DAVID 
 
 NUTT &. IN THE STRAND 
 
 AND M ACMILLAN AND C? NEW YORK 
 

 1246 
 
 
 (l^actteU Hniuetsitg Hibtarg 
 
 Jtljiaca, S?eni ^otk 
 
 BOUGHT WrTH THE INCOME OF THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 HENRY W. SAGE 
 
 189l' 
 
nrr 1 I^AfiKJ 
 
 ^«i8*- 
 
 3 1924 100 672 330 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924100672330 
 
CHILDREN'S SINGING GAMES 
 
fCHILpREN^S SINGING GAMES 
 
 tunes to whicK they aore s ung w ?^>» 
 
 IBil'^JiIMJI 
 
 Xla5 
 
 Collected ^ Edited 
 
 BY 
 
 Alice B Gomme 
 
 PICTURED W BLACKSLWHITE 
 BY 
 
 Winifred Smith 
 
 «^c. 
 
 .3^K9 
 
 DAVID NUTT IN THE STRAND 
 
 LONDON 
 MACMILLAN&e NEWYORK 
 

 fy\^Ao^o| 
 
to 
 MY BOYS 
 
 IN MEMORY OF THE HAPPY DAYS 
 WHEN WE PLAYED TOGETHER 
 
ESSCSBSS^SS 
 
 
 ^ss 
 
 EEsa^ssssa 
 
 »S ingingTO^ ^amcs^ 
 
 L^Jl.i^^^»^W^^l 
 
 PREFACE 
 
 T a time when the amusement of children 
 is more than ever considered to be an 
 essential part of their up-bringing, it 
 seems opportune to again introduce to 
 those who do not know them otherwise, 
 the traditional games preserved by 
 generations of children. At almost every 
 school where the delightful Kindergarten system is in vogue, 
 the summer or winter concert generally includes one or 
 more games. But go6d as these games are, they after 
 all bear the stamp of their origin as one of the means 
 for instruction. The^e is an absence of the wild uncon- 
 sciousness of the traditional game and any one who 
 watches, as I have done, such a game as, " Jenny Jones " 
 played without the superintendence of any teacher or 
 grown-up person, by the little children gambolling on 
 the village greens out of school hours, or even in the 
 murky and sunless courts of London, will at once recognise 
 that there is a power in these games to fascinate and hold 
 the minds of the players in a way that is almost unexplainable 
 by description, and not to be obtained by the modern 
 invented game. The pathos, the fun, and the " go " which 
 
 1 
 
 
T^i^m'^^. 
 
 PREFACE 
 
 accompany every action of children while playing their own 
 games, are unsurpassed and unsurpassable. 
 
 When one considers the conditions under which child-life 
 exists in the courts of London (with which I am most 
 acquainted), and of other great cities, it is almost impossible 
 to estimate too highly the influence which these games have 
 for good on town-bred populations. Of course, no mention 
 
 made of them in official statistics ; but I for one feel 
 certain that no real criminal, emanates from that large class 
 of dirty, but withal healthy-looking, London children who 
 play " When I was a Young Girl," and " Poor Mary sits a- 
 Weeping," as if their very lives depended on the vigour and 
 fervour they put into their movements. To those of my 
 readers who are interested in London life or in the evolution 
 of town life generally, I can promise considerable enjoy- 
 ment by a visit to some of the slums and courts where these 
 games are going on ; and our reformers may learn a lesson 
 from them, and perhaps see a way out of the dismal fore- 
 bodings of what is to happen when the bulk of our 
 population have deserted the country for the towns. 
 
 That it is possible to reduce the inequalities always 
 perceptible on the village green, and still more so in the 
 streets, and to arrive at good singing and good acting without 
 losing one bit of the frolic and characteristic "go," was 
 proved when in 1891 I presented, for the amusement of a 
 
 ^f^^t^^^^.S!^/A'■s^^Jr>s. 
 
 10 
 
Sftiging 
 
 
 i:i=>',*f«»*2ii*«e/.>«A; 
 
 PREFACE 
 
 grown-up audience of Folkloreists from all parts of the 
 world, some specimens of children's games from the village 
 green of Barnes, For I am assured by the universal appro- 
 bation which these items on the programme of the Con- 
 versazione at Mercers' Hall received, that these games, if 
 faithfully reproduced from the traditional versions, are 
 capable of giving great enjoyment to children who, alas ! 
 have not learnt them in the traditional method. It is one 
 of the misfortunes of present-day society that pur children 
 lose the influences derived from the natural playing of 
 games ; but in every direction attention is being given in all 
 classes to the necessities of recreation, and these games 
 afford one of the most pleasant means of supplying that 
 necessity. 
 
 There, is one other aspect of these games which cannot but 
 interest those who like to think and believe that their lives 
 are linked indissolubly with the generations who have 
 preceded us. Children are always mimics, or rather uncon- 
 scious dramatists of the real events of life ; and the action 
 and words of some of these games are so divergent from 
 present-day life, that we must look to the events of earlier 
 periods for an explanation of them. It is impossible that 
 they can have been invented by children by the mere effort of 
 imagination, and there is ample evidence that they have but 
 carried on unchangingly a record of events, some of which 
 
 ^-r'vrJ:J"3^ 
 
 ns 
 
 • V 
 
 ^^sum 
 
 II 
 
lildr^n's I Singing flCcames 
 
 > 
 
 
 — ^ *^ -^ '-*^*^-'-*'-* ^^rrrms^ 
 
 PREFACE 
 
 belong to the earliest days of the nation. In the Notes, I 
 have indicated where early customs appear to have been 
 enshrined in these games; and vnthout devoting several 
 pages to prove these suggestions, I trust they may be 
 sufficiently evident to interest those of my readers who will 
 care more for the games when they know that they are 
 genuine records of the past, than if they were merely 
 presented as collections of the present day. This is not the 
 place to do more than state that children's games form a 
 section of folklore — those traditions, that is to say, which 
 are now being carefully studied as important contributions 
 to the past history of the nation. 
 
 This little book, then, goes forth to my little readers as a 
 message of happiness and fun from children who have 
 played the games it contains perhaps for centuries of time ; 
 and it goes forth to those who will use it to teach the games 
 as a memorial of children's days, which few of us can 
 altogether afford to forget. 
 
 The tunes have been harmonised by my sister, Mrs. 
 F. Adam. 
 
 ALICE B. GOMME. 
 
 Barnes Common, 
 
 Marci 1894. 
 
 |\ -^^ ^.-ff -^^ggl 
 
 r=^r<^^f/s:^^.s^fy^^Kof^; 
 
 12 
 
e5^QXS2^©^WHEN • I-'WAS • A-YOVNGL 'GIRL* <!PS^^§i%&®. 
 
