Chapter XIII: Part 13

Here we come dancing lewby,
Lewby, lewby, li, &c.

--Eckington, Derbyshire (S. O. Addy).

V. How do you luby lue,
How do you luby lue,
How do you luby lue,
O'er the Saturday night?

Put your right hand in,
Put your right hand out,
Shake it in the middle,
And turn yourselves about.

--Lady C. Gurdon's Suffolk _County Folk-lore_, p. 64.

[Repeat this for "left hand," "right foot," "left foot," "heads," and "put yourselves in."]

VI. Can you dance looby, looby,
Can you dance looby, looby,
Can you dance looby, looby,
All on a Friday night?

You put your right foot in,
And then you take it out,
And wag it, and wag it, and wag it,
Then turn and turn about.

--Addy's _Sheffield Glossary_.

VII. Here we dance luby, luby,
Here we dance luby light,
Here we dance luby, luby,
All on a Wednesday night.

--Ordsall, Nottinghamshire (Miss Matthews).

VIII. Here we go lubin loo,
Here we go lubin li,
Here we go lubin loo,
Upon a Christmas night.

--Epworth, Doncaster (C. C. Bell).

IX. Here we go looby loo,
Here we go looby li,
Here we go looby loo,
All on a New-Year's night.

--Nottingham (Miss Winfield).

X. Here we come looby, looby,
Here we come looby light,
Here we come looby, looby,
All on a Saturday night.

--Belfast (W. H. Patterson).

XI. Here we come looping, looping [louping?],
Looping all the night;
I put my right foot in,
I put my right foot out,
I shake it a little, a little,
And I turn myself about.

--Hexham (Miss J. Barker).

XII. Christian was a soldier,
A soldier, a soldier,
Christian was a soldier, and a brave one too.
Right hand in, right hand out,
Shake it in the middle, and turn yourself about.

--Sporle, Norfolk (Miss Matthews).

XIII. Friskee, friskee, I was and I was
A-drinking of small beer.
Right arms in, right arms out,
Shake yourselves a little, and little,
And turn yourselves about.

--Cornwall (_Folk-lore Journal_, v. p. 49).

XIV. I love Antimacassar,
Antimacassar loves me.
Put your left foot in,
Put your right foot out,
Shake it a little, a little, a little,
And turn yourself about.

--Dorsetshire (Miss M. Kimber).

(_b_) A ring is formed and the children dance round, singing the first verse. They then stand till, sing the next verse, and, while singing, suit the action to the word, each child turning herself rapidly round when singing the last line. The first verse is then repeated, and the fourth sung in the same way as the second, and so on.

Another way of playing is that the children do not dance round and round. They form a ring by joining hands, and they then all move in one direction, about half way round, while singing the first line, "lubin;" then back again in the opposite direction, while singing the second line, "light," still keeping the ring form, and so on for the third and fourth lines. In each case the emphasis is laid upon the "Here" of each line, the movement being supposed to answer to the "Here."

The Dorsetshire version (Miss M. Kimber) is played by the children taking hands in pairs, forming a ring, and dancing round. At Eckington (S. O. Addy) the children first pretend to wash their hands, then their face, while singing the words; then comb their hair and brush their clothes; then they join hands and dance round in a ring singing the words which follow, again suiting their actions to the words sung.

In the Scottish version a ring is formed as above. One sings, and the rest join, to the tune of "Lillibullero," the first line. As soon as this is concluded each claps his hand and wheels grotesquely, singing the second line. They then sing the third line, suiting the action to the word, still beating the time; then the second again, wheeling round and clapping hands. When they say "A' feet in, and nae feet out," they all sit down with their feet stretched into the centre of the ring.

(_c_) The other variants which follow the Halliwell version are limited to the first verse only, as the remainder of the lines are practically the same as those given in Miss Fowler's version which is written at length, and three or four of these apparently retain only the verse given. A London version, collected by myself, is nearly identical with that of Miss Fowler, except that the third line is "Shake your ---- a little, a little," instead of as printed. This is sung to the tune given.

The incidents in this game are the same throughout. The only difference in all the versions I have collected being in the number of the different positions to be performed, most of them being for right hands, left hands, right feet, left feet, and heads; others, probably older forms, having "ears," "yourselves," &c. One version, from Eckington, Derbyshire, curiously begins with "washing hands and face," "combing hair," &c., and then continuing with the "Looby" game, an apparent "mix-up" of "Mulberry Bush" and "Looby." Three more versions, Sporle, Cornwall, and Dorsetshire, also have different beginnings, one (Dorsetshire) having the apparently unmeaning "I love Antimacassar."

(_d_) The origin and meaning of this game appears somewhat doubtful. It is a choral dance, and it may owe its origin to a custom of wild antic dancing in celebration of the rites of some deity in which animal postures were assumed. The Hexham version, "Here we come louping [leaping]" may probably be the oldest and original form, especially if the conjecture that this game is derived from animal rites is accepted. The term "looby," "lubin," or "luby" does not throw much light on the game. Addy (_Sheffield Glossary_) says, "Looby is an old form of the modern 'lubber,' a 'clumsy fellow,' 'a dolt.'" That a stupid or ridiculous meaning is attached to the word "looby" is also shown by one of the old penances for redeeming a forfeit, where a player has to lie stretched out on his back and declare,

Here I lie
The length of a looby,
The breadth of a booby,
And three parts of a jackass.

The Scottish forms of the game bear on the theory of the game being grotesque. The fact of the players having both their arms extended at once, one behind and one in front of them, and the more frequent spinning round, suggest this. Then, too, there is the sudden "sit down" posture, when "all feet in" is required.

