire some particular person in marriage, and a -demand is made for her. The suitors here are, I think, making a demand -on the part of another rather than for themselves. They may be the -ambassadors or friends of the would-be bridegroom, and are soliciting -for a marriage in which purchase-money or dowry is to be paid. The -mention of "gold" and "silver" and the line, "She must be sold," and the -offering of presents by the "Knights," are important. These indications -of purchase refer to a time when the custom of offering gold, money, and -other valuables for a bride was in vogue. While, therefore, the game has -traces of capturing or carrying off the bride, this carrying off is in -strict accord with the conditions prevalent when marriage by purchase -had succeeded to marriage by capture. There is evidence in this game of -a mercantile spirit, which suggests that women and girls were too -valuable to be parted with by their own tribe or family without -something deemed an equivalent in return. - -In another line game, "Here comes Three Sailors" (ii. pp. 282-289), -there is still more evidence of the mercantile or bargaining spirit. -Here the representative of the parental element or other authority -selects the richest and highest in rank of the suitors, and a sum of -money is given with the bride. The suitors are supposed to have -performed some actions which have gained them renown and entitled them -to a wife. The suitors are accepted or rejected by a person having -authority, and this authority introduces an interesting and suggestive -feature. The suitors are invited to stay or lodge in the house if -accepted, probably meaning admission into the family. The girl is to -"wake up," and not sleep, that is, to rouse up, be merry, dress in -bridal array, and prepare for the coming festival. She is given to the -suitors with "in her pocket one hundred pounds," and "on her finger a -gay gold ring." This is given by the "mother" or those having authority, -and refers, I believe, to the property the girl takes with her to her -new abode for her proper maintenance there; the ring shows her station -and degree, and is a token that she is a fit bride for a "king." -Curious, too, is the "Here's my daughter safe and sound," which looks -like a warrant or guarantee of the girl's fitness to be a bride, and the -robbery of the bride may also have originally related to the removal of -the bride's wedding-dress or ornaments before she enters on her wifely -duties. - -Following these definite marriage games in line form, in which previous -love or courtship does not appear, we have several games formerly played -at weddings, practically as a part of the necessary amusement to be gone -through after a marriage ceremony by the company present, amusements in -which are the traces of earlier custom. - -"Babbity Bowster" (i. pp. 9-11) is an old Scottish dance or game which -used to be played as the last dance at weddings and merrymakings. It was -danced by two lines of players, lads on one side, girls on the other. A -lad took a handkerchief--in earlier times a bolster or pillow--and -danced out in front of the girls, singing. He then selected a girl, -threw the handkerchief into her lap or round her neck, holding both ends -himself, and placed the handkerchief at her feet on the floor. His -object was to obtain a kiss. This was not given without a struggle, and -the line of girls cheered their companion at every unsuccessful attempt -the boy made. When a girl took the handkerchief she threw it to a boy, -who had to run after and catch her and then attempt to take a kiss. When -all had done thus they danced in line form. This dance took place at the -time when bride and bridegroom retired to the nuptial chamber. It is -probable the bride and bridegroom would first go through the dance, and -after the bridegroom had caught his bride and they had retired the dance -would be continued in sport. The chasing of the bride in sport by her -new-made husband at the close of the marriage festivities is mentioned -in old ballads. - -In the "Cushion Dance" (i. pp. 87-94) we have an instance of another -similar old English game sang and danced at weddings. The "Cushion -Dance," though not played in line form, has two other elements of -"Babbity Bowster." The description is so interesting, I will repeat it -shortly here. The company were all seated. Two young men left the room, -and returned carrying, one a square cushion, the other a drinking horn -or silver tankard. The young man carrying the cushion locked the door, -taking the key. The young men then danced round the room to a lively -tune played by a fiddler, and sang the words of the dance. There is a -short dialogue with the fiddler, in which it is announced that "Jane -Sandars won't come to." The fiddler says "She must come, whether she -will or no." The young men then dance round again and choose a young -woman, before whom they place the cushion and offer the horn or cup. The -girl and the young man kneel on the cushion and kiss. Here there is no -capturing or chasing of the girl, but her reluctance to be brought to -the cushion is stated by another person, and the locking of the door is -evidently done to prevent escape of the girls. - -Other line games contain the element of courting, some versions of -"Green Grass," for instance (i. pp. 161-62), show boys on one line, -girls on the other, inviting girls to come and dance, and promising them -gifts. After the boys have selected a girl, she is asked if she will -come. She replies first No! then Yes! "Pray, Pretty Miss," is similar to -these (vol. ii. pp. 65-67). - -The remaining line form of marriage games are probably degenerate -versions of "Three Dukes," "Three Knights," except "Here Comes a Lusty -Wooer" (i. 202) and "Jolly Hooper" (i. 287-88). Ritson records the -first of these two in "Gammer Gurton's Garland," 1783; the second is -probably a degenerate version of the first or similar version. They are -both demands for a bride. - -The other important line games are "Jenny Jones" (i. 260-283), "Lady of -the Land," and "Queen Anne." I refer here to the Scotch version of -"Jenny Jones," quoted from Chambers, given in vol. i. p. 281, where -"Janet Jo" is a dramatic entertainment amongst young rustics. Two of the -party represent a goodman and a goodwife, the rest a family of -daughters. One of the lads, the best singer, enters, demands to court -Janet Jo. He is asked by the goodwife what he will give for Janet Jo. -His offers of a peck o' siller, a peck of gold, are refused; he offers -more and is accepted, and told to sit beside his chosen one. He then has -a scramble with her for kisses. Versions of this game which indicate -funeral customs will be treated under that head; but love and courtship -appear in the game, and the courting appears to be that of a young man -or young men, to whom objection is made, pretended or real; the suitors -are evidently objects of suspicion to the parental authority, and their -sincerity is tested by the offers they make. - -In "Queen Anne," vol. ii. pp. 90-102, I have attempted a conjectural -rendering of what the game might have been, by putting together the -words of different versions. If this conjectural restoration be accepted -as something near the original form, it would suggest that this game -originated from one of the not uncommon customs practised at weddings -and betrothals, where the suitor has to discriminate between several -girls all dressed exactly alike, and to distinguish his bride by some -token. This incident of actual primitive custom also obtains in -folk-tales, showing its strong hold on popular tradition. Many a lost -bride in the folk-tales proves her identity by having possession of some -article previously given as a token, and this idea may account for the -"ball" incident in this game. (See also "King William.") - -From these games, when thus taken together, we have evidence of the -existence of customs obtaining in primitive marriage, and the fact that -these customs, namely, those of marriage by capture, marriage by -purchase, marriage by consent of others than those principally -concerned, in other words, marriage between comparative strangers, occur -in games played in line form, a form used for contest and fighting -games, tends to show that the line form is used for the purpose of -indicating the performance of customs which are supposed to take place -between people living in different countries, towns, and villages, or -people of different tribes or of different habits and customs. The more -imperfect games of this type, though they have lost some of the vigour, -have still enough left to show, when placed with the others, a -connection with customs performed in the same manner. - -In "Lady of the Land," for instance (vol. i. pp. 313-20), the words -indicate a lady hiring a poorer woman's daughters as servants, and, no -doubt, originates from the country practice of hiring servants at fairs, -or from hirings being dramatically acted at Harvest Homes. The old -practice of hirings at fairs is distinctly to be traced in local customs -(see p. 319), and is a common incident in folk-tales. In this game, too, -actions would be performed suitable to the work the players undertake to -do. - -It is not necessary to mention in detail any of the remaining line -games, because they are fragmentary in form, and do not add any further -evidence to that already stated. - -In considering this group of games it is obvious, I think, that we have -elements of custom and usage which would not primarily originate in a -game, but in a condition of local or tribal life which has long since -passed away. It is a life of contest, a life, therefore, which existed -before the days of settled politics, when villages or tribal territories -had their own customs differing from each other, and when not only -matters of political relationship were settled by the arbitrament of the -sword, but matters now considered to be of purely personal relationship, -namely, marriage. While great interest gathers round the particular -marriage customs or particular contests indicated in this group of -games, the chief point of interest lies in the fact that they are all -governed by the common element of contest. - -I will now turn to the circle games. Like the line games, this form -contains games which show marriage custom, but it is significant that -they all show a distinctly different form of marriage. Thus they all -show courtship and love preceding the marriage, and they show that a -distinct ceremony of marriage is needful; but this ceremony is not -necessarily the present Church ceremony. The two best examples are -"Sally Water" (vol. ii. pp. 149-179) and "Merry-ma-tansa" (vol. i. pp. -369-367). - -In "Sally Water" the two principal characters have no words to say, but -one chooses another deliberately, and the bond is sealed by a kiss, and -in some instances with joining of hands. The circle of friends approve -the choice, and a blessing and good wishes follow for the happiness of -the married couple, wishes that children may be born to them, and the -period of the duration of the marriage for seven years (the popular -notion of the time for which the marriage vows are binding). I have -printed a great many versions of this game (about fifty), and note that -in the majority of them "Sally" and "Water" are conspicuous words. In -fact they are usually taken to mean the name of the girl, but on -examining the game closely I think it is possible, and probable, that -"Sally Water" may be a corruption of some other word or words, not the -name of a girl; that the word "Water" is connected, not with the name of -the maiden, but with the action of sprinkling which she is called upon -to fulfil. The mention of water is pretty constant throughout the game. -There are numerous instances of the corruption of words in the game, and -the tendency has been to lose the sprinkling of water incident -altogether. - -The sitting or kneeling attitude, which indicates a reverential -attitude, obtains in nearly all versions, as do the words "Rise and -choose a young man," and "Crying for a young man." This "crying" for a -young man does not necessarily mean weeping; rather I consider it to -mean "announcing a want" in the way "wants" or "losses" were cried -formerly by the official crier of a town, and in the same manner as in -games children "cry" forfeits; but, losing this meaning in this game, -children have substituted "weeping," especially as "weeping" with them -expresses many "wants" or "woes." The incident of "crying" for a lover, -in the sense of wanting a lover, appears in several of these games. I -have heard the expression they've been "cried in church" used as meaning -the banns have been read. The choosing is sometimes "to the east" and -"to the west," instead of "for the best and worst." Now, the expression -"for better for worse" is an old marriage formula preserved in the -vernacular portion of the ancient English Marriage Service, and I think -we have the same formula in this game, especially as the final -admonition is to choose the "one loved best." Then comes the very -general lines of the marriage formula occurring so frequently in these -games, "Now you're married, we wish you joy," &c. - -In "Merry-ma-tansa" the game again consists of a marriage ceremony, with -fuller details. The choice of the girl is announced to the assembled -circle of friends by a third person, and the friends announce their -approval or disapproval. If they disapprove, another choice is made. -When they approve, the marriage formula is repeated, and the capacity of -the bride to undertake housewifely duties is questioned in verse by the -friends (p. 370). All the circle