 14 
 
^ 
 
 When I was & youn^dirl & youn^^rl a ^^oun^^ivlwhen 
 
 ^^ 
 
 .0^ 
 
 ^A 
 
 ^n"] > i| rr^ :^^ 
 
 <y 
 
 I vras a your^girl Kow happy was 1 ,d.n<) tints way &nci tVi at way and 
 
 ^ 
 
 i > l fl / I 
 
 ^ 
 
 fcfe 
 
 ^^ I ' >^ I ^ rail 
 
 1^ 
 
 Hits way and th&t wa^ andl tlus vsraiy &nd tKatw2y oh this way went 1. 
 
 ^'->VJ\ ■ y T\ 
 
 =^=^ 
 
 15 
 
WHEN I WAS A YOUNG- QIRL 
 
 Wlien I was a scliQol^rt , a schoolgirl , a sclxoo^irl . J^ J^'^i^ 
 When Iw«.s d> school^rl, oh this w£^ went 1 . -^a/a/a.'S»/a*« 
 Ancl Ihis way and 1hat way and tliisway and lliatway-^ 
 WVien I was a schoolgirl , oh this way went I .-2^— >> ->« 
 
 i6 
 
\)7HEN I^W?^S A YOUNG GIRL Con^i> 
 
 Whenlwasa.te&cher, a Te etcher, ateakcher, 
 hen I was a leacKer , oh this -way went 1 . 
 And rtiis -wAyScthaT way^lkisway&lihatway 
 ^X^en I -was & teacher, oh this wsc^went I. 
 
 When I had a svveetheart, a sweet1ieakit,a sweet- 
 hen I had a sweetheart, oh ftiis way went 1. 
 And this way 5c that way Sethis waySthatway 
 Whenlhad a sweelhean,oh this way went I. 
 
 Vwhen I had a husband, ahusban<l,aiius{>ai)cl 
 ^^ hen I had ahusba,nd,oh this way went I . 
 A ndthiswaySthat waySc this wey&ti:iat way 
 
 * *When I had a husband^ oh this wzy went I 
 
 ,-^- 
 <>«* 
 
 :id-k 
 
 
 When I had a baby, - 
 hen I had a baby- - 
 A nd this wac/Sc tha^ way- 
 ^Whenlhadaba^by^- 
 
 When I had a. donkey, . 
 hen I had a donkey . 
 A nd this,waySc Hiatwasy 
 -/iWhen I had a donkey . 
 
 
 
 a baly,aibaby, 
 oh this way Went I . 
 andjhis way Sc. that way 
 oh Ihis way "Went 1. 
 
 a donkey, a donkey , 
 oh this way went I . 
 and this waySc tha^tway 
 oh this way went I , 
 
 J| 
 
Wk^n I 
 
 toc4c i« 
 
 15 
 
 Wh 
 
 en 1 was 
 
 a >^oung 
 girl 
 Continued 
 
 va: 
 
 VV tiehl took in washing, ohvrasKing , oK wasKing, 
 ^K^hen I took in washing, oh this W2jr went I . 
 And this way ^ that way Sethis waySc that way 
 when 1 took in washii^^ oh this way went I . jg^^ 
 
 When ray bahy died, oh died, oh died, 
 XJC^hen my h^ay died , how sorry wajs 1 . 
 
 n.nd this "way & that wayS this v/ayStthat vsray 
 Jvhcnmybaby died, oh this way went I. 
 
 VVnkenxnyhiishanddied> oh died, oh died » 
 ^Q^lien nny husb&nd died , how sorry %vas I . 
 A.nd this "waySc that W2y Sc thiswaySf that way »»- 
 
 I\X^hennry hushand died, oh this way vrent I . 
 
 J8 
 
t>e>Kr/>!H>-j>'w^'iS T N_r'*- 1 S ^nSrTi-/r>^ TV 
 
 ^•»aj jitK->i\'.^T^>^ 
 
 CbildtetVsiKSingittg^ftCiaimc s 
 
 Ksesissssii 
 
 3sz;]ssssa^ 
 
 Directions for Playing 
 
 WHEN I WAS A YOUNG GIRL 
 
 Jny O^mber of Children may Tlay 
 
 HE players join hands and form a ring. 
 They all dance or walk round, finging the 
 words and keeping the ring form until the 
 end of the fecond line of each verfe. They 
 then unclafp hands, ftand ftill, and (in the 
 firft verfe) each child takes hold of her 
 drefs with her hands and dances a ftep to the left and another 
 to the right, two or three times, finging the other two lines 
 of the verfe, and at the words " this way went I," turns herfelf 
 right round in a pirouette, finifhing with her face to the centre 
 of the ring. The children then all join hands again, and 
 ling the two firft lines of the fecond verse, then again ftop, 
 unclafp their hands, walk round fingly, and fuit their anions to 
 the words they have juft fung. This is continued through- 
 out the game. 
 
 19 
 
^2S53!SZSXl^a^S^SSZSZ3ZZ^!5 
 
 Cbildtc n'siS inking flCcames 
 
 BS 
 
 f\8S'\>ffl'i 
 
 '^mj,, ■, 
 
 WHEN I WAS A YOUNG GIRL 
 
 The diiFerent adtions are : Dancing for the firft verse, as 
 defcribed above ; Holding both hands together to form a book 
 for " fchool-girls," and walking flowly round as if learning 
 leflbns or reading ; Hearing lejjons, and pretending to " rap 
 hands with the cane " when adling Teacher ; KJJJing hands, 
 or " throwing a kifs " while walking round, for " when 
 I had a fweetheart " ; Walking round in couples, arm-in- 
 arm, for " when I had a hufband " ; Pretending to nurfe 
 and hufli a baby in the fixth verse ; Pretending to drive a 
 donkey, by taking hold of each other's fkirts and ufing an 
 imaginary whip in the feventh ; Pretending to wafli and 
 wring clothes in the eighth ; Tutting handkerchiefs to their eyes 
 and pretending to cry in the ninth ; fitting on the ground, 
 putting handkerchiefs or pinafores over the face and head, 
 and rocking themselves backwards and forwards, as if in the 
 deepeft grief, for the laft verse ; Always joining hands and 
 walking round in a circle when finging the two firft lines 
 of each verse. 
 
 20 
 
'©'@'6>WE'VE-C0ME-TO-SEE-P0OR- JENNY- JONES' .^^'© 
 
 OKI Jenny iswashing.washinjg.washin^j 
 
 Ok! Jenny ia vvashing 
 \ou can't see her now. 
 
 22 
 
We've coRie lb see poor Jenny Jones. Jeninr J?*^? > tJennyJo 
 
 We've come lb- see poor Jenny^ Jones , Jeni^ Joiws , Jeni^ Jones^ft^ 
 
 f f i > f fir T n> f 
 
 ^ 
 
 f 
 
 f 
 
 f 
 
 ^^ 
 
 ^ 
 
 J J I J . 
 