In the version given by Halliwell there is more difficulty in the game, and possibly more fun. This version shows the game to be cumulative, each player having to go through an additional antic for each verse sung. This idea only needs to be carried a little further to cause the players to be ridiculous in their appearance. This version would be more difficult to perform, and they would be exhausted by the process, and the constant motion of every member of the body. Attention, too, might be drawn to the word "Hinkumbooby" occurring in Chambers's version. Newell (_Games_, p. 131) mentions that some sixty years ago the game was danced deliberately and decorously, as old fashion was, with slow rhythmical movement.

Lug and a Bite

A boy flings an apple to some distance. All present race for it. The winner bites as fast as he can, his compeers _lugging_ at his ears in the meantime, who bears it as well as he can, and then he throws down the apple, when the sport is resumed (Halliwell's _Dictionary_). Brogden's _Lincolnshire Provincial Words_ says "Luggery-bite" is a game boys play with fruit. One bites the fruit, and another pulls his hair until he throws the fruit away. The game is also played in Lancashire (_Reliquary_).

See "Bob-Cherry."

Luggie

A boys' game. In this game the boys lead each other about by the "lugs," _i.e._, ears; hence the name (Patterson's _Antrim and Down Glossary_). Jamieson says that the leader had to repeat a rhyme, and if he made a mistake, he in turn became Luggie. The rhyme is not recorded.

Luking

The West Riding name for "Knor and Spell." Playing begins at Easter.--Henderson's _Folk-lore_, p. 84.

See "Nur and Spell."

Mag

A game among boys, in which the players throw at a stone set up on edge.--Barnes (_Dorset Glossary_).

Magic Whistle

All the players but three sit on chairs, or stand in two long rows facing each other. One player sits at one end of the two rows as president; another player is then introduced into the room by the third player, who leads him up between the two rows. He is then told to kneel before the one sitting at the end of the row of players. When he kneels any ridiculous words or formula can be said by the presiding boy, and then he and those players who are nearest to the kneeling boy rub his back with their hands for two or three minutes. While they are doing this the boy who led the victim up to the president fastens a string, to which is attached a small whistle, to the victim's coat or jacket. It must be fastened in such a way that the whistle hangs loosely, and will not knock against his back. The whistle is then blown by the player who attached it, and the kneeling boy is told to rise and search for the Magic Whistle. The players who are seated in the chairs must all hold their hands in such a way that the victim suspects it is in their possession, and proceeds to search. The whistle must be blown as often as possible, and in all directions, by those players only who can do so without the victim being able to either see or feel that he is carrying the whistle with him.--London (A. B. Gomme).

This game is also called "Knight of the Whistle." The boy who is to be made a Knight of the Order of the Whistle, when led up between the two rows of players, has a cloak put round his shoulders and a cap with a feather in it on his head. The whistle is then fastened on to the cloak. This is described by the Rev. J. G. Wood (_Modern Playmate_, p. 189). Newell (_Games_, p. 122) gives this with a jesting formula of initiation into knighthood. He says it was not a game of children, but belonged to an older age.

See "Call-the-Guse."

Magical Music

A pleasant drawing-room evening amusement.--Moor's _Suffolk Words_.

Probably the same as "Musical Chairs."

Malaga, Malaga Raisins

A forfeit game. The players sat in a circle. One acquainted with the trick took a poker in his right hand, made some eccentric movements with it, passed it to his left, and gave it to his next neighbour on that side, saying, "Malaga, Malaga raisins, very good raisins I vow," and told him to do the same. Should he fail to pass it from right to left, when he in his turn gave it to his neighbour, without being told where the mistake lay, he was made to pay a forfeit.--Cornwall (_Folk-lore Journal_, v. 50).

"Malaga raisins are very good raisins, but I like Valencias better," is the saying used in the London version of this game, and instead of using a poker a paper-knife is used, and it is played at the table. Other formulæ for games of this kind are, "As round as the moon, has two eyes, a nose, and a mouth." These words are said while drawing on a table with the forefinger of the _left_ hand an imaginary face, making eyes, nose, and mouth when saying the words. The fun is caused through those players who are unacquainted with the game drawing the imaginary face with the right hand instead of the left. Another formula is to touch each finger of the right hand with the forefinger of the left hand, saying to each finger in succession, "Big Tom, Little Tom, Tommy, Tom, Tom." The secret in this case is to say, "Look here!" before commencing the formula. It is the business of those players who know the game to say the words in such a way that the uninitiated imagine the saying of the words correctly with particular accents on particular words to be where the difficulty lies. If this is well done, it diverts suspicion from the real object of these games.--A. B. Gomme.

Marbles

Brand considers that marbles had their origin in bowls, and received their name from the substance of which the bowls were formerly made. Strutt (_Sports_, p. 384) says, "Marbles have been used as a substitute for bowls. I believe originally nuts, round stones, or any other small things that could easily be bowled along were used as marbles." Rogers notices "Marbles" in his _Pleasures of Memory_, l. 137:--

"On yon gray stone that fronts the chancel-door,
Worn smooth by busy feet, now seen no more,
Each eve we shot the marble through the ring."

Different kinds of marbles are alleys, barios, poppo, stonies. Marrididdles are marbles made by oneself by rolling and baking common clay. By boys these are treated as spurious and are always rejected. In barter, a bary = four stonies; a common white alley = three stonies. Those with pink veins being considered best. Alleys are the most valuable and are always reserved to be used as "taws" (the marble actually used by the player). They are said to have been formerly made of different coloured alabaster. See also Murray's _New English Dict._

For the different games played with marbles, see "Boss Out," "Bridgeboard," "Bun-hole," "Cob," "Hogo," "Holy Bang," "Hundreds," "Lag," "Long-Tawl," "Nine Holes," "Ring Taw."

Mary Brown

I. Here we go round, ring by ring,
To see poor Mary lay in the ring;
Rise up, rise up, poor Mary Brown,
To see your dear mother go through the town.

I won't rise, I won't rise [from off the ground],
To see my poor mother go through the town.