then perform actions imitating sweeping -and dusting a house, baking and brewing, shaping and sewing. The -marriage formula is sung, and prognostications and wishes for the birth -of children are followed by actions denoting the nursing of a baby and -going to church, probably for a christening. In one version, too, the -bride is lifted into the circle by two of the players. This may indicate -the carrying of the bride into her new home, or the lifting of the bride -across the threshold, a well-known custom. In another version (Addenda, -p. 444) after the ceremony the bridegroom is blindfolded and has to -catch his bride. - -These two games relate undoubtedly to marriage customs, and to no other -ceremony or practice. They are, so to speak, the type forms to which -others will assimilate. - -In "Isabella" (vol. i. pp. 247-56) the actions indicate a more modern -marriage ceremony. The young couple, after choosing, go to church, clasp -hands, put on ring, kneel down, say prayers, kiss, and eat dinner. The -clasping of hands, putting on a ring, and kissing are more like a solemn -betrothal before a marriage ceremony. - -In the other marriage games which show remains of a ceremony are those -of the kind to which "All the Boys" belongs (vol. i. pp. 2-6). In this -game, customs which belong to a rough and rude state of society are -indicated. The statement is made that a man cannot be happy without a -wife. He "huddles" and "cuddles" the girl, and "puts her on his knee." - -The principal thing here to be noted is the mention in all versions of -this game the fact that some food is prepared by the bride, which she -gives to the bridegroom to eat. This, although called a "pudding," -refers, of course, to the bridal cake, and to the old custom of the -bride preparing it herself, and giving some to her husband first. - -Other rhymes of this kind, belonging, probably, to the same game, are -"Down in the Valley," "Mary mixed a Pudding," "Oliver, Oliver, follow -the King," "Down in Yonder Meadow." In all these the making and eating -of a particular "pudding" or food is mentioned as an important item; in -two, catching and kissing the sweetheart is mentioned; and in all, -"courting" and "cuddling"; articles for domestic use are said to be -bought by the bride. The formal ceremony of marriage is contained in the -verbal contract of the two parties, and the important ceremony of the -bridegroom and bride partaking of the bridal food. The eating together -of the same food is an essential part of the ceremony among some savage -and semi-civilised peoples. The rhymes have a peculiar parallel in the -rude and rough customs associated with betrothal and marriage which -prevailed in Wales and the North of England. - -In "Poor Mary sits a-weeping" (vol. ii. pp. 46-62) we have very -distinctly the desire of the girl for a "lover." She is "weeping" for a -sweetheart, and, as in the case of "Sally Water," her weeping or -"crying" is to make her "want" known. She is told by her companions to -rise and make her choice. In some versions the marriage lines follow, in -others the acceptance of the choice ends with the giving of a kiss. - -Others of a similar kind are "Here stands a Young Man who wants a -Sweetheart" (vol. i. p. 204), "Silly Old Man who wants a Wife" (vol. ii. -196-99). This is a simple announcement of the young man's need for a -wife or sweetheart (probably originally intended to announce his having -arrived at manhood, as expressed in the expression, "he ain't a man till -he's got a sweetheart and gone a-courtin'"). These verses are followed -by the marriage formula. Games of this kind are used for a kiss in the -ring game, without the chasing and capturing. The ordinary kiss in the -ring games are probably relics of older custom. These consist of one -person going round the assembled circle with a handkerchief and choosing -another of the opposite sex, after saying a nominy or form of set words. -This was probably originally something in the shape of a "counting out" -rhyme, to obtain sweethearts by "lot." A chase follows, and capture of -the girl, and the giving and receiving of a kiss in the circle. This was -a method of choosing sweethearts which prevailed until quite a late -period at country festivals and fairs, but at an earlier period was a -serious function. It is still customary on Easter and Whit-Monday for -this game to be played on village greens, and the introduction thus -afforded is held sufficient to warrant continued acquaintance between -young people. - -In connection with this class of games I must point out that a game such -as "Hey, Wullie Wine" (vol. i. pp. 207-210), though it cannot be -considered exactly a marriage game, points to the matter-of-fact way in -which it was customary for young people to possess sweethearts. It seems -to have been thought not only desirable, but necessary to their social -standing. A slur is cast on the young man or young woman who has no -lover, and so every facility is given them to make a choice from among -their acquaintances. In the game "King William" is a remnant of the -disguising of the bride among some of her girl friends and the -bridegroom's test of recognition, when that custom became one of the -forms of amusement at weddings. - -The remaining love and marriage games mostly consist of lines said in -praise of some particular girl or young man, the necessity of him or her -possessing a sweetheart, and their being married. These are probably -fragments of the more complete forms preserved in the other games of -this class. Marriage games, preceded by courtship or love-making, are -played in the second method of the circle form. - -Among the games played in the first method of the circle form, "Oats and -Beans and Barley," and "Would you know how doth the Peasant," show -harvest customs. The first of these (vol. ii. pp. 1-13) shows us a time -when oats, beans, and barley were the principal crops grown, before -wheat--now, and for some time, one of the principal crops--came into -such general cultivation as at present. All the players join in singing -the words and performing the actions. They imitate sowing of seed, -folding arms and standing at ease while the corn is growing, clap hands -and stamp on the ground to awake the earth goddess, and turning round -and bowing, to propitiate the spirit and do reverence to her. In "Would -you know how doth the Peasant" (ii. 399-401) we find actions performed -showing sowing, reaping, threshing, kneeling, and praying, and then -resting and sleeping. These actions are in both games accompanied by -dancing round hand in hand. These two games, then, take us back to a -time when a ceremony was performed by all engaged in sowing and reaping -grain; when it was thought necessary to the proper growth of the crops -that a religious ceremony should be performed to propitiate the earth -spirit. I believe these games preserve the tradition of the formula sung -and danced at the spring festivals, about which Mr. Frazer has written -so fully. - -"Oats and Beans and Barley" also preserves a marriage formula, and after -the religious formula has been sung and danced, courting and marriage -follows. A partner is said to be wanted, is chosen, and the marriage -ceremony follows. The addition of this ceremony to the agricultural -custom is of considerable significance, especially as the period is that -of spring, when, according to Westermarck, natural human marriage, as -also animal pairing, takes place. It is evidently necessary to this game -for all the players to perform the same actions, and the centre player -is not required until the choosing a partner occurs. There is no centre -player in the other agricultural game, and no marriage occurs. - -In "When I was a Young Girl" (ii. pp. 362-374) we have all players -performing actions denoting the principal events of their lives from -girlhood to old age. When young, enjoyment in the form of dancing is -represented (in present day versions, going to school is taking the -place of this), then courting, marriage, nursing a baby, and occupations -which women perform; the death of the baby and of husband follows, and -the woman takes in washing, drives a cart to support herself, and -finally gets old. Here, again, there is little doubt that this game owes -its origin to those dances originally sacred in character, in which men -and women performed actions, accompanied with song and dance, of the -same nature as those they wished or intended to perform seriously in -their own lives. "Mulberry Bush" is another descendant of this custom. -In "Green Gravel" and "Wallflowers" we have a death or funeral custom. -Originally there may have been other actions performed than those the -game contains now. These two are noticeable for the players turning -themselves round in the course of the play so that they face outwards. -It is this turning outwards, or "to the wall," which indicates hopeless -sorrow and grief, and there is some probability that the death mourned -is that of a maiden, by the other maidens of the village. The game is -not a representation of an ordinary funeral. - -I must here refer to the game of "Rashes" (Addenda, ii. pp. 452, 453). I -have not succeeded in obtaining a version played now, and fear it is -lost altogether, which is, perhaps, not surprising, as the use of -"rushes" has practically ceased; but, as recorded by Mr. Radcliffe in -1873, there is no doubt it represented the survival of the time when -rushes were gathered and used with ceremony of a religious nature. - -Even in the extremely simple "Ring a Ring of Roses" (ii. 108-111), now -only a nursery game played by very young children, there can be traced -a relationship to a dance, in which the use of flowers, and all the -dancers bowing or falling prostrate to the ground together, with loud -exclamations of delight obtained. It may well be that sneezing, an -imitation of which is an essential part of the game, was actually a -necessary part of the ceremonial, and sneezing was always considered of -sacred significance among primitive peoples. It is not probable that -children would introduce this of their own accord in a dance and "bop -down" game. - -The games played in the third method of this group are also -representative of custom. In "Old Roger" (vol. ii. pp. 16-24), the -circle of players is stationary throughout; the circle sings the words -describing the story, and the other players or actors run into the -circle and act their several parts in dumb show. The story, it will be -seen, is not the acting of a funeral, but the planting of a tree over -the grave of a dead person by relatives and friends, and the spirit -connection which this tree has with the dead. The spirit of the dead -"Old Roger" enters the tree, and resents the carrying away of the fruit -by the old woman by jumping up and making her drop the apples. -Possession of the fruit would give her power over the spirit. That the -tree is sacred is clear; and I am tempted to suggest that we may -possibly have in this game a survival of the worship of the sacred tree, -and its attendant priest watching until killed by his successor, as -shown to us by Mr. Frazer in the story of the "Golden Bough." - -"Round and Round the Village" (ii. pp. 122-143) shows us the performance -of a recurring festival very clearly in the words which accompany all -versions, "As we have done before." This conveys the idea of a special -event, the event in the game marriage, and I suggest that we have here a -periodical village festival, at which marriages took place. It is -characteristic of this, as in "Old Roger," that the chorus or circle -stand still and sing the event, while the two characters act. This -acting is the dancing round the village, going in and out the windows -and houses, then choosing a lover, and "follow her to London." It is -quite possible that the perambulation of boundaries with which festive -dances and courtship were often associated would originate this game. -The perambulation was a recurring custom periodically performed, and on -p. 142, vol. ii., I have given some instances of custom which, I think, -confirm this. - -In "Who goes round my Stone Wall" we find the players in circle form, -standing still and representing the houses of a village (the stone -wall), and also animals. The game represents the stealing of sheep, one -by one, from the village, by a predatory animal or thief. In this game -the circle do not sing the story. That element has disappeared; the two -actors repeat a dialogue referring to the stealing of the sheep from the -"wall." This dialogue is short, and is disappearing. The game is not now -understood, and consequently is dying out. "Booman," another of the same -kind, represents a funeral. The grave is dug in action, Booman is -carried to his grave, the dirge is sang over him, and flowers are -pretended to be strewn over. - -There are other circle games, which it is not needful to examine in -detail. They are fragmentary, and do not present any fresh features of -interest. It is, however, important to note that a few examples have -evidently been derived from love ballads, drinking songs, and toasts; -some of the dance games are of this origin. This may be explained by the -fact that children, knowing the general form of marriage games, would -naturally dance in circle form to any ballad verses in which marriage or -love and courtship occurs, and in this manner the ballad would become -apparently a fresh game, though it would only be putting new words to an -old formula of action. - -Dr. Jacob Jacobsen, in _Dialect and Place Names of Shetland_, tells us -that all the _vissiks_ or ballads have been forgotten since 1750, or -thereby. They were sung to a dance, in which men and