 ^ 
 
 cometoseepoorJennv Jones Kow is sKe nowr? 
 
 ^ 
 
 rf I ^rf i, f m ^ 
 
 1^ 
 
 f 
 
 23 
 
WS ;iL^ r ■■.. 
 
 POORJENNY-JONES 
 
 JENNY JONES 
 
 Mother 
 
 Oh'. Jeniy is 'washing,'wasliing,'WaslMng, 
 Oh'. Jeniyiswashin^, you cant see hernow. 
 
 Suitors , v , 
 
 VV/e ve come to see poor xienny v/ones, Jennyvones 
 
 V^ve come to see poor Jenny xAones , how^ is Ae 
 
 uovv? 
 
 Mother 
 
 Oh! Jenny is starching, starching, starchit^. 
 Oh! Jenny is starchin^>you cant see her now. 
 
 Suitors i^^ 
 
 NX^ve come to see poor Jenny Jones,Jenny Jone% 
 
 vC^ ve come to see poor Jenny Jones how is she 
 
 now? 
 
 24 
 
^ENNY JONES CONTP 
 
 _, , Mother 
 
 On! Jemiyis ironing, ironing, ironin_,. 
 
 Oh ! \fennyi5 irotiii^ , you caul see Her now 
 
 W7h . Suitors jeWone* 
 
 We've come To see pooTxyenny Jones, Jenny Jones, 
 \X^Vc come to see poor Jenry^Lnes &:hawisshenovvt 
 
 p , Mother 
 
 ^of Jenry is ill , is ill , is ill , 
 
 Poor Jenw is ill, you cant ^eehernow. 
 
 w/k r Suitors JennvJl)nes 
 
 »■ WeVe come To see poor Jenny Jones , Jeniy Jones > 
 C We've come to see poorJienny Jones,S: howfs she now? 
 
 Mother 
 
 foor Jenry is dying, isd^ing, is dying, 
 Poor Jenty is dying, you cant sec her now. 
 
 Suitors Jennyjone^, 
 WeN« coiffie to see poor Jenny x^nes, Jenny Jones / 
 We've come to see poor Jenny Jones & howis she now? 
 
 , . Mother 
 
 <30r Jenny is dcacl, dea-d , deaud, 
 
 oor Jenny is deaui.you cant see her now. 
 
 -r . ^ A^^ 
 
 Ihere's red for the Soltters Sr blue for the sailors, 
 
 And black for the mourners of poor Jenny Jones . 
 
 1 
 
 ' ioor Jenry is dying 
 
 ^Br* 
 
 25 
 
Cbildtunls rSinging l<James 
 
 ZSZSE^a^^SSSSESZEZSS 
 
 esss^^ssaa 
 
 JZ2SSS 
 
 SSSSESSSX 
 
 Directions for Playing 
 
 J E NNY JONES 
 
 Several Children can Tlay at this Game. tA small 
 HJ^umhr is as well, or better, than a larger 
 
 WO children ftand on one fide; one per- 
 fonates the Mother, who ftands ftill and 
 holds out the fkirts of her drefs wth both 
 hands ; the other perfonates Jenny Jones, 
 arid kneels or ftoops down in a crouching 
 attitude behind her companion's extended 
 drefs. The other players form a line by joining hands. 
 They fing the firft, third, and every alternate verfe, advanc- 
 ing and retiring in line while doing fo. The Mother fings 
 the anfwers to their queftions (fecond, fourth, and alternate 
 verfes), Handing ftill and hiding Jenny Jones all the time 
 from view. When all the verfes but the laft one are fung, 
 Jenny lies down as if dead, the Mother ftands afide, and two 
 
 26 
 

 JENNY JONES 
 
 of the other players then take up Jenny Jones, one by the 
 fhoulders and the other by the feet, and carry her a little 
 diftance off, where they lay her on the ground. They then 
 ftraighten her drefs, place her arms by her fides, or acrofs 
 her breaft, ihe lying ftill and clofing her eyes. All the 
 players follow, generally two by two, with their handker- 
 chiefs at their eyes and their heads lowered, as if in grief. 
 Then they form a circle, join hands, and ftand round 
 the proftrate Jenny Jones, the Mother at her head, and 
 then fing with their heads lowered, and in flow, mournful 
 tones, the lafl: verse. The game then begins again, with 
 two other children as Mother and Jenny Jones, the former 
 two joining the line. 
 
 
 27 
 
'J^ 
 
 GREEN GRiWELU 
 
 slowly 
 
 ifi II I j -MJijI 
 
 ^ 
 
 i Ji'i 
 
 i 
 
 Gcreen^revel ^^reen^avel your jg,rass is so ^reen.'Pke'&rest yaui^ 
 
 | ^"^' | | f 1 1 | r I i i I I'l M ' l 1^ 
 
 ^ 
 
 i ;IUi-l | . l i 
 
 i 
 
 f> I ' » # — a 
 
 *" * ^ 
 
 damsel tkat ev-er was seen. Ill wasKyou in newmilkanJ clvessyouin 
 
 S 
 
 ri'i I n I ifri i rri ' rr ' ' m' 
 
 i'i ' ii I i ii I iLi i I J j ij 
 
 ^ 
 
 a 
 
 silk . an^ 'write Aawa your name vritK & ^M pen and ink . OK 
 
 ffMr r M r f I i | I I i| I I 
 
 28 
 
r 
 
 ^m 
 
 st 
 
 J I H i J 1 I I i 
 
 i 
 
 ( Ma-ry) OK (Maryy your true love is clea4 He s 
 
 h- I ' f T i ^ ^ M 
 
 P 
 
 f I I i| I I _^ ii' I 1 1. 1 I 
 
 Sent you a let— -tex to ttirn round your head. 
 
 
 29 
 
^^^(^^ GREEN 4/ GRAVEL 
 
 I f 1 Green gravel, green g^atvel, J^J^J/'ti^^\ ? I ' 
 5 * » "ti^fc^ilhNL'^'v^yDur gr&ss ss so green -»-»-»• 5 
 
 ..ya,^.^ 
 
CbildtetVSiKSinlitigra Cramc 
 
 Directions for Playing 
 
 GREEN GRAVEL 
 
 ^ny tHjimber of Children may Tlay 
 
 HE children join hands and form a ring. 
 They all walk round, keeping the ring form, 
 and fing the words. When finging the fifth 
 line, one of the children is " named " by 
 the others, and at the end of the fixth line 
 this child "turns her head" by turning 
 round and facing the outjide of the circle or ring, and having 
 her back to the injide. She joins hands again with the other 
 players, and the ring walks round finging the words again, 
 another child being named and turning her face to the outftde 
 of the circle. This is continued until all the children face 
 outwards, holding hands and walking round. In some places 
 the game ends here ; in others, it is continued until all the 
 players have again reversed their pofitions and face the infide 
 of the ring or circle, as at first. 
 