Rise up, rise up, poor Mary Brown,
To see your dear father go through the town.

I won't rise, I won't rise [from off the ground],
To see my dear father go through the town.

Rise up, rise up, poor Mary Brown,
To see your dear sister go through the town.

I won't rise, I won't rise from off the ground,
To see my dear sister go through the town.

Rise up, rise up, poor Mary Brown,
To see your dear brother go through the town.

I won't rise, I won't rise up from off the ground,
To see my dear brother go through the town.

Rise up, rise up, poor Mary Brown,
To see your dear sweetheart go through the town.

I will rise, I will rise up from off the ground,
To see my dear sweetheart go through the town.

--Barnes, Surrey (A. B. Gomme).

II. Rise up, rise up, Betsy Brown,
To see your father go through the town.

I won't rise up upon my feet,
To see my father go through the street.

Rise up, rise up, Betsy Brown,
To see your mother go through the town.

I won't rise up upon my feet,
To see my mother go through the street.

[Then follow verses for sister, brother, and lover. When this last is sung, she says--]

I will rise up upon my feet,
To see my lover go through the street.

--Ninfield, Sussex, about sixty years ago (Charles Wise).

III. Rise daughter, rise daughter, off of your poor feet,
To see your dear mother lie dead at your feet.

I won't rise, I won't rise off of my poor feet,
To see my dear mother lie dead at my feet.

Rise daughter, rise daughter, off of your poor feet,
To see your poor father lie dead at your feet.

I won't rise, I won't rise off of my poor feet,
To see my poor father lie dead at my feet.

Rise daughter, rise daughter, off of your poor feet,
To see your dear sister lie dead at your feet.

I won't rise, I won't rise off of my poor feet,
To see my poor sister lie dead at my feet.

Rise daughter, rise daughter, off of your poor feet,
To see your poor brother lie dead at your feet.

I won't rise, I won't rise off of my poor feet,
To see my poor brother lie dead at my feet.

Rise daughter, rise daughter, off of your poor feet,
To see your dear sweetheart lie dead at your feet.

I will rise, I will rise off of my poor feet,
To see my dear sweetheart lie dead at my feet.

--Barnes, Surrey (A. B. Gomme).

IV. Rise daughter, rise daughter,
Rise from off your knees,
To see your poor father lie
Down at yonder trees.

I won't rise, I won't rise,
From off my knees,
To see my poor father lie
Down at yonder trees.

[The verses are then repeated for mother, sister, brother, and sweetheart. When this is said the girl sings--]

I will rise, I will rise,
From off my knees,
To see my sweetheart lie
Down at yonder trees.

--Hurstmonceux, Sussex (Miss Chase).

V. Here we all stand round the ring,
And now we shut poor Mary in;
Rise up, rise up, poor Mary Brown,
And see your poor mother go through the town.

[Then follow verses the same as in the Barnes version, No. 1, and then--]

Rise up, rise up, poor Mary Brown,
To see the poor beggars go through the town.

I will not stand up upon my feet
To see the poor beggars go through the street.

[Two other verses are sometimes added, introducing gentleman and ladies. All versions, however, conclude with the girl saying--]

Rise up, rise up, poor Mary Brown,
And see your poor sweetheart go through the town.

I will get up upon my feet,
To see my sweetheart go through the street.

--Halliwell's _Nursery Rhymes_, p. 218.

(_b_) The children form a ring, one child laying or kneeling down in the centre. The ring sing the first, third, fifth, and alternate verses; the girl in the middle answers with the second, fourth, and so on alternately. At the last verse the girl jumps up and breaks through the ring by force; another girl takes her place in the ring, and the game begins again. The Sussex version of "Mary Brown" (Chas. Wise) is played by the children standing in line and advancing and retiring towards the lying or kneeling child. The Barnes version of "Rise, Daughter" is also played in this way. The "daughter" lays down, and at the end of the game joins the line, and another lays down. In the Hurstmonceux version, when the last verse is sung, the girl in the middle rises and picks a boy out of the ring; he goes in the middle with her, and they kiss. The version given by Halliwell is played in the same way as the Barnes version.

(_c_) Halliwell (_Game Rhymes_, p. 219) gives a version of a Swedish ballad or ring dance-song, entitled "Fair Gundela," he considers this may be a prototype of the English game, or that they may both be indebted to a more primitive original. The Swedish game rather gives the idea of a maiden who has sought supernatural assistance from a wise woman, or witch, to ask after the fate of those dear to her, and the English versions may also be dramatic renderings of a ballad of this character. Mr. Jacobs' _More English Fairy Tales_, p. 221, considers this game to have originated from the Tale of the "Golden Ball."

Mary mixed a Pudding up

Mary mixed a pudding up,
She mixed it very sweet,
She daren't stick a knife in
Till John came home at neet [ = night].
Taste John, taste John, don't say nay,
Perhaps to-morrow morning will be our wedding-day.

The bells shall ring and we shall sing,
And all clap hands together (round the ring).

Up the lane and down,
It's slippery as a glass,
If we go to Mrs. ----
We'll find a nice young lass.
Mary with the rosy cheeks,
Catch her if you can;
And if you cannot catch her,
We'll tell you her young man.

--Hanging Heaton (Herbert Hardy).

A ring is formed by the children joining hands, one child in the centre. The first verse is sang. Two children from the ring go to the one in the centre and _ask_ her who is her love, or as they say here [Yorks.], "who she goes with;" after that the rest is sung.

See "All the Boys."

Merrils

See "Nine Men's Morris."

Merritot, or the Swing

This sport, which is sometimes called "Shuggy-shew" in the North of England, is described as follows by Gay:--

"On two near elms the slackened cord I hung,
Now high, now low, my Blouzalinda swung."