women joined hands -and formed a ring, moving forwards, and keeping time with their hands -and feet. Mr. Newell (_Games_, p. 78), records that "Barbara Allen" was -sung and danced in New England at children's parties at a period when -dancing was forbidden to be taught in schools. "Auld Lang Syne" is a -further instance. - -It will easily be seen that the circle games have a distinctive -characteristic compared with the line games. These, as I have already -pointed out, are games of contest, whereas the circle games are games in -which a homogeneous group of persons are performing a ceremony belonging -entirely to themselves. The ceremony is of a religious character, as in -"Oats and Beans and Barley," or "Old Roger," dedicated to a spirit -intimately connected with the group who perform it, and having nothing -belonging to any outside group. The position of the marriage ceremony in -this group is peculiar. It has settled down from the more primitive -state of things shown in the line marriage games, and has acquired a -more social and domestic form. Except in the very significant water -custom in "Sally Water," which I have suggested (ii. pp. 176, 177) may -take us back to perhaps the very oldest stage of culture, all the games -in this group are evidently of a later formation. Let it be noted, too, -that the circle has deep religious significance not entirely absent from -the customs of comparatively later times, among which the singing of -"Auld Lang Syne" is the most generally known. - -But in speaking of matters of religious significance, it is important to -bear in mind that we are not dealing with the religion of the Church. -Everywhere it is most significant that marriage ceremony, sacred rite, -social custom, or whatever is contained in these games, do not take us -to the religion of to-day. Non-Christian rites can only be pre-Christian -in origin, and these games therefore take us to pre-Christian religious -or social custom, and this is sufficient to stamp them with an antiquity -which alone would certify to the importance of studying this branch of -folk-lore. - -To take now the dialogue or individual form of game, the best example -for my purpose is "Mother, Mother, the Pot boils over" (vol. i. pp. -396-401). Here the chorus has disappeared; the principal characters tell -the story in dialogue, the minor characters only acting when the -dialogue necessitates it, and then in dumb show. This is an interesting -and important game. It is a complete drama of domestic life at a time -when child-stealing and witchcraft were rife. A mother goes out to work, -and returns to find one of her seven children missing. The game -describes the stealing of the children one by one by the witch, but the -little drama tells even more than this. It probably illustrates some of -the practices and customs connected with fire-worship and the worship of -the hearth. There is a pot, which is a magical one, and which boils over -when each one of the children is stolen and the mother's presence is -necessary. A remarkable point is that the witch asks to borrow a light -from the fire. The objection to the giving of fire out of the house is a -well-known and widely-diffused superstition, the possession of a brand -from the house fire giving power to the possessor over the inmates. The -witch in this game takes away a child when the eldest daughter consents -to give her a light. The spitting on the hearth gives confirmation to -the theory that the desecration of the hearth is the cause of the pot -boiling over. Instances of magical pots are not rare.[20] - - [20] Mr. W. F. Kirby refers me to the form of initiation into - witchcraft in Saxony, where the candidate danced round a pot - filled with magic herbs, singing-- - - "I believe in this pot, - And abjure God;" - - or else it was-- - - "I abjure God, - And believe in this pot." - - -After the children are stolen the mother has evidently a long and -troublesome journey in search of them; obstacles are placed in her path -quite in the manner of the folk-tale. Blood must not be spilled on the -threshold. This game, then, which might be considered only as one of -child-stealing, becomes, when examined on the theories accompanying the -ancient house ritual, an extraordinary instance of the way beliefs and -customs have been dramatised, and so perpetuated. Other games of a -similar character to this, and perhaps derived from it, are "Witch," -"Gipsy," "Steal the Pigs." - -Amongst other games classified as dialogue games are those in which -animals take part. In some there is a contest between a beast of prey, -usually a fox or wolf, and a hen and her chickens or a goose and her -goslings; in others a shepherd or keeper guards sheep from a wolf, and -in these animals of the chase are hunted or baited for sport. In -the animal contest games, "Fox and Goose," "Hen and Chickens," -"Gled-wylie," "Auld Grannie," "Old Cranny Crow," all played in the -dialogue form, the dialogue announces that the fox wants some food, and -he arouses the suspicion of the goose or hen by prowling around or near -her dwelling. After a parley, in which he tries to deceive the mother -animal, he announces his intention of catching one of the chickens. The -hen declares she will protect her brood, and a contest ensues. These -games have of course arisen from the well-known predatory habits of the -wolf, fox, and kite. On the other hand, the games illustrating the -hunting or baiting of animals, such as "Baste the Bear," "Fox in the -Hole," "Hare and Hounds," are simply imitations of those sports. -"Baiting the Bear," a popular and still played game, has continued since -the days of bear-baiting. - -I may also mention the games dealing with ghosts. "Ghost at the Well," -"Mouse and Cobbler," show the prevailing belief in ghosts. Playing at -Ghosts has been one of the most popular of games. These two show the -game in a very degenerate condition. I need not, I think, describe in -detail any more of the dialogue games. There are none so good as -"Mother, the Pot boils over," but that was hardly to be expected. The -customs which no doubt were originally dramatised in them all have in -many cases been lost, as in the case of some versions of "Mother, the -Pot boils over." - -The dialogue games appear to me to be later in form than both line and -circle games. They are, in fact, developments of these earlier forms. -Thus the "Fox and Goose" and "Hen and Chickens" type is played -practically in line form, and belongs to the contest group, while the -"Witch" type is probably representative of the circle form. But they -have assumed a dramatic character of a very definite shape. This, as -will be seen later on, is of considerable importance in the evidence of -the ancient origin of games; but I will only point out here that this -group has allowed the dramatic element to have full scope, with the -result that a pure dialogue has been evolved, while custom and usage has -to some extent been pushed in the background. - -The next group is the arch form of game. This I divide into two -kinds--those ending in circle or dance form, and those ending with a -contest between two leaders. Of this first form there are several -examples. "London Bridge" (i. pp. 333-50) is possibly the most -interesting. Two players form the arch, all the others follow in single -file. The words of the story are sung while all the players run under or -through the arch. The players are all caught in turn in the arch, and -then stand aside; their part is finished. In some cases the game begins -by all forming a circle, and the verses are sung while the circle dances -round. The arch is then formed, and all run through it in single file, -and are caught in turn by being imprisoned between the lowered arms. -Also, we find the circle-dancing following the arch ceremony. In my -account of this game (vol. i. pp. 341-50), I have drawn attention to the -incident of a prisoner being taken as indicative of the widespread -custom known as the foundation sacrifice, because of the suggested -difficulty of getting the bridge to stand when the prisoner is taken. I -have given a few instances of the custom, and the tradition that the -stones of London Bridge were bespattered with the blood of little -children, and that the mortar was tempered with the blood of beasts. In -stories where a victim is offered as a foundation-sacrifice, the victim, -often a prisoner, is sometimes forced to enter a hole or cavity left on -purpose in the building, which is then walled or built up, enclosing the -victim. In some, recourse to lottery is had; in others, as at Siam, -mentioned by Tylor (_Primitive Culture_, i. 97), it was customary, when -a new city gate was being erected, for a number of officers to lie in -wait and seize the first four or eight persons who happened to pass by, -and who were then buried alive under the gate-posts. After these customs -of human sacrifice had ceased to be enforced, animals were slaughtered -instead; and later still the ceremony would be performed, as a ceremony, -by the incident being gone through, the person or animal seized upon -being allowed to escape the extreme penalty by paying a money or other -forfeit; and it may be this later stage which is represented in the -game. The dancing in circle form, which belongs, I think, to the -original method of play, shows us a ceremony in which people of one -place are concerned, and would supersede an older line form of game, if -there were one, when the custom showed a real victim being taken from -outsiders by force, who would resist the demand. The circle dance would -follow as the completion of the ceremony. The "line" form would also be -the first portion of the game to disappear when once its meaning was -lost. - -The game, "Hark! the Robbers" (i. 192-99) may be a portion of "London -Bridge" made into a separate game by the part of the building being -lost, or the children who play both games may have mixed up the method -of playing; but as it ends in some places with a contest and in some -with a dance, it is difficult to say which is right. - -"Thread the Needle," played by all players running through an arch and -then dancing round, is a game well illustrated by customs obtaining on -Shrove Tuesday in different parts of the country. All the children play -"Thread the Needle" in the streets of Trowbridge, Bradford-on-Avon, -South Petherton, Evesham, besides other places, in long lines, whooping -and shouting as they run through the arches they make. After this they -proceed to the churchyard, and encompassing the church by joining hands, -dance all round it three times, and then return to their homes. Here is -the undoubted performance of what must have been an old custom, -performed at one time by all the people of the town, being continued as -an amusement of children. It was played at Evesham only on Easter -Monday, and in three other places only on Shrove Tuesday, and another -correspondent says played only on a special day. In other places where -it is played the game is not connected with a special day or season. The -circle dance does not always occur, and in some cases the children -merely run under each other's clasped hands while singing the words. In -the places above mentioned we see it as a game, but still connected with -custom. It is a pity that the words used by the children on all these -occasions should not have been recorded too. "How many Miles to Babylon" -(vol. i. pp. 231-238) may with good reason be considered a game of the -same kind. It represents apparently a gateway of a town, and a parley -occurs between the gatekeepers and those wishing to enter or leave the -town. Small gateways or entrances to fortified towns were called -needle's eyes, which were difficult to enter. But notwithstanding these -apparent identifications with the conditions of a fortified town, I -think the practice of going through the arch in this and in the previous -game relates to the custom which prevailed at festivals held during -certain seasons of the year, when people crept through holed stones or -other orifices to propitiate a presiding deity, in order to obtain some -particular favour. This would be done by a number of people on the same -occasion, and would terminate by a dance round the church or other spot -associated with sacred or religious character. "Long Duck" is another -probably almost forgotten version of this game. - -"Draw a Pail of Water" (vol. i. pp. 100-108), though not quite in accord -with the arch form in its present state, is certainly one of the same -group. This game I consider to be a descendant of the custom of "well -worship." In its present form it is generally played by children -creeping under the arms of two or four others, who clasp hands and sway -backwards and forwards with the other children enclosed in them. The -swaying movement represents, I believe, the drawing of water from the -well. The incidents of the game are:-- - - (1) Drawing water from a well. (2) For a devotee at a well. (3) - Collecting flowers for dressing the well. (4) Making a cake for - presentation. (5) Gifts to the well [a gold ring, silver pin, and - probably a garter]. (6) Command of silence. (7) The presence of - devotee at the sacred bush. (8) The reverential attitude (indicated - by the bowing and falling on the ground). - -I can now add another incident, that of the devotee creeping through a -sacred bush or tree (signified by the creeping under or getting enclosed -within the arms of the leaders). These are all incidents of primitive -well worship. - -I have from many different versions pieced together the lines as they -might appear in earlier versions (i. p. 107). - -This restoration, though it is far from complete, shows