 31 
 
<22:^ss^s«59sa MILKING PAILS crsfiSfSS^s^'Gso 
 
 Buy me ac pair of new milk- 
 'ing pails Gentle 
 
 sweet mother o*Tnine. 
 
 3* 
 
Marys^o-ne a, milk — in^ tno— tlaer mo — ther. 
 
 {^m 
 
 ^ — ^ 
 
 ft rxift f t \ .^^ 
 
 F 
 
 (l l ^"" J J- / J 
 
 i 
 
 i 
 
 e=g=qv 
 
 ^=ii 
 
 £3: 
 
 *=* 
 
 Mary's ^one a tnilk— ir^ Gentle sweet motker o' mine 
 
 "Mrff f g l rtl te 
 
 3E 
 
 -^^ ^^ 
 
 33 
 
MIKKIN© 
 FAILS 
 
 alceyour pails and go after her /&e> 
 ^^^ <1 au^Kter 1 dau g titer . -<>«<k> 
 Takeyour pails and^go after her^ 
 Gentle sweet daugjaiter o*Tnine.« 
 
 uy me 2l pair of new milking pails 
 
 motKer, motner. 
 Buy rne apair of new milking pails 
 Gentle sweet mother o'tmne. 
 
 here'* the money to come from 
 
 daughter, daujghter. 
 Where's ttie nr»oney te come fVom 
 Gentle svfeet daughter o'nnine. 
 
 34 
 
my fatker's feather ted 
 motKer , mother 
 
 Sell 
 
 I moiner » Txioiner. 
 Sell my father's feather hed 
 Gentle sweet mother o'mine 
 
 AX^hat'a your faither to sleep in 
 
 daughter , daughter. 
 What's your father to sleepm 
 Gentle sweet daughter o'tnine. 
 
 Put him in the children's bed 
 -J mother » mother, 
 
 rut him in the children's hed 
 Gentle sweet mother o*mine. 
 
 35 
 
wn l^leep _ 
 
 Where shall the children go to tut them in the pi^ 5tye A, 
 d&ughten d&ughtei*. |5leep mother^ mother. \2SI 
 
 Where shaJl the children go to Bxt them in the pig stye 
 
 Gentle sweet daughter o'mine. Gentle sweet mother o*mine. 
 
 \XOi«.t shall the pigs lay in ^^ 
 
 daughter, daughter. 
 W^ha.t shall the pigs lay in 
 Gentle sweet daughter o*mine 
 
 D W 
 
 lut tKem in the washing tub ^ 
 
 mother, mother o«l 
 
 Put them in the washing tub Cj ) 
 
 Gentle sweet mother o*mne. W 
 
 36 
 

 ^OCHiat am I to 'w&sK in 
 daughter, daughter. 
 ^XHial am I to "wasK m 
 Gentle sweet daughter o*tnine 
 
 ^X^sntnyollT thifmbl 
 
 molKe/, mother. 
 ^X^ash in your tkimble 
 G-entle sweet mother o'»nine 
 
 ru 
 
 «JEL2r 
 
 The thimbte vwnt hoU your father's shirty 
 
 G^ daughter, daughter. 3P^ 
 The thimhle v^ont hold your father's shirt 
 c^ G^entle sweet daughter o*mine. Sf^ 
 
 37 
 
VC^sK in the tivct 
 
 mother, mother. 
 
 ^X/ksh \n the river 
 
 \)7>V 
 
 illllM" 
 
 %. 
 
 Gentle sweet 
 mother -»3.s« 
 o*mine. 
 
 -f4^^ 
 
 .iiU. 
 
 Suppose the clothes should tlow swsy 
 
 daughter , daughter.. 
 Ouppose the clothes should hlow zwvay 
 Gentle sweet daughter o*miiie. 
 
 "w:* 
 
 38 
 
WS^SHINTHE 
 
 B1VER>VV» 
 
 'WMOTHER 
 
 W 
 
 MILKING PAILS J/V/'j^ 
 
 X^WH'H'-H CONCLUDED 
 
 »^et ^^tltl^kti towatcli them 
 
 niotker> mother. 
 3et a, mean to watch Ihetn 
 Gentle sweet mother o'mine 
 
 Ouppose the m&n should ^o to sleep 
 
 claoi^hter, daughter. 
 Suppose the man should ^o to sleep 
 (Gentle s>veet daughter o*mine- 
 
 lalce A hoat and ^o after them 
 
 tnother , mother, 
 lake & boat And ^ after them 
 Gentle sweet mother o'nnine . 
 
 Ouppose the hoat should he upset 
 
 dau^hter^ daughter. 
 iJuppose the hoat should he upset 
 Oentle sweet daiighter o^m'ine . 
 
 1 hen there would he an end ofyou 
 mother, mother. c 
 
 Then there would he an end ofyou 
 Gk entle swee t mother o*mine . • 
 
 39 
 
" "-"r -^'<-r>'y^i^^->^^J''4-J^^^-^' -x-^^ ^^^ 
 
 r>y'■^^^w^>c■>Hi^^ 
 
 Child ren's I Singing fl<iames | 
 
 Directions for Playing 
 
 MILKING PAILS 
 
 j^ny tXjtmber of Children may Tlay 
 
 NE child ftands apart from the reft and 
 perfonates the Mother. She usually carries 
 a ftick. The other children form a line, 
 holding hands and facing the Mother. 
 They advance and retire, finging the firft 
 and every alternate verfe, while the Mother 
 ftands ftill ; then the Mother, advancing and retiring, in 
 responfe fings the fecond and alternate verfes, while the line 
 ftands ftill. While the laft verfe is being fung, the line of 
 children all run off" in different diredions ; the Mother runs 
 after them, catches and beats them. The firft or laft one 
 caught ufually becomes Mother in the next fet, the game 
 continuing until all have perfonated the Mother. 
 
 +0 
 
C^ 14.. 
 
 4=^=# 
 
 Here come tKree Dukes a. 
 
 ^m 
 
 m 
 
 I _ 
 
 !n^ I rf I J y f 
 
 Ifii ^l I II I M lift M| |^ I ^f=^ 
 
 ri-dinc^liere come three Dukes A ri-<3ing,-witK a rancy t&ncy tay. 
 
 ■'"■■iff i j [fFiJL -^jmrl 
 
 What is^ourjpoel will Sirs, 
 mtSirs, will Sirs. 
 
 Wn at is^our ^ood wiU Sirs ? 
 With a ramy tapcy lay ! 
 
 Out doocL will is to marry. 
 To marry, birvaTry, 
 
 Ourjocd will is lb marry 
 \ffiX\x a rangy tancy Bay! 
 
 w/v.» ^^^SWM^5//;* 
 
 Nbwy one ©p us Sirs , 
 W Sirs, us Sirs, 
 
 MaTw one of us Sirs 
 '^atk a rancy Tan^ l^! 
 
 ilou,*re all IIbq klack Si dtrhf 
 
 j(w^ f^l too black Sk dirty 
 vVith a rancy tanjy t^! 
 