So Rogers, in the _Pleasures of Memory_, l. 77:--

"Soar'd in the swing, half pleas'd and half afraid,
Through sister elms that wav'd their summer shade."

Speght, in his _Glossary_, says, "'Meritot,' a sport used by children by swinging themselves in bell-ropes, or such like, till they are giddy." In _Mercurialis de Arte Gymnastica_, p. 216, there is an engraving of this exercise.

Halliwell quotes from a MS. _Yorkshire Glossary_, as follows:--"'Merrytrotter,' a rope fastened at each end to a beam or branch of a tree, making a curve at the bottom near the floor or ground in which a child can sit, and holding fast by each side of the rope, is swung backwards and forwards."

Baker (_Northamptonshire Glossary_) calls "Merrytotter" the game of "See-saw," and notes that the antiquity of the game is shown by its insertion in Pynson, "Myry totir, child's game, oscillum."

Chaucer probably alludes to it in the following lines of the _Miller's Tale_--

"What eileth you? some gay girle (God it wote)
Hath brought you thus on the merry tote."

Merry-ma-tansa

[Music]

--Biggar (Wm. Ballantyne).

I. Here we go round by jingo-ring,
Jingo-ring, and jingo-ring,
Here we go round by jingo-ring,
About the merry-ma-tansa.

Come name the lad you like the best,
Like the best, like the best,
Come name the lad you like the best,
About the merry-ma-tansa.

Guess ye wha's the young gudeman,
The young gudeman, the young gudeman,
Come guess ye wha's the young gudeman
About the merry-ma-tansa.

Honey's sweet and so is he,
So is he, so is he,
Honey's sweet and so is he,
About the merry-ma-tansa.

[Or--

Crab-apples are sour and so is he,
So is he, so is he,
Crab-apples are sour and so is he,
About the merry-ma-tansa.]

Can she bake and can she brew?
Can she shape and can she sew,
'Boot a house can a' things do?
About the merry-ma-tansa?

She can bake and she can brew,
She can shape and she can sew,
'Boot a house can a' things do,
About the merry-ma-tansa.

This is the way to wash the clothes,
Wash the clothes, wash the clothes,
This is the way to wash the clothes,
About the merry-ma-tansa.

[Then follows verses for wringing clothes, ironing, baking bread, washing hands, face, combing hair, washing and sweeping the house, and a number of other things done in housekeeping. The boy then presents the girl with a ring, and they all sing--]

Now she's married in a goud ring,
A gay goud ring, a gay goud ring,
Now she's married in a goud ring,
About the merry-ma-tansa.

A gay goud ring is a dangerous thing,
A cankerous thing, a cankerous thing,
A gay goud ring is a dangerous thing,
About the merry-ma-tansa.

Now they're married we wish them joy,
Wish them joy, wish them joy,
Now they're married we wish them joy,
About the merry-ma-tansa.

Father and mother they must obey,
Must obey, must obey,
Father and mother they must obey,
About the merry-ma-tansa.

Loving each other like sister and brother,
Sister and brother, sister and brother,
Loving each other like sister and brother,
About the merry-ma-tansa.

We pray this couple may kiss thegither,
Kiss thegither, kiss thegither,
We pray this couple may kiss thegither,
About the merry-ma-tansa.

[If any lad was left without a partner, the ring sing--]

Here's a silly auld man left alone,
Left alone, left alone,
He wants a wife and can't get none,
About the merry-ma-tansa.

--Biggar (William Ballantyne).

II. Here we go the jingo-ring,
The jingo-ring, the jingo-ring,
Here we go the jingo-ring,
About the merry-ma-tansie.

Twice about, and then we fa',
Then we fa', then we fa',
Twice about, and then we fa',
About the merry-ma-tansie.

Guess ye wha's the young goodman,
The young goodman, the young goodman,
Guess ye wha's the young goodman,
About the merry-ma-tansie.

Honey is sweet, and so is he,
So is he, so is he,
Honey is sweet, and so is he,
About the merry-ma-tansie.

[Or--

Apples are sour, and so is he,
So is he, so is he,
Apples are sour, and so is he,
About the merry-ma-tansie.]

He's married wi' a gay gold ring,
A gay gold ring, a gay gold ring,
He's married wi' a gay gold ring,
About the merry-ma-tansie.

A gay gold ring's a cankerous thing,
A cankerous thing, a cankerous thing,
A gay gold ring's a cankerous thing,
About the merry-ma-tansie.

Now they're married, I wish them joy,
I wish them joy, I wish them joy,
Now they're married, I wish them joy,
About the merry-ma-tansie.

Father and mother they must obey,
Must obey, must obey,
Father and mother they must obey,
About the merry-ma-tansie.

Loving each other like sister and brother,
Sister and brother, sister and brother,
Loving each other like sister and brother,
About the merry-ma-tansie.

We pray this couple may kiss together,
Kiss together, kiss together,
We pray this couple may kiss together,
About the merry-ma-tansie.

--Chambers' _Popular Rhymes_, pp. 132-134.

(_b_) At Biggar (Mr. Ballantyne) this game was generally played on the green by boys and girls. A ring is formed by all the children but one, joining hands. The one child stands in the centre. The ring of children dance round the way of the sun, first slowly and then more rapidly. First all the children in the ring bow to the one in the centre, and she bows back. Then they dance round singing the first and second verses, the second verse being addressed to the child in the centre. She then whispers a boy's name to one in the ring. This girl then sings the third verse. None in the ring are supposed to be able to answer, and the name of the chosen boy is then said aloud by the girl who asked the question. If the name is satisfactory the ring sing the fourth verse, and the two players then retire and walk round a little. If the name given is not satisfactory the ring sing the fifth verse, and another child must be chosen. When the two again stand in the centre the boys sing the sixth verse. The girls answer with the seventh. Then all the ring sing the next verses, imitating washing clothes, wringing, ironing, baking bread, washing hands, combing hair, &c., suiting their actions to the words of the verses sung. The boy who was chosen then presents a ring, usually a blade of grass wrapped round her finger, to the girl. The ring then sing the ninth, tenth, eleventh, and twelfth verses. When all have chosen, if any lad is left without a partner, the last verse is sung.