clearly enough -that the incidents belong to a ceremonial of primitive well worship. -Dressing holy wells with garlands and flowers is very general; cakes -were eaten at Rorrington Well, Shropshire, and offerings of pins, -buttons, and portions of the dress, as well as small articles worn on -the person, are very general; silence is enforced in many instances, and -sacred trees and bushes are to be found at nearly all holy wells. -Offerings are sometimes hung in the bushes and trees, sometimes thrown -into the well. Miss Burne records in _Shropshire Folk-Lore_ (pp. 414, -433, 434) that at Rorrington Green, in the parish of Chirbury, is a holy -well, at which a wake was celebrated on Ascension Day. The well was -adorned with green bowers, rushes, and flowers, and a maypole was set -up. The people used to walk round the hill with fife, drum, and fiddle, -dancing and frolicking as they went. They threw pins into the well for -good luck, and to prevent them from being bewitched, and they also drank -the water. Cakes were eaten. These were round flat buns, from three to -four inches across, sweetened, spiced, and marked with a cross, and were -supposed to bring good luck if kept. - -Instances of similar practices at holy wells could be multiplied, and -they are exhaustively examined in my husband's book on _Ethnology in -Folk-Lore_. Halliwell records in his nursery rhymes what is perhaps the -oldest printed version of the rhyme. He says the children form a long -string, hand in hand; one stands in front as leader, two hold up their -clasped hands to form an arch, and the children pass under; the last is -taken prisoner. Though this way of playing does not appear to be used -now--no version, at least, has reached me--it is clear that the game -might be played in this way, probably as a commencement of the -ceremonial, and then the other positions might follow. Halliwell may not -have recorded it minutely or have heard of it as a whole, or the version -sent him may have been in degenerate form. It is, however, clear that -the arch form here indicates a ceremonial, and not the taking of a -prisoner. - -"Oranges and Lemons" (vol. ii. pp. 25-35) is the best-known game of the -arch form, followed by the contest or tug-of-war. In this game two -players, sometimes chosen by lot, clasp hands and form an arch. They -have each a name, which is secret. One is called "Orange," the other is -"Lemon." They sing the words of the game-rhyme, and the other players -run under the arch in a long line or string. At the close of the verses -which ends with the line, "Here comes a chopper to chop off your head," -one of the string of players is caught and is asked which she prefers, -orange or lemon. She chooses, and is told to stand behind that leader -who took that name. This is repeated until all the players have been -separately caught, have chosen their side, and are standing behind the -respective leaders, holding on to each other by clasping each other's -waists. A line is then drawn on the ground, and both sides pull; each -endeavours to drag the other over the line. The tug is generally -continued until one side falls to the ground. Now this is an undoubted -contest, but I do not think the contest is quite of the same kind as the -line game of contest and fighting. The line form is one of invaders and -invaded, and the fight is for territory. In this form it seems to me -that the contest is more of a social contest, that is, between people of -the same place, perhaps between parishes and wards of parishes, or -burghers and apprentices (townspeople) on one side, and the followers of -lords or barons (military power) on the other, or of two lords and -barons. The leaders are chosen by lot. Each leader has a "cry" or -"colour," which he calls out, and the other players run and place -themselves under the banner they choose. - -In my account of this game I draw particular attention to the following -details:--The game indicates contest and a punishment, and although the -sequence is not clear, as the execution precedes the contest, that is -not of particular importance in view of the power of the old baronial -lords to threaten and execute those of their following who did not join -their armed retainers when required. All rhymes of this game deal with -saints' names and with bell ringing. Now, the only places where it would -be probable for bells to be associated with different saints' names in -one area would be the old parish units of cities and boroughs. The -bells were rung on all occasions when it was necessary to call the -people together. The "alarm" bell tolling quickly filled the open spaces -and market-places of the towns, and it is a well-known fact that serious -contests and contest games between parishes and wards of parishes were -frequent. The names "oranges" and "lemons," given to the leaders in the -game, usually considered to be the fruits of these names, are, in my -opinion, the names of the "colours" of the two rival factions. - -The passing under the arch in this game is not absolutely necessary in -order that the players may exercise their choice of leaders, nor is the -"secrecy" which is observed necessary either. Even this may have its -origin in custom. It may signify the compulsory attendance of a vassal -under pain of punishment to serve one side, or the taking prisoner and -condemning to death for serving on the opponents' or losing side. An -idea is current that it represents cutting off the last person's head, -the last of the string or line of players, and in some places the last -one in the line is always caught instead of one whom the leaders choose -to enclose in their arms. Of course a "laggard" or late arrival would be -liable to suspicion and punishment, and this idea may be suggested in -the game; but I do not think that the game originates from the idea of -catching a "last" player. The passing under the arch can also be -attributed to the custom of compelling prisoners to pass under a yoke to -signify servitude, and the threat of execution would follow attempt to -escape or disobedience. Again, prisoners were offered life and freedom -on condition of joining the army of their opponents. - -The other games of this method of play, "Three Days' Holiday," and "Tug -of War," are the same game under other names, with only a nominy -surviving, and the method of play. Several games entered under the title -of "Through the Needle Eye," are really the "arch" type with the "tug," -that is the "Oranges and Lemons" game, instead of belonging to the -"Thread the Needle" or first form of arch type, as they are usually -considered. The Scottish form, described by Jamieson (ii. p. 290), is an -exception which should have been included with "Thread the Needle," to -which group it belongs. The other games, "Through the Needle Eye," have -lost a portion of their play, which probably accounts for the mixture of -name with the "Thread the Needle" games, because of both containing the -arch form. "Namers and Guessers," "Fool, Fool, come to School," "Little -Dog, I call you," practically versions of one and the same game, which I -have classed in this type because of the "tug," have an additional -element of guessing in them. The leader or namer on one side and the -guesser on the other take sides. All the players have names given them, -and it is the first business of the guesser to guess which of the -players has taken a particular name. If he guesses correctly, he takes -that player on his side; if incorrectly, he stays on the namer's side. -After he has "guessed" at all the players, the "tug" follows, and the -beaten side has further to run the gauntlet between two lines of the -successful side. This game, having all its players chosen by guessing, -by what might have been originally choosing by "lot" or by magical -powers, may have an entirely different meaning, but it is clearly a -contest game, although there is no indication as to the why or -wherefore. The punishment of "running the gauntlet" is found in the -game, which again indicates military fighting. - -This group of games, though small, is perhaps one of the most indicative -of early custom, for beyond the custom which is enshrined in each -game--foundation sacrifice, well worship, &c.--it will be noticed there -is a common custom belonging to all the games of this group; this is the -procession under the arch. The fact that this common custom can also be -referred to primitive usage, confirms my view that the particular -customs in each game owe their origin to primitive usage. Mr. W. Crooke -has very kindly supplied me with some notes on this interesting subject, -and I gladly avail myself of his research:-- - - "In Cairo, women walk under the stone on which criminals are - decapitated, in the hope of curing ophthalmia and getting children. - They must go in silence, and left foot foremost."--Lane, _Modern - Egyptians_, i. p. 325; Hartland, _Perseus_, i. p. 163. - - "Rheumatism and lumbago cured by crawling under granitic masses in - Cornwall."--Hunt, _Popular Romances_, p. 177. - - "Passing children under bramble to cure rupture."--_Ibid._, pp. 412, - 415. - - "This cures chincough."--Aubrey, _Remains_, p. 187. - - "In Scotland, sick children are passed through the great stones of - Odin at Stennis, and through a perforated monolith at Burkham, in - Yorkshire."--Rogers, _Social Life in Scotland_, i. p. 13. - - "Barren women pass their hands through the holes of the Bore Stone - at Gask in order to obtain children."--_Ibid._, iii. p. 227. - - "Similar rites prevail in Cyprus."--Hogarth, _Devia Cypria_, p. 48; - Gardner, _New Chapters in Greek History_, p. 172. - - "This again gives rise to the use of the gateway through which - pilgrims pass to temples. Such are the Indian Torana, in this shape, - which are represented by the Torio, so common in Japan. - - "The Greeks had the same, which they called Dokana ([Greek: dokana], - from [Greek: dokos], 'a beam'). With them they represented the - Dioscuri--Castor and Pollux. They are described by Plutarch."--_De - Amor. Fratr._, i. p. 36. - - "Similar arches, covered with charms, were seen at Dahomi by - Burton."--_Mission to Gelele_, i. pp. 218, 286. - - "Women in England creep under a gallows to get children." (I have - mislaid the reference.) - - "There are many 'creeps' or narrow holes in Irish dolmens certainly - used by people, who had to creep in to worship the ghost or bring - offerings. Captives intended to be slaughtered had to creep through - such places."--Borlase, _Dolmens of Ireland_, ii. p. 554. - - "Barren women pass their hands through such holes."--_Ibid._, ii. p. - 650. - - "A good picture of such a stone from France."--_Ibid._, ii. pp. 626, - 700, 702, 707. - -Mr. Albany F. Major has also kindly drawn my attention to the following -interesting passages from the sagas, which Dr. Jon Stefansson has kindly -translated as follows:-- - - "In old times this had been the custom of brave men, who made an - agreement (pact) that the one who lived the longest should revenge - the other's death. They were to go under three earth-sods, and that - was their oath (eiethr). This ceremony (leikr) of theirs was in this - wise, that three long earth-sods (turfs) should be cut loose. All - the ends were to be fast in the ground (adhere to it), but the coils - (bends) were to be pulled upward, so that a man might go under - them. This play Thorgeir and Thormod went through."--_Fostbraedra - Saga_, ed. 1822, ch. i. p. 7. - - "Now is spread about this report of Thorkell and his men, but - Gudmund had before told [the story] somewhat otherwise. Now that - tale seemed to those kinsmen of Thorarins somewhat doubtful, and - they said they would not put trust in it without proof, and they - claimed for themselves [to share] half the property with Thorkell, - but Thorkell thought to own it himself alone, and bade go to ordeal - after their custom. This was then the [form of] ordeal at that time, - that they should go under an earth-belt, that is, a sod [which] was - ripped up from the field. The ends of the sod must be fast in the - field, but the man who was to perform the ordeal must go thereunder. - Thorkell of the Scarf somewhat suspects whether the death of those - men can have happened in the way that Gudmund and his men had said - the latter time. Now, heathen men thought that they had no less at - stake, when they had to play such a part, than Christian men think - nowadays when ordeals are held. Then the man who went under the - earth-belt was clear if the sod fell not on him. Thorkell took - counsel with two men that they should let themselves fall out about - something or other, and be there standing near at hand when the - ordeal was being performed, and should touch the sod so hard that - all might see that they brought it down. After this the man who was - to perform the ordeal starts, and as soon as he was come under the - earth-belt those men who were set to do it sprang to meet each other - under arms, and they encounter near the bend of the sod and lie - fallen there, and the earth-belt fell down, as was to be expected. - At once men spring between them and separate them; that was easy, - because they were fighting with no risk to life. Thorkell of the - Scarf asked what people thought of the ordeal; now all his men say - that it would have done well if no one had spoilt it. Then Thorkell - took all the loose property, but the land is joined on to - Hrappstead."