 V7v'l»^^V 
 
 I w 
 
 42 
 
an betid as well as 
 
 ^^fiBDffiSC^ 
 
 M 
 
 Thro ^ekitcKenSClliro the haH I choose-fltefaifest df you aS.fee 
 
 ^'hH r F 
 
 ,p;,ij ^j jjj j- ^ 
 
 fair- est one that I can see is preltyMiss w^flcwilhnn* 
 
 1^1 
 
 ^ 
 
 w — p — g 
 
 ^ 
 
 I/I *" 1/ 
 
 bt 
 
 (a. 
 
 ^Mj^'^aed etiqulh fcrr^ Sirs 
 You Sirs, yoa Strs, 
 
 ^Wilh a Taney tancyfey! ^ 
 
 ^ 
 
 ^ou'ie all as stiff as poke«s^|. 
 
 PelwTS , pollers ) 
 '^u're all as sTiff a? f»\s^ 
 
 yfTiXh a ran^ tanciirt*^' 
 
 ^IKfe cm bend ^ y««VL 4»;y«u I 
 ^m. Siis ,ysu Sirs j 
 
 ^canben4a$wellas3rou Sin 
 \li^itl\ arancy Uncy l^! 
 
^.^-^.-gy. HERE • COME -THREE - DUKES.- A-RIDING- @- ^-^--^ 
 
 Marry .owe -o^« us 
 
 With • a • rancjf-tancy-tay 
 
 44 
 
Directions for. Playing 
 
 THREE DUKES A-RIDING 
 
 Any diumber of Children may Tlay 
 
 jHE players are divided into dukes and 
 maidens. Three children (boys prefer- 
 ably) reprefent the dukes. They join 
 hands and form a line on one fide ; the 
 other players join hands and form a line, 
 ftanding oppofite to and facing the dukes. 
 Each line advances and retires alternately while fing- 
 ing their respedbive verses. The three dukes fing the firft 
 verse, advancing and retiring in line. The maidens then 
 advance and retire, finging the fecond verfe, the dukes 
 ftanding ftill. The dukes fing the third verfe and the maidens 
 anfwer with the fourth. The dukes then fing the fifth verfe, 
 looking critically or contemptuoufly at the girls as they do fo. 
 The maidens when finging the fixth verfe draw themfelves 
 
 Cf^-J'j^ 
 
 mzEssssmss^^ 
 
 45 
 
Cbildr cnls | S inging fl <xames 
 
 THREE DUKES A-RIDING 
 
 up, hold their heads as proudly as they can, and look 
 offended. The dukes retort in the fame manner as before, 
 when finging the feventh verse. At the word " bend," in 
 the eighth verfe, the maidens all l/orv down their heads and 
 bend their bodies as gracefully as they can, holding them- 
 felves erect afterwards. The dukes when finging the laft 
 verfe, name the girl whom they choofe. At the end of this 
 verfe, the girl named walks over to them and joins the line 
 of dukes. The game is continued by the dukes finging the 
 firft verfe again, faying : " Here come four dukes a-riding." 
 The verfcs are fung over and over again, until all the 
 maidens are ranged on the dukes' side, they adding one to 
 their number every time. 
 
. , *■: 
 
♦ ♦ ♦ ■s.X 
 
 tj-a 
 
 & • 
 
 \"^'^ 
 M 
 
 i.^-. 
 
 
 npke^ planted an e^pple tree over His \\ez.d 
 Hm! ha! over \ns KezuJ. *^^^^ 
 
 ' I *■ ne apples were ripe an J reaov to drop 
 H m! Ka ! rea.dly to drop . ^Jl^S*^ 
 
 ' I kere came an oU woman a pickindlnemup 
 Hm! ha! ekkiti^ themup. 
 
 ^^Id Hoi^er Jumped up and 4|,av<e her a knock 
 H*m ! ha I 4^ave her a. knock . „^7^^s^ 
 
 ''i^^hich made tiiat old -woman 0> hippi*^ hop 
 H m! ha t hippity hop. ^^^ O ^^ O 
 
 ws 
 
■AMfMM^d^Hiba 
 
 OLD ROGER 
 
 ±=s 
 
 i 
 
 N — (S — N 
 
 fF=l^ 
 
 ^ 
 
 * w 
 
 Igp-I^ 
 
 ^m 
 
 Old Ko— ^er is dead a.nd ^one to his ^rave 
 
 i 
 
 A 
 
 i 
 
 rr-N 
 
 -a * * — j 
 
 '^^ 
 
 ^S 
 
 Hrn ! Ka! ^one to his ^r2ve 
 
 49 
 
X^bildr^nts I Singing l<iames 
 
 ssss 
 
 ■^^SSBZSES 
 
 ^£ 
 
 Directions for Playing 
 
 OLD ROGER 
 
 ^ny Dumber of Children can Tlay this Qame 
 
 I'NE child, who reprefents Old Roger, lies 
 
 down on the ground, either having his 
 
 face and head covered with a handkerchief, 
 
 or a cloak or apron is thrown all over him, 
 
 completely covering his body. Two other 
 
 children ftand apart, and the reft of the 
 
 players ftand round the dead Old Roger in a circle, and 
 
 only they fing the words. Thefe children ftand ftill 
 
 throughout the game, crofting their arms over their breafts, 
 
 bending their heads and fwaying their bodies backwards and 
 
 forwards in a mourning attitude, while they fing the firft 
 
 verfe. At the commencement of the fecond verfe, one of the 
 
 two children who are ftanding apart goes into the circle and 
 
 ftands befide Old Roger's head, to reprefent the apple tree. 
 
 
 50 
 
I Barnes 
 
 During the finging of the third verfe, this child raifes his 
 arms above his fhoulders and drops them again, to fliow the 
 falling apples. At the commencement of the fourth verfe, 
 the other outfide child goes into the circle to reprefent the 
 old woman, and pretends to pick up the fallen fruit. Then, 
 at the beginning of the next verfe, Old Roger jumps up 
 and beats the Old Woman out of the ring, who goes off 
 during the finging of the laft verfe, hobbling on one foot 
 as if crippled and hurt. The game then begins again, with 
 three other children as the actors, the previous three joining 
 the circle. There is no interval between the verfes. 
 
yiif^i^di^'WE, ' ARE • THE • ROVERS /^§^^^Sg^[^ 
 
 <2i^. ® 
 
 ^^/^X^e ^re coming 
 
 to talcej^nir latid 
 !s =^- 
 
 52 
 
We are conm^'fo take your land '^X^e are fke Ro vers 
 
 •^'- r r f r I f r ^vr^ 
 
 s 
 
 ^jj jj i j J J n i J. J J 
 
 J'U i' 
 
 s= 
 
 "QC^arecenm^tb t^« your land tiwu^K you're tiie Qua^rdiian Sol — diers 
 
 'y^^fr r 
 
 ^^ 
 
 ? 
 
 i 
 
 ? 
 
 m 
 
 2 
 
 ^ 
 
 S3 
 
ou 
 
 vv^ ^ont care wr your men xior 
 Ihotigjiyoure Ike Rovers 
 \)C^e ^ont care lor your men nor 
 lor we re fine (suskreiian SoUiers. 
 