The version recorded by Chambers is similar in action, but there are some important differences in detail. The centre child acts as mistress of the ceremonies. The ring of children dance round her, singing the verses. At the end of the first line of the second verse they all courtesy to her, and she returns the compliment. At the conclusion of this verse she selects a girl from the ring and asks her her sweetheart's name, which is imparted in a whisper. Upon this the child in the centre sings the third verse, the ring dancing round as before. If the ring approves her choice, they sing the fourth verse as in the Biggar version, and if they disapprove, the fifth. Chambers does not say whether another child is selected, if this is the case; but it is probable, as he says, the marriage is finally concluded upon and effected by the ring singing the verses which follow. When singing the first line of the eighth verse all the ring unclasps hands for a moment, and each child performs a pirouette, clapping her hands above her head.

(_c_) It seems very clear from both the versions given that this is a ceremonial dance, round or at a place sacred to such ceremonies as betrothal and marriage. The version given by Chambers suggests this the more strongly, as the child in the centre acts as mistress of the ceremonies, or "go-between," the person who was the negotiator between the parents on either side in bringing a marriage about. The courtesying and bowing of those in the ring to her may show respect for this office. On the other hand, there is the more important office of priest or priestess of "the stones" suggested by the action of the game, and the reverence to the centre child may be a relic of this. The fact that she asks a girl to tell her her sweetheart's name, and then announces the name of the girl's choice for approval or disapproval by the ring in both versions, points to the time when consent by relations and friends on both sides was necessary before the marriage could be agreed upon--the inquiry regarding the qualifications of the proposed wife, the recital of her housewifely abilities, and the giving of the ring by the boy to the girl are also betrothal customs. It is to be noted that it was a popular belief in ancient times that to wed with a rush-ring was a legal marriage, without the intervention of a priest or the ceremonies of marriage. Poore, Bishop of Salisbury (circa 1217), prohibited the use of them--

"With gaudy girlonds or fresh flowers dight
About her necke, or rings of rushes plight."

--Spenser's _Queen_.

And Shakespeare alludes to the custom in the lines--"As fit as ten groats for the hand of an attorney, as Tib's rush for Tom's forefinger."--_All's Well that Ends Well._ The rejoicing and bestowal of the blessing by the ring of friends give an almost complete picture of early Scotch marriage custom. A version of this game, which appeared in the _Weekly Scotsman_ of October 16, 1893, by Edgar L. Wakeman, is interesting, as it confirms the above idea, and adds one or two details which may be important, _i.e._, the "choose your maidens one by one," and "sweep the house till the bride comes home." This game is called the "Gala Ship," and the girls, forming a ring, march round singing--

Three times round goes the gala, gala ship,
And three times round goes she;
Three times round goes the gala, gala ship,
And sinks to the bottom of the sea.

They repeat this thrice, courtesying low. The first to courtesy is placed in the centre of the circle, when the others sing:--

Choose your maidens one by one,
One by one, one by one;
Choose your maidens one by one--
And down goes (all courtesy)
Merrima Tansa!

She chooses her maidens. They take her to a distance, when she is secretly told the name of her lover. The remainder of the girls imitate sweeping, and sing several stanzas to the effect that they will "sweep the house till the bride comes home," when the bride is now placed within the circle, and from a score to a hundred stanzas, with marching and various imitations of what the lucky bride accomplishes or undergoes, are sung. Each one closes with "Down goes Merrima Tansa" and the head-ducking; and this wonderful music-drama of childhood is not concluded until the christening of the bride's first-born, with--

Next Sunday morn to church she must gae,
A babe on her knee, the best of 'a--
And down goes Merrima Tansa!

Jamieson gives the game as a ring within which one goes round with a handkerchief, with which a stroke is given in succession to every one in the ring; the person who strikes, or the taker, still repeating this rhyme:--

Here I gae round the jingie ring,
The jingie ring, the jingie ring,
Here I gae round the jingie ring,
And through my merry-ma-tanzie.

Then the handkerchief is thrown at one in the ring, who is obliged to take it up and go through the same process. He also mentions another account of the game which had been sent him, which describes the game as played in a similar manner to the versions given by Chambers.

Stewart, in his _Ben Nevis and Glencoe_, p. 361, records the following rhyme:--

Here we go with merry shout,
Up and down and round about,
And dance a merry-ma-tandy,

but he does not describe the game in detail.

Milking Pails

[Music]

--Monton, Lancashire (Miss Dendy); London (A. B. Gomme).

[Music]

--Earls Heaton, Yorks. (H. Hardy).

I. Mary's gone a-milking,
Mother, mother,
Mary's gone a-milking,
Gentle sweet mother o' mine.

Take your pails and go after her,
Daughter, daughter,
Take your pails and go after her,
Gentle sweet daughter o' mine.

Buy me a pair of new milking pails,
Mother, mother,
Buy me a pair of new milking pails,
Gentle sweet mother o' mine.

Where's the money to come from,
Daughter, daughter,
Where's the money to come from,
Gentle sweet daughter o' mine?

Sell my father's feather bed,
Mother, mother,
Sell my father's feather bed,
Gentle sweet mother o' mine.

What's your father to sleep on,
Daughter, daughter,
What's your father to sleep on,
Gentle sweet daughter o' mine?

Put him in the truckle bed,
Mother, mother,
Put him in the truckle bed,
Gentle sweet mother o' mine.

What are the children to sleep on,
Daughter, daughter,
What are the children to sleep on,
Gentle sweet daughter o' mine?