--_Laxdaela Saga_, ch. xviii. - - "Berg gave notice of the blow for the Hunawaterthing and began the - lawsuit there. As soon as men came to the thing they tried to - arrange a settlement. Berg said that he would not take payment in - atonement, and would only be reconciled under these terms, that - Jokull should go under three earth-belts, as was then the custom - after great transgressions, 'and thus show humility towards me.' - Jokull said the trolls should take him before he thus bowed himself. - Thorstein said it was a matter for consideration, 'and I will go - under the earth-belts.' Berg said then would the matter be paid for. - The first earth-belt reached to the shoulder, the next to the - waist-belt, the third to mid-thigh. Then Thorstein went under the - first. Then said Berg: 'Now I make thee stoop like a swine, who wast - the loftiest of the Vatnsdale men.' Thorstein answers, 'That hadst - thou no need to say, but this will be the first return for those - words, that I will not go under any more.' Finnbogi said, 'That is - clearly not well said, but then not much comes in repayment for - Berg's wrong, that he gat from Jokull, if the matter shall here come - to a standstill, and everything seems to you lowly by the side of - you Vatnsdale men, and I will challenge thee, Thorstein, to - holm-gang a week hence by the stackyard which stands on the island - down before my farm at Borg.'"--_Vatnsdaela Saga_, ch. xxxiii. - -These significant customs, I think, bear out my theory as to the origin -of the games played in the two methods of the arch form. - -Lastly, I come to the "winding up" games. "Eller Tree" (i. p. 119) and -"Wind up the Bush Faggot" (ii. pp. 384-387), show a game in which a tree -or bush is represented, and is probably indicative of tree worship. The -tallest player represents the tree, and all the other players walk round -and round in line form, getting closer and closer each time, until all -are wound round the centre player. They call out when winding round "The -old tree gets thicker and thicker," and then jump all together, calling -out "A bunch of rags," and try and tread on each other's toes. This last -action is evidently performed from not understanding the action of -stamping, which is, without doubt, the object of the players. It is -probable that this game descends from the custom of encircling the tree -(Mr. Addy suggests the alder-tree) as an act of worship, and the -allusion to the "rags" bears at least a curious relationship to hanging -rags on sacred trees. A ceremonial of this kind would probably take -place each spring, and the stamping on the ground would be, as in "Oats -and Beans and Barley," a part of the ceremony to awake and arouse the -earth spirit to the necessity of his care for the trees under his -charge. The connection of all the players, by means of the clasped -hands, with the central figure or tree, may also be considered a means -of communicating life and action to it; the tree requiring contact with -living and moving creatures to enable it to put forth its leaves. In a -version of this game from Lincoln, called the "Old Oak Tree" (ii. p. -386), we find practically the same words and same actions, the dancing -round and jumping up and down are constant features of this game. It -remains in some degenerate versions from Scotland (_ibid._), where the -game has assumed the modern name of "Rolling Tobacco." In "Wind up the -Bush Faggot" we have again the tree or bush suggested, and the dancing -and jumping, or stamping up and down. In Shropshire it is the closing -game of any playtime, and was played before "breaking-up" at a boys' -school in Shrewsbury in 1850-1856. This tends to show that the game had -originally been played at a special time or season. - -For an example of this custom I may repeat (from ii. p. 386) that in -mid-Cornwall, in the second week in June, at St. Roche and one or two -adjacent parishes, a curious dance, like a serpent's coil, is performed -at the annual "feasts." The young people are assembled in a meadow, and -the band plays a lively tune. The band leads, and all the people follow -hand in hand. The band or head keeps marching in an ever-narrowing -circle, while its train of dancing followers becomes coiled round it in -circle after circle. Then the band, taking a sharp turn about, begins to -retrace the circle, still followed as before, and a number of young men, -with long leafy branches in their hands as standards, direct this -counter-movement. Although there is no mention of a tree in the account -round which this ceremony is performed, the custom is so striking as to -leave very little doubt of their connection. Lady Wilde (_Ancient Cures, -Charms, and Usages of Ireland_, p. 106) says, "On May-Day in Ireland all -the young men and maidens hold hands, and dance in a circle round a tree -hung with ribbons or garlands, or round a bonfire, moving in curves from -left to right, as if imitating the windings of a serpent." This is a -closer parallel to the game still, and leaves no doubt as to its -connection with custom. There may be, too, some connection between these -winding-up or serpentine dances and the Maypole dances on May-Day in -England. - -The detail into which I have gone in the case of these games makes it, I -think, unnecessary that I should enter into equal detail in other -customs mentioned in the classification. Thus, with regard to the -funeral customs indicated in "Jenny Jones," we have not only a ceremony -of burial, but the courting of a maiden or maidens by a band of suitors, -the opposition of the mother or guardians to their suit, the putting -forward of domestic occupations as pretexts for refusal; there is also -the illness, dying and death of the maiden, the manner of her funeral -indicated by the colour selected for her burial, followed by the burial -itself, the singing of the lament or funeral dirge, and, in some -versions, the rising of the ghost or spirit of the departed. This game -in its best versions is played in line form. But in those versions where -two children only play the parts of "mother" and "Jenny Jones," there is -also evidence of the tendency of the game to develop into the individual -form. - -Again, those games in which "guessing" occurs remind us of the important -part that guessing or chance plays in the beliefs of the savage and -uncivilised. A person who, by a guess, discovers a special person out of -a number, or the exact number of articles concealed in a hand or under a -foot, has something of the supernatural or witch-element about him. This -is largely the foundation of the belief in witchcraft and the sorcerer. -It is not surprising to find, therefore, the guessing-element largely -extant in the dramatic game. The "guesser" is usually chosen by lot by -means of the counting-out rhyme; the leader then proceeds to confuse the -guesser's or witch's mind by re-naming secretly the rest of the players. -He calls the "guesser," and in a doggerel rhyme (the remains or -imitation probably of an incantation), tells him to pick out or name a -certain person or thing. If the guess is correct, the "guesser" takes -that person to his side, indicating power over that individual or thing. -If the "guesser" is unsuccessful, he is scouted, mocked, and ill-used. - -I now proceed with the second classification referred to on p. 461. Of -the games classified on pp. 461-470, _ante_, it will be found on -examination that nearly all of them are dramatic in form. This leads me -at once to suggest that so important a phase of their character needs -separate investigation, and this I proceed to do. - -In the first place, it will be found that certain of the games are -wholly dramatic whatever may be the customs or rites they imitate. These -games are of two classes--first, where dramatic action is complete -throughout the whole game, that is where singing, action, and words are -represented; secondly, where singing has dropped out, action and words -only remaining. - -These two classes are as follows:-- - - -DRAMATIC GAMES. - - -(1) SINGING (_containing words, tune, action_). - - All the Boys. - Babbity Bowster. - Booman. - Curly Locks. - Cushion Dance. - Dillsie, Dollsie Dee. - Down in the Valley. - Down in yonder Meadow. - Galley, Galley, Ship. - Glasgow Ships. - Green Grass. - Green Gravel. - Hark the Robbers. - Hear all! let me at her. - Here comes a Lusty Wooer. - Here comes a Virgin. - Here I sit on a Cold Green Bank. - Here's a Soldier. - Here stands a Young Man. - Hey Wullie Wine. - Isabella. - Jenny Jones. - Jolly Fishermen. - Jolly Hooper. - Jolly Miller. - Jolly Rover. - Jolly Sailors. - Keys of Heaven. - King William. - Kiss in the Ring. - Knocked at the Rapper. - Lady of the Land. - Lady on the Mountain. - London Bridge. - Mary Brown. - Mary mixed a Pudding. - Merry-ma-tansa. - Milking Pails. - Mulberry Bush. - Needle Cases. - Nettles Grow. - Nuts in May. - Oats and Beans. - Old Dame. - Old Roger. - Oliver, Oliver, follow the King. - Oranges and Lemons. - Poor Mary sits a-weepin'. - Poor Widow. - Pray, pretty Miss. - Pretty little Girl. - Queen Anne. - Queen Mary. - Ring me Rary. - Rosy Apple. - Round and Round the Village. - Sally Water. - Salmon Fishers. - Silly Old Man. - Soldier. - Soldiers. - Three Dukes. - Three Knights. - Three Old Bachelors. - Three Sailors. - Wallflowers. - We are the Rovers. - When I was a Young Girl. - Widow. - Wind. - Would you know how doth the Peasant? - - -(2) DIALOGUE AND ACTION (_no singing_). - - Auld Grannie. - Barbarie, King of the. - Chickens, come clock. - Deil amo' the Dishes. - Doagan. - Draw a Pail of Water. - Dumb Motions. - Eller Tree. - Fox and Geese. - Ghost at the Well. - Giddy. - Gipsy. - Gled-Wylie. - Hen and Chickens. - Honey Pots. - How many Miles to Babylon. - Jack, Jack, the Bread's a-burning. - Keeling the Pot. - King of Barbarie. - King of the Castle. - Lady on yonder Hill. - Lend me your Key. - Mother, may I go out? - Mother Mop. - Mother, Mother, the Pot boils over. - Mouse and Cobbler. - Namers and Guessers. - Old Cranny Crow. - Old Dame. - Rashes. - Shepherds and Sheep. - Steal the Pigs. - Thread the Needle. - Three Jolly Welshmen. - Tower of London. - Trades. - Who goes round my Stone Wall? - Willie Wastell. - Witch. - Wolf. - -Nearly all the remaining dramatic games form a third class, namely, -those where action remains, and where both words and singing are either -non-existent or have been reduced to the merest fragments. - -In order to complete the investigation from the point we have now -reached, it is necessary to inquire what is the controlling force which -has preserved ancient custom in the form of children's games. The mere -telling of a game or tale from a parent to a child, or from one child to -another, is not alone sufficient. There must be some strong force -inherent in these games that has allowed them to be continued from -generation to generation, a force potent enough to almost compel their -continuance and to prevent their decay. This force must have been as -strong or stronger than the customs which first brought the games into -existence, and I identify it as the dramatic faculty inherent in -mankind. - -A necessary part of this proposition is, that the element of the -dramatic in children's games is more ancient than, or at all events as -ancient as, the customs enshrined in the games themselves, and I will -first of all see if this is so. - -With the child the capacity to express itself in words is small and -limited. The child does not apparently pay as much attention to the -language of those adults by whom he is surrounded as he does to their -actions, and the more limited his vocabulary, the greater are his -attempts at expressing his thoughts by action. Language to him means so -little unless accompanied by action. It is too cold for a child. Every -one acquainted with children will be aware of their dramatic way of -describing to their mother or nurse the way in which they have received -a hurt through falling down the stairs or out of doors, or from knocking -their heads against articles of furniture. A child even, whose command -of language is fairly good, will usually not be content to say, "Oh, -mother, I fell down and knocked my head against the table," but will -say, "Oh, I fell down like this" (suiting the action to the word by -throwing himself down); "I knocked my head like this" (again suiting the -action to the word by knocking the head against the table), and does not -understand that you can comprehend how he got hurt by merely saying so. -He feels it necessary to show you. Elders must respond in action as well -as in words to be understood by children. If "you kiss the place to make -it well," and if you bind up a cut or sore, something has been done that -can be seen and felt, and this the child believes in as a means of -healing. A child understands you are sorry he has been hurt, much more -readily than if you say or repeat that you are sorry; the words pass -almost unheeded, the action is remembered. - -Every one, too, must have noticed the observation of detail a child will -show in personifying a particular person. When a little child wishes to -personate his father, for instance, he will seat himself in the father's -chair, cross his legs, pick up a piece of paper and pretend to read, or -stroke an imaginary beard or moustache, put on glasses, frown, or give a -little cough, and say, "Now I'm father," if the father is in the habit -of indulging in either of the above habits, and it will be found that -sitting in the chair (if a special chair is used by the father to sit -in when at home) is the foundation and most important part of the -imitation. Other men of the child's acquaintance read papers, smoke, -wear glasses, &c., but father sits in that chair; therefore to be -father, sitting in the chair is absolutely necessary, and is sufficient -of itself to indicate to others that "father" is being personified, and -not another person. To be "mother" a child will pretend to pour out tea, -or sew, or do some act of