 V^e will send our dpga lb tite 
 
 ^0% are ^e Rovers 
 ^X/ewiU send our Aodo lb bite 
 Ihou^ youre Aie Guardian Sokliers. 
 
 vC^ dont care B>p your dogs nor 
 T^houdh you're tiie Rovers 
 
 ^X^ dont care for your dogs nor 
 
 f^Wip're the Guardian Soldiers. 
 
 vvill you have a ^lass « wine 
 ^OVe are the Rovers 
 
 ^AA11 yon have a^Ia3S of wine 
 
 lor respect of Gcuardiati Ooldiers. 
 
 54 
 
/l^lass of vnne Mront serve us all 
 lVion0iyou.ve tVie Rovers^ 
 A ^&ss of 'wfne vront serve us a}1 
 Por were Hie Gcu&rdiaA Soldiers. 
 
 A D2^rrel of tdeer wont serve us al) 
 
 TViOLgVi youVe "tine Rovers , 
 i^tarrel oTbeer'Woiitst 
 
 serve us 
 
 aU 
 
 , yov i all 
 VC^ll at>&rrel of 1»eer then sery/B 
 
 'We are tlie Rovers , ]-yoxi &I1 
 Will a barrel of Iseer then, serve 
 ^Asyoure tlie Cruardian Soldiers. 
 
 V^vfill send our Uue coat men 
 
 ^X^ »>.re the Rovers , 
 W^ will send our hlue coat tnen 
 
 I^r were gaXi»aiS Gcuardian Soldiers. Thou^hyoure Ihe Quardian Ooldaers 
 
 vC^Mrill send our red^coatmen 
 
 ^Xfe are Ihe Rovers, 
 VC^ will send our red- coat men 
 
 V^ dont fear yout blue-coat men 
 
 Though youre Ihe Rovers, 
 AX/e doritfear your hkae-coat men 
 r^r we're the Gcuardian Soldiers. 
 
 vCre doiit mind your red-coat men 
 Though youre the Rovers, 
 
 ThotJ^h youre the Guardian SoMimrsi 
 
 Are you ready Tor a T^jht 
 ^3% are the Hovers , 
 
 "^OCfe don't mind your, red -coatmen Are you reaoly for a fi^Vit 
 
 fir -we re the Guaardian Soldier s l&oif^ youre the Gu&rdian Soldiers 
 
 ^ 
 
 es'.vfeve ready fo 
 
 or a fi^Ht 
 Thotj^^ youre the Rovers 
 ^tes ! were ready "fi>r z. "fi^^ 
 For ^vere the Gcuardian Soldiers 
 Present ! Shoot ! Banp ! Fire. 
 
 55 
 
y>wy>A»!,^'u^^J 
 
 E^SS£SCXZZ^2E 
 
 sssssssss 
 
 ildrcntsTSinging 1 Barnes 
 
 isaEsaBzszsE 
 
 rg'TTT 
 
 DlRECTIONS FOR PlAYING 
 
 WE ARE THE ROVERS 
 
 yf«y S^umkr of Children may Play, a large Oiumber 
 being an Advantage 
 
 HE players divide into two fides of about 
 
 equal numbers and ftrength. One fide re- 
 
 prefents the Rovers, the other the Guardian 
 
 Soldiers, or Roman and Englifii Soldiers. 
 
 They form in two lines. The Rovers 
 
 advance and retire in line, finging the firft, 
 
 third, and alternate verfes, the Guardian Soldiers ftanding 
 
 ftill. Then the latter advance and retire in line, finging 
 
 the fecond, fourth, and alternate verfes, the Rovers ftanding 
 
 ftill in their turn. When finging the laft verfe, both fides 
 
 prepare to fight. They all roll up their fleeves and pretend 
 
 to prefent arms or draw fwords. When the laft verfe has 
 
 been fung, they call out, " Prefent ! Shoot ! Bang ! Fire ! " 
 
 and the game ends with a pretended fight or battle ; or the 
 
 Rovers try to catch the Guardian Soldiers, who, when 
 
 caught, muft ftand apart as prifoners. 
 
 5& 
 
-^ ^y& POOR MARY SITS A WEEPING /& ^ ^ 
 
 : way na.Ty wKal are 
 , you weeping for?; 
 
 «^- 
 
 1 
 
 ,*m weeping for a. 
 
 sweethes^rT 
 
 ■^ 
 
 iiray Mary choose 
 your lover 
 
 58 
 
rri 
 
 POOR MARY SITSAWEEPIN&/fl| 
 
 ■'ii i iJ'^^M ^lu^^ 
 
 Poor M^-r^ sib a weepind a weeping a weeping , Yitor 
 
 ^^^^^^P 
 
 l f.'„^;.fJ^n ^"^'f '' J' ^- 
 
 Ma-vy sits a weepit^on a brigjit SamTners (Say. 
 
 On a bridht summeK dav 
 
 ugnt summers <lay 
 
 "W 
 
 'Fm weeping for a sweefteart 
 ■., A sweetheart, a sweetheart 
 flm weeping for a sweetheart 
 On a bn^W- summers day , 
 
 ^ 
 
 "Olfi 
 
 ray Mary choose your lover 
 \5uT lover, your lover, 
 rVayMarychooseyour lover 
 On a bright summers day, 
 
 59 
 
POOR 
 SITS A- 
 
 MARY 
 WEEPING: 
 
 i 
 
 fe 
 
 j ^^ 
 
 i 
 
 Now you re in»rriedl vnsh you Joy first a^irl Sf tlien a toy 
 
 K''''Ui J JUiJUiJJUiJ 
 
 I f" 1 I ' I I " ' l| I I I I 
 
 S«ven years affer sonSr ciaiigkter Hra^youi^coaplecome 
 
 |>''-'iiJ J l J. I ^ 
 
 !f >'""^J 'M r I ' l i n fir I f ri' ' '' l 
 
 kiss tt^etiiei-kisslrteronce ki^stier twice Iciss her ttivee times ovev. 
 
 tf>''"'ii i i I fii r-' i iT[ Jui 
 
 60 
 
Sttigtng 
 
 LCxatn^ 
 
 ^s& 
 
 rasa 
 
 axi^assEBi 
 
 Directions for Playing 
 
 POOR MARY SITS A WEEPING 
 
 «/f»jy Somber of Children can Thy 
 
 RING is formed by all the players except 
 one joining hands. The odd player kneels 
 down on the ground in the centre of the 
 ring, covering her face with her hands. 
 The ring of children dance round her 
 finging the firft two verses. The kneeling 
 child then takes her hands from her face and fings the 
 third verfe alone, ftill kneeling, while the ring dances 
 round. The ring of children then fmg the fourth verfe, 
 ftill dancing round. While they are finging this, the 
 kneeling child rifes and choofes any child she pleafes from 
 the ring, who goes into the centre with her. These two 
 both ftand or dance round together, holding hands while 
 the ring fing the marriage formula, and they kifs each 
 other at the command. The ring dances round much more 
 quickly during the finging of this laft verfe. The child 
 who was " Poor Mary " then joins the ring and the child 
 who had been chofen by her kneels down, and the game 
 begins again. 
 