Put them in the pig-sty,
Mother, mother,
Put them in the pig-sty,
Gentle sweet mother o' mine.

What are the pigs to lie in,
Daughter, daughter,
What are the pigs to lie in,
Gentle sweet daughter o' mine?

Put them in the washing-tubs,
Mother, mother,
Put them in the washing-tubs,
Gentle sweet mother o' mine.

What am I to wash in,
Daughter, daughter,
What am I to wash in,
Gentle sweet daughter o' mine?

Wash in the thimble,
Mother, mother,
Wash in the thimble,
Gentle sweet mother o' mine.

Thimble won't hold your father's shirt,
Daughter, daughter,
Thimble won't hold your father's shirt,
Gentle sweet daughter o' mine.

Wash in the river,
Mother, mother,
Wash in the river,
Gentle sweet mother o' mine.

Suppose the clothes should blow away,
Daughter, daughter,
Suppose the clothes should blow away,
Gentle sweet daughter o' mine?

Set a man to watch them,
Mother, mother,
Set a man to watch them,
Gentle sweet mother o' mine.

Suppose the man should go to sleep,
Daughter, daughter,
Suppose the man should go to sleep,
Gentle sweet daughter o' mine?

Take a boat and go after them,
Mother, mother,
Take a boat and go after them,
Gentle sweet mother o' mine.

Suppose the boat should be upset,
Daughter, daughter,
Suppose the boat should be upset,
Gentle sweet daughter o' mine?

Then that would be an end of you,
Mother, mother,
Then that would be an end of you,
Gentle sweet mother o' mine.

--London Nursemaid, 1876 (A. B. Gomme).

II. Mary's gone a-milking, a-milking, a-milking,
Mary's gone a-milking, mother, dear mother of mine.

Where did she get her money from, daughter, daughter?
Where did she get her money from, daughter, dear daughter
of mine?

[Then follow verses sung in the same manner, beginning with the following lines--]

Sold her father's feather bed, feather bed.
What will your father lie on, lie on?
Lay him in the pig-sty, pig-sty.
Where will the pigs lie, daughter?
Lay them in the wash-tub, mother.
What shall I wash in, wash in?
Wash in a thimble, mother.
A thimble won't hold my night-cap.
Wash by the sea-side, mother.
Suppose the clothes should blow away?
Get a boat and go after them, mother.
But suppose the boat should turn over?
Then that would be an end of you, mother.

--Bocking, Essex (_Folk-lore Record_, iii. 169).

III. Mother, please buy me a milking-can,
A milking-can, a milking-can!
Mother, please buy me a milking-can,
With a humpty-dumpty-daisy!

[Then follow verses sung in the same manner, beginning--]

Where's the money to come from, to come from?
Sell my father's feather bed.
Where's your father going to lie?
Lie on the footman's bed.
Where's the footman going to lie?
Lie in the cowshed.
Where's the cows going to lie?
Lie in the pig-sty.
Where's the pig going to lie?
Lie in the dolly-tub.
And what am I to wash in?
Wash in a thimble.
A thimble wunna hold a cap.
Wash in an egg-shell.
An egg-shell wunna hold a shirt.
Wash by the river-side.
Suppose the clothes should float away?
Get a boat and fetch them back.
Suppose the boat should overthrow?
Serve you right for going after them!

--Berrington, Oswestry, Chirbury (Burne's _Shropshire Folk-lore_, p. 515).

IV. Mother, will you buy me a milking-can,
A milking-can, a milking-can?
Mother, will you buy me a milking-can,
To me, I, O, OM?

Where's the money to buy it with,
To buy it with, to buy it with,
Where's the money to buy it with,
To me, I, O, OM?

[Then the following verses--]

Sell my father's feather bed.
Where will your father sleep?
My father can sleep in the boys' bed.
Where will the boys sleep?
The boys can sleep in the pig-sty.
Where will the pigs sleep?
The pigs can sleep in the wash-tub.
Where shall I wash my clothes?
You can wash them in a thimble.
A thimble is not large enough.
You can wash them in an egg-shell.
An egg-shell would not hold them.
You can wash them by the river side.
But what if I should fall in?
We'll get a rope and pull you out,
To me, I, O, OM.

--Sheffield (S. O. Addy).

V. Mother, come buy me two milking-pails,
Two milking-pails, two milking-pails,
Mother, come buy me two milking-pails,
O sweet mother o' mine.

[Then verses beginning with the following lines--]

Where shall I get my money from,
O sweet daughter o' mine?

Sell my father's feather beds.
Where shall your father sleep?
Sleep in the servant's bed.
Where shall the servant sleep?
Sleep in the washing-tub.
Where shall I wash the clothes?
Wash them in the river.
Suppose the clothes float away?
Take a boat and go after them.
Suppose the boat upsets?
Then you will be drownded.

--London (Miss Dendy).

VI. Mother, come buy me a milking-can,
Milking-can, milking-can,
Mother, come buy me a milking-can,
O mother o' mine.

Where can I have my money from,
O daughter o' mine?

Sell my father's bedsteads.
Where must your father sleep?
Sleep in the pig-sty.
Where must the pig sleep?
Sleep in the washing-tub.
What must I wash in?
Wash in your thimble.
What must I sew with?
Sew with your finger.
What will you say if I prick me?
Serve you right, serve you right.

--Monton, Lancashire (Miss Dendy).

VII. Mother, will you buy me a pair of milking-cans,
Milking-cans, milking-cans,
Mother, will you buy me a pair of milking-cans,
O gentle mother of mine?

But where shall I get the money from?
Sell my father's feather bed.
But where, O where, will your father lie?
Father can lie in the girls' bed.
But where, O where, shall the girls then lie?
The girls can lie in the boys' bed.
But where, O where, shall the boys lie?
The boys may lie in the pig-sty.
Then where, O where, will the pigs lie?
The pigs may lie in the washing-tub.
Then where, O where, shall we wash our clothes?
We can wash by the river side.
The tide will wash the clothes away.
Get the prop and follow them.