household work, the doing of which is -associated with "mother," while a lady visitor or a relative would be -indicated by wearing hat or bonnet or silk dress, carrying a parasol, -saying, "How do you do?" and carrying on conversation. Again, too, it is -noticeable how a child realises a hurt if blood and swelling ensues -after a knock. This is something that can be seen and shown. - -When wishing to be an animal, a child fixes at once on some -characteristic of that animal which is special to it, and separates it -from other animals similar in other ways. Children never personate -horses and cows, for instance, in the same manner. Horses toss their -heads, shake their manes, paw the ground, prance, and are restless when -standing still, gallop and trot, wear harness, and their drivers have -reins and a whip. When a child is a cow he does none of these things; he -walks in a slower, heavier way, lowers the head, and stares about as he -moves his head from side to side, lies down on the ground and munches; -he has horns, and rubs these against a tree or a fence. - -A child of mine, when told that he must not run in the gutter when out -of doors, because that was not the place for little boys, replied, "I am -not a little boy now, I am a dog, so I may run in the gutter." When he -came into the path again he became a boy. - -Again the same child, when called by his name and told to come out from -under a table, a round one, under which he was lying rubbing his head -against the pedestal centre, because under the table was not the place -for little boys, said, "But I'm not [ ], I'm a cow, and it's not a -table, it's a tree, and I'm rubbing my horns." - -Again, when personating a train, the actions used are completely -different from those used when personating an animal. The child moves at -a steady rate, the feet progressing without raising the legs more than -necessary, because engines only have wheels, which keep close to the -ground; they don't jump up like feet do, the arms are used as the -propeller, and the puffing and screeching, letting off steam, taking in -water, are imitated in sound to perfection. This is entirely on the -child's own initiative. When children play in groups the same things -occur. Instances could be given _ad nauseam_. It cannot, therefore, -surprise us that in these games children should be found to use actions -which indicate to them certain persons or things, although the words -they use may render action unnecessary, as action is to them most -important. Children, when acting these games or dramas, appear not to -need the element of dress or of particular garments to indicate their -adoption of certain characters or characteristics. To display your heels -and look down at them while doing so signifies a man who wears spurs, a -knight; to prance along as if a horse, shows a man on horseback, a duke -a-riding. A child lies or stoops down and shuts her eyes, she is dead; -if she is passively carried by two others a little distance, she is -going to be buried. The child, by standing still, becomes a tree, a -house, or a stone wall. If an animal is required to be shown, down goes -the child on hands and knees, bends her head down, and the animal is -there. If a gate, fortress, or castle is wanted, two children join -hands, and their arms are raised or lowered when required for opening -the gate, &c. If one child is to personate a "mother," one or two or -more smaller children are placed behind or beside her as her children, -because "mothers have children," and so on. Many other examples could -be given from these games of the same kind of thing. There is, then, no -difficulty as to the reason why children should have continued playing -at these games when once they had seen their elders play them or similar -performances, nor why children should not have embodied in a game or -play some of the manners and customs which were constantly going on -around them in olden times as they do now, imitating the habits and -customs of the men and women and animals by whom they were surrounded. - -We know from the evidence of those who have collected the games that -many were played as amusements by young men and women up to a few years -ago. Some are still so played, and some years further back it was a -general practice for men and women in country districts to play these or -similar games at fairs and festivals; it is unlikely that adults would -play seriously at children's games, but children having seen their -elders playing at these amusements would adopt them and use them in -their turn, until these amusements become in turn too frivolous and -childish for them. It is not so very many years since that the then -educated or cultured classes amused themselves by occupations now deemed -silly and unfit even for children of the uneducated class--witness -practical joking, cock-fighting, &c. - -The natural instinct to dramatic action in children is paralleled by the -same instinct in grown-up people when in a state of culture where they -are chiefly dependent upon their natural capacities for existence. Thus -evidence of the natural dramatic power in savages and in semi-civilised -races is abundant. The dances of savages are strongly dramatic. They -advance in lines dancing, gesticulating, and singing, while others sit -and look on; they dance in circles joining hands, they go down on all -fours imitating animal postures and noises, they wear masks, special -dresses and ornaments, and these have significance for their audience. -Some of these dances are peculiar to and only witnessed by men, others -performed by men are witnessed by both sexes. These ceremonial dances -are performed principally at the celebration of the initiative rites, -but some also represent other customs periodically performed. - -Catlin's (_North American Indians_) description of the Buffalo dance -among the Mandan Indians shows the dancers wearing masks made of a -buffalo's head and horns, and a tail hanging down behind. The dancers -went through the actions of hunting, being shot with bow and arrow, -skinned and cut up, accompanied by singing and yelling. This dance was -performed as a ceremony when food was required and the hunters were at -a loss, and would continue until a herd of buffalos came in sight on the -prairie. - -Mr. W. E. Roth gives dances accompanied by songs and pantomimic action -and games practised by the N.W. Central Australian aborigines.[21] - - [21] _Ethnological Studies among the N.W. Central Queensland - Aborigines._ By Walter E. Roth. 1897. London. - -In "Secular and Ceremonial Dances of Torres Straits" (_Zeit. fuer -Ethnogr._, vi. 1893, p. 131), Dr. Haddon describes a "saw-fish dance" -performed by natives. He says "the advent of different seasons of the -year is celebrated by ceremonies amongst most peoples; the most frequent -of these are harvest festivals, or periods of rejoicings at the -abundance of food. Very frequent also are ceremonies which relate to the -preparing for crops or the inauguration of a season which promises -abundant food supply. The saw-fish dance belongs to the latter class." -Dr. Haddon visited the men, and saw the making of the masks which he -describes at length. These were worn by the dancers, and consisted of an -imitation of a human face resting on a crocodile's head, and surmounted -by a figure of a saw-fish represented in a traditional method. The -dance, which lasted for hours, was accompanied by singing a chant, the -words of which served as a description of the meaning of the dance. This -dance is performed to ensure a good harvest from the sea. - -He also refers to dramatic death dances and war dances, and describes -some interesting forms of other dances, one in which crabs are -represented. He says, all the men dance in single file, and each man -during the dance performs some definite movements which illustrate an -action in real life, such as agricultural, nautical, or fishing -employments; for example, a man would crouch and move his hands about as -if he were planting yams or looking for pearl shell at the bottom of the -sea. These movements are known to the spectators, though the foreign -observer may not catch the allusion. Probably most of these actions have -become more or less conventionalised during innumerable dance -representations, just as some of the adjuncts to the dance are -degenerate representations of objects used in everyday life. In the war -dance the actions illustrate the method pursued in war, ending with an -evolution which represented the successful warriors threading the heads -of the slain on the rattan slings which always hung on their backs when -they went out to fight. - -Mrs. Murray-Aynsley in a paper on the secular and religious dances in -Asia and Africa (_Folk-lore Journal_, vol. v. pp. 273, 274), describes -an aboriginal dance which still takes place annually in certain villages -in the Khassia and Jaintia hills. It generally takes place in May. The -special reason of the dance is the display of all the unmarried girls -from far and near to choose, or be chosen by, suitable parties, and from -description it is probable that the girls choose. Many marriages result -from this one annual dance. The dances take place in a circular -enclosure which is set apart for this annual feast. The musicians sit in -the centre, and the girls form a large circle round the musicians, and -behind the girls, holding hands in a larger circle, the men dance and go -through their part of the performance. The girls perform very quiet -movements and dance slowly, while the men jig, leap, hop, and wave their -arms, legs, umbrellas, and _daos_ in the wildest confusion, accompanying -their movements with the most savage war-whoops, signifying nothing. It -is also usual for the men to dance when one of their tribe is buried. - -In the Kulu district at Sultanpore is held the feast of Rugonath, the -chief god, when the gods belonging to every village in the valley are -bound to appear and pay him respect. There is feasting, and the men -dance round and round the palanquins containing the inferior gods. When -the excitement is at its height the temple attendants seize the -palanquins and dance them up and down violently, and make the godlings -salaam to each other and to Rugonath, the chief god. - -In Spiti, a valley in the Western Himalayas, the people frequently dance -for hours for their own amusement. Men and women dance together, all -join hands and form a long line or circle. They commence by singing, -then dance to the accompaniment of their own voices, and the fun -speedily becomes fast and furious (_ibid._ p. 281). - -Amongst the Lamas there are also religious and secular dances performed -at their feasts or fairs, the religious dances by the Lamas, the secular -by men and women together, or by each sex separately. In one dance those -who take part form themselves into two long lines. Each dancer holds on -to the one in front of him, as in our game of "Fox and Goose." The two -strings of dancers wind in and out, then divide and dance opposite each -other, advancing and receding with a slow undulating movement, which -gradually becomes more energetic. Mock sword fights then take place -between two combatants, also sword dances, with two crossed weapons laid -on the ground, and precisely like those performed at our Highland -gatherings. In the religious dances each man wears a gigantic headpiece, -which comes down as far as the shoulders. Some of the masks are -ornamented. They perform several different dances, in which separate -characters are performed, one a Chinese mandarin and his wife, another, -two actors wear masks resembling ferocious-looking dogs, one places -himself against the entrance door, the other guards the door of exit. -They remind one, says Mrs. Murray-Aynsley, of the divan-palas, or -doorkeepers, whose statues are seen placed as guards on each side of the -shrine of some old Hindu temple. In Algeria the dancing at weddings is -performed by men and women. Before each woman went out to dance she was -enveloped in a garment which covered her from head to feet, her hands -even not being visible, the sleeves being drawn over and tied at the -ends so that the hands and arms were enclosed as in a bag. This was -apparently a form of disguise, as one woman was sent back because her -husband had discovered her. At a funeral also hired female mourners were -dancing on the surface of a newly-made grave and uttering wild shrieks. - -An interesting account of the war-dance of the Coorgis is also given -(_ibid._ p. 251). "The Coorgis assembled in a clearing in the natural -jungle. The forest was only illumined by jungle. The torch-bearers -formed a large circle; within the open space, in the centre, were the -musicians. One dance was very peculiar, inasmuch as it seemed to be a -remnant of a period when every man's hand was against his brother's. -The performers may consist of any equal number of persons; they always -dance in pairs. Before they begin each man is given a bundle of sticks -or bamboos. This he holds in his left hand, and a stouter stick is given -him in his right hand. At first all the men dance round and round, with -head erect, as if going to war. Presently they narrow the circle and -assume a crouching attitude, their eyes glancing here, there, and -everywhere. The respective adversaries have been singled out; the -intending aggressors make a feint or two, then bend their knees so that -they are only about two-thirds of their ordinary stature; at the same -time they place their feet together and make a succession of bounds, or -rather hops, like a frog, and with the sticks the attacking party aim -cuts at the legs of the men whom they selected as their adversaries. The -latter now