 ^^ 
 
 
 6i 
 

 I^SiTlT^Tr^toLS 
 
 [|-aMJ i:<^A-i^f^^^ 
 
 OnldtetVslp Singing^ Barnes 
 
 n 
 
 zzac 
 
 ;^Jtj.^f>-Jg*S^g' 
 
 NOTES 
 
 When I was a Young Girl 
 
 This game was collected in Barnes and is a very popular one. It is 
 
 practically the same as another from Piatt, Wrotham, which was collected 
 
 for me by Miss Burne. All the different versions will be found in vol. ii. 
 
 of my Traditional- Qames. This game evidently owes its origin to the 
 
 fact that children observe and imitate the practices of their elders. Miss 
 
 Burne calls this game the " life of a woman," but it is the life of men and 
 
 women too. Imitation of boys' and men's customs is shown by some 
 
 versions where the game is played by boys as well as girls, and where the 
 
 actions imitated are those of men's outdoor life — farming, mowing, and 
 
 occupations such as carpenter, shoemaker, soldier, sailor. It is curious 
 
 that courtship, marriage, and death are absent from some versions, while 
 
 others again combine both. In most of the versions played by girls this 
 
 game shows observation oi those events which have the most important 
 
 influence on a girl's or woman's life — dancing, courtship, marriage, births 
 
 and death of children, and widowhood. That this game has not stopped 
 
 its natural growth but represents present-day feeling, is, I think, shown by 
 
 the fact that in several versions the death of the husband is not considered 
 
 the greatest misfortune that could befall a wife. " When my husband 
 
 died how happy was I," is the version given by our Barnes children, 
 
 (it is thought advisable in this book to give the orthodox termination) ; 
 
 Bii ^ ^ ■i'-ttt i 
 
 f^>\\r>A fxu-^jx^yrssf)". 
 
 
 JJL , 
 
 63 
 
bildr ^n* 8 i S ingttig iCcames 
 
 ^SSSSSSSSSSZZZSS 
 
 S^BSQSCSSE 
 
 NOTES 
 
 to this waving ot handkerchiefs as a signal of rejoicing and a final 
 "Hurrah ! !" ends the game. Many women grieve more for the loss of a 
 baby than the loss of a husband ; the woman has, during her husband's 
 lifetime, in so many cases to provide for herself and children, the man's 
 money (when a small amount only is earned) is spent principally on 
 himself; the death of the husband in cases of drunkenness, too, consider- 
 ably simplifies matters. 
 
 Now, too, that boys' and girls' schools are in separate buildings the 
 playing together of boys and girls is practically at an end, and the boys' 
 part of this game is dying out, while the girls alter their employments or 
 occupations to suit their surroundings, learning lessons, and teaching taking 
 the place of more domestic employments. 
 
 Jenny Jones 
 
 This version was collected by Miss Burne from Piatt, Wrotham, and was 
 one of the games given at the Folklore Congress Conversazione. Many 
 different versions are given in my Traditional (james, vol. i. pp. 260-277, 
 as well as a detailed account of the methods of playing in different places, 
 and the relative importance of these. The game as presented in this 
 version, and as generally played, shows only a dramatic rendering of a 
 funeral of earlier times, but there is evidence in some of the versions to 
 show that the game was formerly one of courting, ending in the death 
 and burial of one of the lovers, and I suggest its origin from the early 
 village custom of a band of suitors wooing the girls of a village. Many 
 
 
 64 
 
^r/.-^. 
 
 
 NOTES 
 
 versions show that the colour selected is the one to dress the corpse in. 
 The dressing of the corpse of a maiden in white, and the carrying it to 
 the grave by girl companions, is a well-known village custom, and was 
 practised in some parts until a not very recent period. In some versions, 
 too, an important incident, that of " ghost," or spirit of the dead, occurs. 
 The dead Jenny, after the burial is accomplished, springs up and pursues 
 the mourners, who scatter in all directions, calling out, " The ghost ! the 
 ghost ! " This rising of the dead lover is another illustration of the old 
 belief that spirits of the unquiet dead rise from their graves, haunt 
 churchyards and places of their former abodes. 
 
 Green Gravel 
 
 This game was collected (words and tune) from Barnes children. This 
 game, the version of which given in this book is the one most prevalent, 
 is described in my Traditional Qames, vol. i. pp. 170-183, rather fully, and 
 an analysis of the incidents from all variants is also given, the result of 
 which shows the game to have been originally connected with funeral 
 ceremonies. Green Gravel is probably " green grave," and the incidents of 
 washing and dressing the corpse and writing an inscription, important 
 functions as these were in earlier times, are all indicated, as well as the 
 belief of communion with the dead. In many versions, love and marriage 
 verses occur. These may or may not be later interpolations. An old 
 funeral ceremony, known as " Dish-a-loof," illustrates the action of the 
 players in " turning back their heads." During this ceremony the 
 
 
 7.n 
 
ildr^n's I Singi ng | Cc antes 
 
 NOTES 
 
 watchers at a funeral went out of the room (where the corpse was lying) 
 and-^returned into it backwards. 
 
 In Shropshire (Madeley) this game of "Green Gravel" is always 
 played with the game of " Wallflowers," as one game. This indicates the 
 death of the players while maidens, consequently unmarried or betrothed 
 girls. Miss Burne considers these two games were meant to go together. 
 They may be part of one original game. 
 
 Milking Pails 
 
 This version, both words and tune, was told me by a London nursemaid. 
 It is almost identical with some variants collected for me in different 
 parts of the country during the last two or three years, although many 
 of these later collected versions show that the game is in a decaying 
 stage. " Milk-pails," which were formerly pails of wood suspended 
 from a yoke, carried on the milkmaid's shoulders, have in some versions 
 become " milking cans " to suit present-day requirements. See versions 
 from South Shields, Swaffham, and Cowes; given in my Traditionat 
 Games, pp. 385, 386. References are also given to the former use of 
 the old box and truckle beds which are mentioned in the game. The 
 origin of this game is probably to be attributed to purely country life, to 
 the time when the possession of one or two beds was considered sufficient 
 for the family ; when outdoor washing and bleaching home-spun linen 
 by the rivers and streams were in vogue, and when the summer shealings 
 for c heese and butter annually took place. 
 