--Sheffield (Miss Lucy Garnett).

VIII. Mother, buy some milking-cans,
Milking-cans, milking-cans.

Where must our money come from?
Sell our father's feather bed.

[This goes on for many more verses, articles of furniture being mentioned in each succeeding verse.]

--Earls Heaton (Herbert Hardy).

IX. Buy me a milking-pail, my dear mother.
Where's the money to come from, my dear daughter?
Sell father's feather bed.
Where could your father sleep?
Sleep in the pig-sty.
What's the pigs to sleep in?
Put them in the washing-tub.
What could I wash the clothes in?
Wash them in your thimble.
Thimble isn't big enough for baby's napkin.
Wash them in a saucer.
A saucer isn't big enough for father's shirt.
Wash by the river side, wash by the river side.

--Crockham Hill, Kent (Miss Chase).

X. Please, mother, buy me a milking-can,
Milking-can, milking-can,
Please, mother, buy me a milking-can,
My dear mother.

Where can I get the money from?
Sell father's feather bed.
Where shall your father sleep?
Sleep in the boys' bed.
Where shall the boys sleep?
Sleep in the pig-sty.
Where shall the pigs sleep?
Sleep in the washing-tub.
What shall I wash with?
Wash in an egg-shell.
The egg-shell will break.
Wash in a thimble.
Thimble's not big enough.
Wash by the river side.
Suppose the things should float away?
Get a boat and go after them.
Suppose the boat should be upset?
Then you'll be drowned,
Drowned, drowned,
Then you'll be drowned,
And a good job too.

--Enborne, Berks. (Miss M. Kimber).

XI. Please, mother, buy me a milk-can,
A milk-can, a milk-can,
Please, mother, do.

Where's the money coming from,
Coming from, coming from,
What shall I do?

Sell father's feather bed,
Feather bed, feather bed,
Please mother, do.

Where shall the father sleep?
Sleep in the servants' bed.
Where shall the servants sleep?
Sleep in the pig-sty.
Where shall the pig sleep?
Sleep in the washing-tub.
What shall I wash in?
Wash in a thimble.
The shirts won't go in.
Wash by the river side.
Supposing if I fall in?
Good job too!

--Hartley Wintney, Winchfield, Hants (H. S. May).

XII. Mother, buy the milk-pail, mother, dear mother of mine.
Where's the money to come from, children, dear children of
mine?
Sell father's feather bed, mother, dear mother of mine.
Where's your father to sleep in?
Father can sleep in the servant's bed.
Where's the servant to sleep in?
Servant can sleep in the pig-sty.
Where's the pig to sleep in?
The pig can sleep in the wash-tub.
Where shall we wash our clothes?
Wash our clothes at the sea-side.
If our clothes should swim away?
Then take a boat and go after them.
O what should we do if the boat should sink?
O then we should all of us be at an end.

--Swaffham, Norfolk (Miss Matthews).

XIII. We want to buy a wash-pan, wash-pan, wash-pan,
We want to buy a wash-pan, early in the morning.

Where will you get the money from, money from, money from?
We'll sell my father's feather bed, feather bed, feather bed.
Where will your father sleep?
Father'll sleep in the boys' bed.
Where will the boys sleep?
Boys will sleep in the girls' bed.
Where will the girls sleep?
Girls will sleep in the pig-sty.
Where will the pigs sleep?
Pigs will sleep in the washing-pan.

--Cowes, Isle of Wight (Miss E. Smith)

XIV. Mother, may I buy some male-scales, mother, mother?
Mother, may I buy some male-scales, gentle mother of mine?
Where will the money come from, daughter, daughter?
Sell my father's feather bed, mother, mother.
Where will your father lie, daughter, daughter?
Lie in the boys' bed, mother, mother.
Where will the boys lie, daughter, daughter?
Lie in the servants' bed, mother, mother.
Where will the servants lie, daughter, daughter?
Lie in the pig-sty, mother, mother.
Where will the pigs lie, daughter, daughter?
Lie in the washing-tub, mother, mother.
Where will we wash our clothes, daughter, daughter?
Wash them at the sea-side, mother, mother.
Suppose the clothes should float away, daughter, daughter?
Take a boat and bring them in, mother, mother.
Suppose the boat would go too slow, daughter, daughter?
Take a steamboat and bring them in, mother, mother.
Suppose the steamboat would go too fast, daughter, daughter?
Then take a rope and hang yourself, mother, mother.

--South Shields (Miss Blair, aged 9).

(_b_) One child stands apart and personates the Mother. The other children form a line, holding hands and facing the Mother. They advance and retire singing the first, third, and alternate verses, while the Mother, in response, sings the second and alternate verses. While the last verse is being sung the children all run off; the Mother runs after them, catches them, and beats them. Either the first or last caught becomes Mother in next game. In the Shropshire game the Mother should carry a stick. In the Norfolk version the Mother sits on a form or bank, the other children advancing and retiring as they sing. After the last verse is sung the children try to seat themselves on the form or bank where the Mother has been sitting. If they can thus get home without the Mother catching them they are safe. The Kentish game is played with two lines of children advancing and retiring. This was also the way in which the London version (A. B. Gomme) was played. In the version sent by Mr. H. S. May a ring is formed by the children joining hands. One child stands in the centre--she represents the Mother. The ring of children say the first, third, and every alternate verse. The child in the centre says the second, fourth, and alternate verses, and the game is played as above, except that when the Mother has said the last verse the children call out, "Good job, too," and run off, the Mother chasing them as above. The game does not appear to be sung.