takes up the same attitude; he wards off attack, and returns -the blow if he can. Whether intentionally or not, one party is -victorious in the end." - -"A curious dance is also executed by Hindu women at Sagar, in the -Central Provinces of India (_ibid._ p. 253). Men are present, but as -spectators only. Some little time before preparations have been made for -this feast. Wheat or other grain has been sown in earth placed in pots -made of large leaves, held together by thorns of a species of acacia. -The richer women walk along, followed by their attendants carrying trays -filled with such pots; the poorer people carry their own plants. As soon -as each procession arrives at the ghat, or flight of steps leading down -to the lake, every family-circle of friends deposit their pots on the -ground and dance round them. After a time the dancers descend to the -water's edge, taking their pots of earth and corn with them. They then -wash away the soil from the plants, and distribute these amongst their -friends. The whole of the ceremony is observed by the men, but they take -no part in it. It probably fixes the season for sowing some particular -crop." - -These amongst others are all dances of semi-civilised peoples, and these -dances, being all of a ceremonial nature, are probably derived from -older customs, and performed in commemoration of these. - -There are also surviving some ceremonial dances, such as the singular -ceremony observed at Echternach, in Luxemburg, on Whit-Tuesday, in which -ten or fifteen thousand pilgrims take part. Professor Attwell thus -describes it in _Notes and Queries_ of May 17, 1890:-- - -"Early on the morning of Whit-Tuesday pilgrims arrive at Echternach from -the neighbouring villages, some alone, or in little family parties, some -in small bodies personally conducted by their _cures_, singing litanies -in honour of St. Willibrord. At about eight o'clock the bells of the -parish church begin to peal, and the clergy, intoning the 'Veni -Creator,' and preceded by numerous banners, issue from the principal -porch and march along the bank of the Sure to a stone crucifix, near -which, from an extemporised pulpit, the crowd is addressed. The short -sermon ended, the procession begins. It is headed by a choir of some -hundreds of voices chanting antiphonally with the clergy the litanies of -the saint. Then come numerous ecclesiastics, followed by a band playing -the cadenced music of the dance. The pilgrims are headed by young -children and men and women belonging to the parish, after whom comes the -throng, in groups of from three to six persons of either sex. The -dancers take three jumps forward and one backward, or five forward and -two backward. It is, of course, impossible for a moving crowd consisting -of many thousands to keep anything like time, save those who are near -one of the many bands of music, which, at irregular intervals, accompany -the procession. No special order is observed, but there is no confusion. -Poor mothers with sickly children in their arms jump side by side with -young well-to-do girls; old men, broken with toil, jump in step with -vigorous fellows in the heyday of youth. Water and wine are freely -offered by the townsfolk to the pilgrims, many of whom sink exhausted -under the unwonted effort. It sometimes happens that sick persons get -paid substitutes to perform for them the expiatory jumping. The distance -traversed is less than a mile, but the time occupied is fully two hours. -Before the church can be entered sixty-four steps have to be mounted. -But the singular backward and forward movements and the accompanying -music are continued, not only while the steps are ascended, but during -the circumambulation of the church, beneath the altar of which is the -tomb of the saint. On reaching the hallowed shrine the devotees manifest -their enthusiasm in various ways, kneeling before the altar, which is -surrounded by votive offerings, with sobs and gesticulations. When the -whole of the immense multitude has passed the shrine, the clergy ascend -the altar, the 'Salve Regina' is sung, the Benediction is given, and the -imposing ceremony is ended." - -Grimm also records the fact that about the year 1133 in a forest near -Inda (Ripuaria) a ship was built, set upon wheels, and drawn about the -country by men who were yoked to it, first to Aachen (Aix), and up the -river to Tongres, Looz, and so on, everywhere with crowds of people -assembling and escorting it. Wherever it halted there were joyful -shouts, songs of triumph, and dancing round the ship, kept up till far -into the night. This Grimm describes as a recollection of an ancient -heathen festival. It was utterly repugnant to and opposed strongly by -the clergy as a sinful and heathenish piece of work. On the other hand, -the secular power authorised and protected it (_Teutonic Mythology_, i. -258). - -The story of the pied piper of Hamelin probably commemorates a -procession similar to the Echternach (see _Folk-lore Journal_, vol. ii. -209). - -With this may also be noted a dance recorded by Mr. Newell (_Games of -American Children_, p. 89), who states that the name "Threading the -Needle" is given to a dance in which hundreds take part; in which from -time to time the pair who form the head of the row raise their arms to -allow the line to pass through, coiling and winding like a great -serpent. When a French savant asked the peasants of La Chatre why they -performed this dance, the answer was, "To make the hemp grow." - -I remember when quite a small child planting hemp seeds in a patch of -garden ground, and being told by a maid-servant, an illiterate country -girl, that the seeds would not grow well unless we danced, we joined -hands and danced round and round in a circle, then stooped down and -jumped about, saying, "Please, God, send it all up," then again danced -round. This may have been said only to amuse us, but it may also have -been the remains of an old festival dance. I believe there were more -words, but I cannot remember them. Hemp seed is associated with -ceremonies of magical nature, being one of those used by maidens as a -charm to enable them to see a future husband. - -Representation in pantomime of the different actions used in the -ceremonies of sowing the grain, its growth, and the consequent reaping, -binding, and carrying the grain, are practised in different parts of the -globe. This is brought down to later times by the custom noted on p. -319, vol. i., where from _Long Ago_ and Best's _Rural Economy of -Yorkshire_ (1641), instances are given of it being customary, at -harvest-homes, to give representations of "hirings" of farm-servants. -The hiring of a farm labourer, the work he had to do, his terms of -service, and the food to be supplied him, were dramatically performed, -showing clearly that it had been customary to go through this sort of -thing, in earnest of what was expected--in fact, a sort of oral -contract, in presence of witnesses. - -I will conclude this part of my evidence by a summary of the conclusions -arrived at by anthropological authorities. - -Sir John Lubbock, in _Origins of Civilisation_ (fifth ed., p. 257), -says, "Dancing among savages is no mere amusement." He quotes from -Robertson's _America_ (iv. p. 133) as follows: "It is an important -occupation, which mingles in every occurrence of public or private life. -If any intercourse be necessary between two American tribes, the -ambassadors of the one approach in a solemn dance, and present the -calumets or emblem of peace; the sachems of the other receives it with -the same ceremony. If war is denounced against an enemy, it is by a -dance expressive of the resentment which they feel, and of the vengeance -which they meditate. If the wrath of their gods is to be appeased, or -their beneficence to be celebrated; if they rejoice at the birth of a -child, or mourn the death of a friend--they have dances appropriate to -each of these situations, and suited to the different sentiments with -which they are animated. If a person is indisposed, a dance is -prescribed as the most effectual means to restore him to health; and if -he himself cannot endure the fatigue of such an exercise, the physician -or conjurer performs it in his name, as if the virtue of his activity -could be transferred to his patient." - -Sir J. Lubbock mentions some special dances practised among different -peoples, and gives an illustration of a circle dance practised by the -natives of Virginia round a circle of upright stones (p. 268). - -Dr. Tylor (_Anthropology_, p. 296) says, "Savages and barbarians dance -their joy and sorrow, love and rage, even their magic and religion. The -forest Indians of Brazil, rattle in hand, stamp in one-two-three time -round the great earthen pot of intoxicating kawi-liquor; or men or women -dance a rude courting dance, advancing in lines with a kind of primitive -polka step; or the ferocious war-dance is performed by armed warriors in -paint. We have enough of the savage left in us to feel how Australians -leaping and yelling at a corrobboree by firelight in the forest can work -themselves up into frenzy for next day's fight. But with our civilised -notions it is not so easy to understand that barbarians' dancing may -mean still more than this; it seems to them so real, that they expect it -to act on the world outside. Such an example as the buffalo dance (given -_ante_, p. 518) shows how, in the lower level of culture, men dance to -express their feeling and wishes. All this explains how in ancient -religion dancing came to be one of the chief acts of worship. Religious -processions went with song and dance to the Egyptian temples, and Plato -said all dancing ought to be thus an act of religion. . . . Modern -civilisation has mostly cast off the sacred dance. . . . To see this -near its old state the traveller may visit the temples of India, or -among the Lamas of Tibet watch the mummers in animal masks dancing -the demons out or the new year in, to wild music of drums and -shell-trumpets. Remnants of such ceremonies come down from the religion -of England before Christian times are still sometimes to be seen in the -dances of boys and girls round the midsummer bonfire or mummers of -Yuletide." - -Dr. Tylor continues: "At low levels in civilisation it is clear that -dancing and play-acting are one. The scenes of hunting and war furnish -barbarians with subjects for dances, as when the Gold Coast negroes have -gone out to war and their wives at home dance a fetish dance in -imitation of battle to give their absent husbands strength and -courage. . . . Historians trace from the sacred dances of ancient Greece -the dramatic art of the civilised world. Thus from the festivals of the -Dionysia arose tragedy and comedy. In the classic ages the players' art -divided into several branches. The pantomimes kept up the earliest form, -where the dancers acted in dumb show such pieces as the labours of -Herakles, or Kadmos sowing the dragons teeth, while the chorus below -accompanied the play by singing the story. The modern pantomime ballets -which keep up remains of these ancient performances show how grotesque -the old stage gods and heroes must have looked in their painted masks. -In Greek tragedy and comedy the business of the dancers and chorus were -separated from that of the actors, who recited or chanted each his -proper part in the dialogue." - -Grimm (_Teutonic Mythology_, i. p. 43), says, "Easter fires, May Day -fires, Midsummer fires, with their numerous ceremonies, carry us back to -heathen sacrifices, especially such customs as rubbing the sacred flame, -running through glowing embers, throwing flowers into the fire, baking -and distributing loaves or cakes, and the circular dance. Dances passed -into plays and dramatic representations." - -It is then clear that dances accompanied with song and pantomimic action -have been used by men and women from the earliest period of which we -have record, at all times and upon all occasions. In times of joy and -mirth, sorrow and loss, victory or defeat, weddings and funerals, -plagues and pestilences, famine and plenty, civilised and savage alike -dance, act, and sing their griefs and their joys. The gods of all -nations have been worshipped by pantomimic dance and song, their altars -and temples are encircled by their worshippers; and as the occasion was -one of fear or joy, and the god entreated or terrified by his followers, -so would the actions and voices of the dancers be in accord. When once -certain actions were recognised as successful, fitting, or beautiful, -they would tend to become repeated and stereotyped, and the same form -would be used for other gods, other occasions, and other customs where -the requirements were similar or the same. The circle dance, for -instance, after being performed several times would necessarily become a -part of the religious customs or ceremony, and form a part of the -ordinary religious observance. It would become particularly associated -with the place where it was first instituted, and might be used to -inaugurate other festivals. We know that the early Christians when -taking over to their use the temples and altars of their so-called -heathen predecessors, or when erecting a church where a temple had -previously stood, held their worship there and performed their dances to -their God as the heathens had done to theirs. The custom of encircling a -church on its festival day existed until lately in several parishes in -England, and this could only be a descendant of the custom once held -sacred by all the followers of one belief, demonstrating by their action -in group form the fact that they all believed in the same thing and held -together, by the clasp of hands and