 K -^-j- j-tr rm si 
 
 ? rri.yfr^^^.s^ /xAfiV.v^ i 
 
 66 
 
Cbildt etVSi *S irigtng 
 
 ja^^ggs 
 
 gsaaassaBEZS 
 
 ICramcs 
 
 NOTES 
 Three Dukes a-Riding 
 
 This game was described to me by a Lancashire correspondent as " the 
 oldest play of all." The version, words, and tune used in this book is 
 from Madeley, Staffs., and was sent me by Miss Burne. All versions of 
 this game point to the same origin and the incidents are the same — a party 
 of young men seeking wives among the maidens of another village, the 
 bargaining between both parties ending with each choosing a wife. There 
 is no element of love-making : the courtship is not necessarily individual, 
 but is apparently of the briefest description, and consists of mentioning the 
 desire for a wife, the pretended indifference of the Dukes, and the retorts 
 of the maidens, all of which are characteristic of old customs. 
 
 I have collected a number of versions of this game, which will be found 
 in vol. ii. of Traditional (^ames. Some of these are very interesting in 
 detail, such as the capture of one of the girls by the Dukes and taking 
 her by force to their side. Another curious feature of this -game is the 
 line " Rancy tancy tay 1 " which runs through all. It is evidently a 
 survival, in games, of the Slogans and war cries of chieftains and families 
 so prevalent at one time in the northern and border counties. A Barnes 
 version has " Ransom tansom terrimus hey ! " and another, a Lancashire 
 one, ends " Rancy tancy terry boys horn," which perhaps is indicative of 
 horn-blowing. Probably there is nothing so old in any game as the 
 custom apparently represented in this one of the girls marrying always 
 into another village and of the bridegrooms appearing in parties to 
 demand the hands of their brides. 
 
■ "-' ^r ^^<T> ''^ -^- *' — ^ *^-— ^^^^» w^^i.j .^M>^ 
 
 CbUdrcn'sji Singing fl Barnes 
 
 e^2ssss@ 
 
 SESESESSSaC 
 
 NOTES 
 
 Old Roger 
 
 This version of Old Roger, both words and tune, was collected by me 
 from a Somersetshire (Bath) girl. The interest of the game is that it is not 
 merely representative of a funeral, but more particularly shows the belief 
 that a dead person is cognizant of actions done by the living, and capable of 
 resenting personal wrongs and desecration of the grave ; it also shows the 
 sacredness of the grave. 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, cer- 
 tainly shows 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," or an animal. They simply are these things if the game or 
 play demands it, and consequently they think nothing of incongruities. 
 
 I do not, ot course, suggest that children have preserved in this game 
 an old play, but I consider that in this and similar games they have 
 preserved traditional methods of acting and detail as shown in an early 
 or childish period of the drama. All will remember how Shakespeare 
 uses the same idea in ^Midsummer Sight's 'Dream. DiiFerent versions, 
 collected from other places, and a fuller and more detailed comparison 
 with early drama, will be given in vol. ii. of my Traditional (^ames. 
 
 \ m -»t-^ ^'-f -t-f-mi I 
 
 :^rr::^^f<»^^^Js^U^^0^>s\ 
 
 68 
 

 
 NOTES 
 
 We are the Rovers 
 
 This version is, by kind permission of Miss Burne, taken from her Shrop- 
 shire Folklore. I preferred to use this version, as it appears to be more 
 perfect than others which have been collected by me. The tune was 
 obtained from a Bath nurse some years ago. The words which accom- 
 panied this tune are almost identical with Miss Burne's, except that the 
 two parties are called Roman and English soldiers, and two or three 
 verses are missing which render the Shropshire game more complete. 
 1 have added to this the words " Present, shoot, bang, fire ! ! " which 
 belong to the Bath game (probably a modern addition by children), as it 
 adds to the zest and enjoyment of playing. Fighting, of course, follows 
 in both. Several versions and further notes are given in my Traditional 
 (James, vol. ii. 
 
 For the origin of this game, says Miss Burne, we must clearly go back to 
 the old Border warfare. It is very evident that one side represents marauding 
 invaders and the other the defending garrison. Ellesmere, whence we 
 have this game, was during the Middle Ages the site of one of the castles 
 of the Marches and the subject of many a claim and invasion on the part 
 of the Welsh {Shropshire Folklore, p. 505). Other versions from the 
 border counties and the north of England, where the same sort of thing 
 prevailed for a long period between Scotch and English, prove the 
 correctness of this supposition. 
 
 ^V^})iimr/^v^s}r7Tma!^fl»fS. 
 
 69 
 
r^'^r^r^^ti'm.jmr^^ 
 
 iCbUdrcn'8 
 
 f^i-r>T>krfr^j^d=^ 
 
 r4'y^iafirafVtha2g5 
 
 
 Singing ICcames 
 
 BSBsazszss 
 
 ^ssEocsssa^ 
 
 NOTES 
 
 Poor Mary Sits a-Weeping 
 
 This very popular kissing game was, both words and tune, collected by 
 me in Barnes, and was one of those played at the Conversazione of the 
 Folklore Congress in 1891. The game is descriptive of a marriage with 
 the elements of love and courtship by individual choice. It contains 
 also the usual marriage formula which is significant of the marriage being 
 agreed to and ratified in the presence of witnesses (the ring of children) 
 or by a priest. Then, too, must be noticed the line, " Seven years after, , 
 son and daughter," which probably refers to the old notion, which still 
 lingers, I believe, in some places, of the marriage being terminable after 
 that period. " A year and a day," and " seven years," are the two most 
 popular notions of the period necessary for lovers and betrothed couples 
 to remain faithful to each other. An important fact is that in these 
 and other kiss-in-the-ring games, the tune of the marriage formula is 
 always the same. The peculiar interest of a game like this lies in the 
 fact that it may contain relics of the actual marriage ceremony of our 
 earliest ancestors before it was made an institution of the Church. 
 Different versions and illustrations of the game are given in Traditional. 
 (James, vol. ii. 
 
 These notes do not exhaust the evidence to prove that children's games 
 contribute to the knowledge of our past social and domestic history, but 
 they indicate, I hope, some of the interest which attaches to an investi- 
 gation of even nursery antiquities. 
 
 JiV 
 
 fe ^^ ^ . f r r -/ifi 
 
 :-jr^"^*«^,^/j>--s^/>Air>'-.v>;^r^:,v<'/: 
 
 70 
 
DAVID 
 
Baliantyne S? Hanson 
 Ballantyne Pkess 
 London anb Edinburgh