The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2)
by Alice Bertha Gomme · English · Gutenberg #41728 · 1,049,441 chars · public domain (US)
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Title: The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2)
Author: Alice Bertha Gomme
Release date: December 29, 2012 [eBook #41728]
Language: English
Other information and formats: www.gutenberg.org/ebooks/41728
Credits: Produced by David Edwards, Harry Lamé, 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)
*** START OF THE PROJECT GUTENBERG EBOOK THE TRADITIONAL GAMES OF ENGLAND, SCOTLAND, AND IRELAND (VOL 2 OF 2) ***
Produced by David Edwards, Harry Lamé, 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 für vergl. Literaturgeschichte._--"In jeder Beziehung
erschöpfend und mustergültig."
_Zeitschrift für Pädagogie._--"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 beäns and barley graws,
As you and I and every one knaws.
. . . . .
Waätin' for a pardner.
Fust the farmer saws his seäds,
Then he stands and taäke his eäse,
Stomps his feät and clops his hands,
And turns him round to view his lands.
Waätin' for a pardner.
Now you're married you must obaäy;
Must be trewe to all you saäy;
Must be kind and must be good,
And help your wife to chop the wood.
Waätin' 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 formulæ 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 wëare it? Zo I do;
I'd wëare it where I con,
To tëake 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 cunnèn 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 rëade wone, we must rëade 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:-
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