the dance round, their determination -to hold to and keep to it. - -If these customary dances obtained and have survived in religious ritual -to the present day, is it not to be expected that we should find -survivals in dance form of non-religious customs which also impressed -themselves strongly on the minds of the people? Births, marriages, -deaths, the sowing and gathering in of the crops; the protection of -cattle from disease and animals of prey; the necessity for water and -fire; the protection of the house and the village--have all helped to -surround these events with ceremonials which have lasted, and been -transmitted from generation to generation, altering to suit later ideas, -it is true, but preserving through all some trace of the events which -first called them into existence. - -It is because of this tendency to believe more in the power of -expression by action, than in the power of expression by language alone, -that dramatic action and gesture have formed such a necessary part of -representation of custom as to become an integral part of it. Limited as -is our knowledge of the popular plays performed about the country by -troops of strolling players before the age of the written play, we know -that their chief attraction must have been the dramatic rendering of -characters and events personified by certain well-known actions of the -actors, accompanied by special style of dress, or portions of dress, -which were recognised as sufficient in themselves to show who and what -was being personified. The story was shown more by action than by words; -the idea being to present events to the onlooker, and impress them on -his mind. It is in these dramatic performances of what was expected we -have the germs of the dramatic art that afterwards developed into the -regular play or drama. Every important custom of life was probably -depicted by pantomimic action. We have, first, words, describing the -events, sung or said by a chorus of onlookers and dancers, afterwards a -short dialogue between the chief characters taking the place of the -chorus, and then, as the number of characters were increased, the -representations become something that could be performed independently, -without the need of a particular season or custom to render it -intelligible. - -At this stage of the primitive drama the characters merely present -actions of the _dramatis personae_ time after time, always performed in -the same manner, and this would produce conventional methods of -presenting certain events. We know that events of a religious nature -were presented in the same manner by the Church. This must have been in -consequence of the attraction plays possessed as depicting pagan -religion and events of ordinary life and manners and customs. It is -easily conceivable that before the era of books and literature, a rough -sort of presentation of life, present and past, would be eagerly -welcomed; and it would not be until the advent of a writer who developed -the individual acting, at the expense of the event depicted, that what -we know as a play could be written. - -Mr. Ordish, in his study of Folk drama, published in the Folk-lore -Society's journal, has conclusively proved the development of the drama -independently of the miracle and mystery plays of the Middle Ages, or -from the old Greek plays, and this development has taken place through -the action of the people, always accustomed to the influence of dramatic -representation. Hence in the remains of the traditional games we have -preserved a form in which we can see the beginning and early development -of the drama. When once the line form was firmly established as an -indication of two opposite parties, it would be used for such indication -wherever it was required, and thus it became the common property of the -children's game and the early stage. The remains of the line and circle -form, as denoting opponents and friendly communion can, I think, be -traced in old plays and old methods of acting. - -In old pantomimes, the demons or evil spirits and their followers enter -on one side and stand in lines; the good fairy and her followers enter -on the opposite side and stand in line; the principal characters advance -from the line, and talk defiance to each other. We do not have a circle -form on the stage, but a half-circle, seated on the stage, is or was -until comparatively lately a method of representing a social or family -party. Every one who has seen a mummer's play performed, either in or -out of doors, will be aware that the same method obtains in them--the -performers are all on the stage or stand together at once, walking -forward as each one's name is mentioned, saying his allotted part, and -then standing back again, while the next player has his turn. - -The action in these plays has remained in stationary form; as far as the -method goes there has probably been very little difference in the manner -of presenting them for a long period of time. - -These traditional games are valuable, therefore, for the information -they afford in a direction not hitherto thought of, namely, in the study -of the early drama. If the drama can be seen in its infancy anywhere, -surely it can be seen in these children's plays. - -The study of children's games takes us, therefore, into several -departments of research. Many traces of customs that do not belong to -modern life, customs that take us back to very early times indeed, are -brought before us. The weapons are bows and arrows, the amusements -hunting and hawking; animals are found in such close relationship with -human beings, that only very primitive conditions of life would allow: -contests between men and women occur in such a way that we are taken -back to one of the earliest known customs of marriage, that known as -marriage by capture--then from this stage to a later, where purchase or -equivalent value obtains; then to a marriage with a ceremony which -carries us back to the earliest forms of such ceremonies. That such -customs can be suggested in connection with these games goes far to -prove that they, in fact, originate the game--that no other theory -satisfactorily accounts for all the phenomena. - -In looking for the motive power which has caused the continuity of these -customs to be practised as amusements, we have found that the dramatic -power inherent in mankind supplies the necessary evidence, and from this -stage we have been led to an interesting point in the early history of -the drama and of the stage. It is not, therefore, too much to say that -we have in these children's games some of the oldest historical -documents belonging to our race, worthy of being placed side by side -with the folk-tale and other monuments of man's progress from savagery -to civilisation. - -ALICE B. GOMME. - - -THE END - - - Printed by BALLANTYNE, HANSON & CO. - Edinburgh & London - - - - -Transcriber's notes: - - -General: - -This eBook is Volume II of a two-volume work. Volume I is available as -ebook number 41727 via the website of Project Gutenberg -(http://www.gutenberg.org/ebooks/41727). Because Volume I was published -in 1894 and Volume II in 1898, there is no symmetry in the references -between the two volumes (for example, Gled Wylie from Volume I does not -refer to Shue-Gled-Wylie from Volume II, whereas Shue-Gled-Wylie does -refer to Gled Wylie). - -This text follows the original printed work, including inconsistencies. -Inconsistencies include differences in spelling of the names of games -and locations, differences in transcription of dialect, inconsistencies -in lay-out, etc. Where changes were made, these are documented below. - - -References: - -Both volumes contain some uncertain references to (other) games, caused -by the naming and/or spelling of game names. Where these differences -were trivial (for example, Wolf and Lamb versus Wolf and the Lamb), -their identity has been assumed silently. Following is a list of less -trivial references. - -The game Stag is often referred to as Stag Warning, but occasionally -they are listed as thought they were separate games. - -Page xiv: Lubin, Looby Loo is listed as game in the Addenda, but not -present there; Hulla-balloo-ballee is not listed, but present in Addenda -(including references to Lubin and Looby Loo). - -Page 56: reference to the Scottish version. From the text and the -analysis this is probably version XVIII. - -Page 145: reference to Tag. This game is not listed as such, but -according to the description it could be a version of French Jackie, -which is called French Tag in some places. - -Page 282: reference to See the Farmer Sow his Seed, which is not a -separate game, but one version of Oats and Beans and Barley. - -Page 307 and 421: reference to Twos and Threes, which is not a separate -game, but a local name for Round Tag. - -Page 383: reference to Silly Young Man, which is probably a mistake for -Silly Old Man. - -Page 436: reference to Jolly Lads, which is not a separate game -(probably the game intended is Jolly Sailors). - -Page 467: reference to Drummer Man; no such game listed, the only -Drummer Man occurs in one of the variants of Follow my Gable. - -Page 470: reference to Lugs; there is no such game listed, possibly this -should be Luggie. - -Page 476: reference to Old Widow; there is no such game listed, it could -be a reference to Poor Widow; Baste the Bear, ditto, this is mentioned -under Badger the Bear; Old Woman, ditto, this could refer to Dumb -Motions. - - -Textual remarks: - -At least some of the quotations presented by the author are not verbatim -quotations, they have been edited by the author (for example Aubrey on -cockle-bread). - -In the Addenda, the original work uses Arabic rather than Roman numerals -for different variants; this has not been changed. - -The original work uses both 2-4 and 2/4 to indicate musical time; this -has not been standardised. - -Page 199: Love another like sister and brother is probably a mistake -(Love one another like sister and brother). - -Page 336/7: The original work does not give a source or authority for -variation XXV. - - -Changes made to the original text: - -Footnotes have been moved to end of the description of the game or to -immediately underneath the relevant paragraph (in the Memoir). - -Sources (when printed in smaller type in the original work) have been -moved to a separate line where necessary. - -In the Addenda, the references to games have been moved to the next -line. - -First page: mustergiltig changed to mustergueltig (exemplary) - -Page vii: Pocklington Coltman changed to Pocklington-Coltman - -Page xiii: Teesty-Totsy changed to Teesty-Tosty as in text - -Page xv: Game Hulla-balloo-ballee added to list - -Page 35: the other player's changed to the other players - -Page 56-60: some rows consisting of dashes only were combined in the -original work, these have been split into separate rows - -Page 66: Hurstmonceaux changed to Hurstmonceux as elsewhere - -Page 67: Hurstmonceaux changed to Hurstmonceux as elsewhere - -Page 88: galop changed to gallop as elsewhere - -Page 100: square brackets moved from line of verse to explanation, as -elsewhere [I pray ... the ball], putting ... three girls. changed to I -pray ... the ball, [putting ... three girls.] - -Page 101: square bracket after yield up the ball. removed - -Page 108: Egmond changed to Edgmont - -Page 150: Biddgelert changed to Beddgelert - -Page 153: (variant VIII) rise, Sally changed to rise, Sallie - -Page 167: Strixwould changed to Stixwould - -Page 192: Encyclopedia changed to Encyclopaedia as elsewhere - -Page 212: seldom or ever changed to seldom or never - -Page 214: Warkwickshire changed to Warwickshire - -Page 221: 1 and 2 changed to I and II as elsewhere - -Page 274: come with we changed to come with me - -Page 304: Schir, [zeta]it remembir as of befoir changed to Schir, -[yogh]it remembir as of befoir - -Page 321/2: I. and II. added for consistency - -Page 323: Collyhurst changed to Colleyhurst as elsewhere - -Page 324: Ill changed to I'll - -Page 333: Sprole changed to Sporle - -Page 347: Hartley Witney changed to Hatley Wintney - -Page 359: Authencairn changed to Auchencairn - -Page 360: beleagured changed to beleaguered - -Page 411: 229-303 changed to 299-303 - -Page 412: Page 292 changed to Page 294 - -Page 415: Doagan: placed on separate line as other section headers - -Page 423: reference to Wads and the Wears: vol. i changed to vol. ii - -Page 438: 315-319 changed to 313-319 - -Page 462: Tuilzie changed to Tuilyie - -Page 464: Johnny Hairy changed to Johanny Hairy - -Page 466: Cobler's changed to Cobbler's - -Page 469: Spangle changed to Spangie - -Page 475: Babity changed to Babbity as elsewhere - -Page 476: Granny Crow changed to Cranny Crow; Rushes changed to Rashes - -Page 477: Tuilzie changed to Tuilyie - -Page 499: and in animals of the chase changed to and in these animals of -the chase - -Page 482: Johnny Hairy changed to Johanny Hairy - -Page 506: Orange and Lemons changed to Oranges and Lemons - -Page 517: mother's have children changed to mothers have children - -Page 519: "Secular and Ceremonial Dances" of Torres Straits changed to -"Secular and Ceremonial Dances of Torres Straits". - - - - - -End of the Project Gutenberg EBook of The Traditional Games of England, -Scotland, and Ireland (Vol II of II), by Alice Bertha Gomme - -*** END OF THIS PROJECT GUTENBERG EBOOK TRADITIONAL GAMES, VOL II *** - -***** This file should be named 41728.txt or 41728.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/7/2/41728/ - -Produced by David Edwards, Harry Lame, the Music Team (Anne -Celnik, monkeyclogs, Sarah Thomson and others) and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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