(_c_) This game is somewhat of a cumulative story, having for its finish the making angry and tormenting of a mother. All the versions point to this. One interesting point, that of milk-pails, is, it will be seen, gradually losing ground in the rhymes. Milk-pails were pails of wood suspended from a yoke worn on the milkmaid's shoulders, and these have been giving place to present-day milk-cans. Consequently we find in the rhymes only four versions in which milk-pails are used. In two versions even the sense of milking-can has been lost, and the South Shields version, sent me by little Miss Blair, has degenerated into "male-scales," a thoroughly meaningless phrase. The Cowes version (Miss Smith) has arrived at "wash-pan." The "burden" of the Chirbury version is "a rea, a ria, a roses," and the Sheffield version is also remarkable: the "I, O, OM" refers, probably, to something now forgotten, or it may be the "Hi, Ho, Ham!" familiar in many nursery rhymes. The game seems to point to a period some time back, when milking was an important phase of the daily life, or perhaps to the time when it was customary for the maids and women of a village to go to the hilly districts with the cows (summer shealings) for a certain period of time. The references to domestic life are interesting. The scarcity of beds, the best or feather bed, and the children's bed, seeming to be all those available. The feather bed is still a valued piece of household furniture, and is considered somewhat of the nature of a heirloom, feather beds often descending from mother to daughter for some generations. I have been told instances of this. Gregor, in _Folk-lore of East of Scotland_, p. 52, describes the Scottish box-bed. The "truckle bed" and "footman's bed" probably refers to the small bed under a large one, which was only pulled out at night for use, and pushed under during the day. Illustrations of these beds and the children's bed are given in old tales. The proximity of the pig-sty to the house is manifest. The mention of washing-tubs calls to mind the large wooden tubs formerly always used for the family wash. Before the era of laundresses washing-tubs must have constituted an important part of the family plenishing. Washing in the rivers and streams was also a thing of frequent occurrence, hot water for the purpose of cleansing clothes not being considered necessary, or in many cases desirable. Chambers gives a version of the game (_Popular Rhymes_, p. 36) and also Newell (_Games_, p. 166). Another version from Buckingham is given by Thomas Baker in the _Midland Garner_, 1st ser., ii. 32, in which the mother desires the daughter to "milk in the washing-tub," and the words also appear very curiously tacked on to the "Three Dukes a-riding" game from Berkshire (_Antiquary_, xxvii. 195), where they are very much out of place.

Mineral, Animal, and Vegetable

A ball is thrown by one player to any one of the others. The thrower calls out at the same time either "mineral," "animal," or "vegetable," and counts from one to ten rather quickly. If the player who is touched by the ball does not name something belonging to that kingdom called before the number ten is reached, a forfeit has to be paid.--London (A. B. Gomme).

This is more usually called "Animal, Vegetable, and Mineral." See "Air, Fire, and Water."

Minister's Cat

The first player begins by saying, "The minister's cat is an ambitious cat," the next player "an artful cat," and so on, until they have all named an adjective beginning with A. The next time of going round the adjectives must begin with B, the next time C, and so on, until the whole of the alphabet has been gone through.--Forest of Dean, Gloucestershire (Miss Matthews); Anderby, Lincolnshire (Miss Peacock).

This is apparently the same game as the well-known "I love my love with an A because she is amiable." In this game every player has to repeat the same sentence, but using a different adjective, which adjective must begin with the letter A. Various sentences follow. At the next round the adjectives all begin with B; the next C, until a small story has been built up. Forfeits were exacted for every failure or mistake. The formula usually was--

I love my love with an A because she is ( ). I hate her with an A because she is ( ). I took her to the sign of the ( ), and treated her to ( ). The result was ( ).

Mollish's Land

Cornish name for "Tom Tiddler's Ground."--_Folk-lore Journal_, v. 57.

Monday, Tuesday

A game played with a ball. There are seven players, who each take a name from one of the days of the week. One (Sunday) begins by throwing the ball against a wall, calling out at the same time the name of one of the days, who has to run and catch it before it falls. If this one fails to catch the ball, the first player picks up the ball and tries to hit one of the six with it, who all endeavour to escape being hit. If the player succeeds, he again throws the ball against the wall, calling out another day of the week to catch it. If a player gets hit three times, he is out. The winner is he who has either not been hit at all or the fewest times, or who has been able to stay in the longest. The same game is played with twelve children, who are named after the twelve months of the year.--London and Barnes (A. B. Gomme); _Strand Magazine_, ii. 519 (F. H. Low).

This game belongs apparently to the ball games used for purposes of divination. Mr. Newell (_Games_, p. 181) describes a similar game to this, in which the player whose name is called drops the ball; he must pick it up as quickly as possible while the rest scatter. He then calls "Stand!" upon which the players halt, and he flings it at whom he pleases. If he misses his aim, he must place himself in a bent position with his hands against a wall until every player has taken a shot at him. The idea of naming children after the days of the week occurs also in the games of "Gipsy," "Witch," and "Mother, Mother, the Pot boils over."

See "Ball," "Burly Whush," "Keppy Ball."

Moolie Pudding

The game of "Deadelie;" one has to run with the hands locked and "taen" the others.--Mactaggart's _Gallovidian Encyclopædia_.

See "Chickidy Hand," "Deadelie," "Hunt the Staigie," "Whiddy."

More Sacks to the Mill

A very rough game, mentioned in Dean Miles' MS., p. 180 (Halliwell's _Dictionary_). Lowsley (_Berkshire Glossary_) says this is "a favourite game with children at Christmas-time, when wishing for one of a romping character," but he does not describe it further. Northall (_English Folk Rhymes_, p. 354) says that in Warwickshire and Staffordshire boys torture an unfortunate victim by throwing him on the ground and falling atop of him, yelling out the formula, "Bags to [on] the mill." This summons calls up other lads, and they add their weight.

Mother, may I go out to Play?