No. 146.Duck on a Rock.

In other localities, no straddling step is taken, but the player, in certain divisions, is allowed to place the stone on his foot, and so expel it from the figure at a single kick; the compartments also vary in number and arrangement.

This is one of the universal games, common from England to Hindostan. Everywhere the game consists in describing on the soil an oblong figure with several divisions, and in tossing a flat stone or potsherd into them, and then kicking it out with a hopping motion; the arrangement of the divisions differs. From the shape of the last compartment, the game is called in Italy "The Bell," and in Austria "The Temple." In Italy the three last divisions are theInferno,Purgatorio, andParadiso. In New York the last is calledPot.

We will suppose a party of boys to be debating what game to play. "What shall we play?" "Duck on a Rock," suggests one. The idea is instantly taken up. "My one duck," cries some boy. "My duck," shouts a second, seizing a stone. The last to "speak" gets no duck, and has to guard the "drake." The drake is a good-sized stone, which is placed on an elevated position, or boulder, if such be at hand. The "ducks" are stones about the size of the fist. The object is to knock the drake off the rock. After each player has thrown his duck, and missed, he must recover it. The guardian stands by the "rock," but cannot tag a player until the latter has touched his own duck, when he must replace the keeper. Meanwhile, if the drake is knocked off the rock, the keeper must replace it before he can tag any one, and this is therefore the signal for a rush to recover the thrown ducks. The game is not without a spice of danger from these missiles.

In this game of boys and girls, a knife is cast to the earth, on a piece of turf, with the point downwards, and must remain sticking there; there are several successive positions of throwing, as follows: (1) the knife is held in the palm, first of the right and afterwards of the left hand, point outward, and thrown so as to revolve towards the player; (2) it is rested successively on the right and left fist, with the point uppermost, and thrown sideways; (3) the knife is pressed with the point resting on each finger and thumb of both hands in succession, and cast outwards; after this it is held by the point, andflipped(4) from the breast, nose, and each eye; (5) from each ear, crossing arms, and taking hold of the opposite ear with the free hand; (6) over the head backwards. If the knife does not "stick," the next player takes his turn; the first to conclude the series wins. The winner is allowed to drive a peg into the ground with three blows of the knife, which the other must extract with his teeth, whence the name, "Mumblety-peg." Another title is "Stick-knife."

Such was the title of the common game in a New England town (Salem, Mass.).[115]The same amusement, under the same name, was popular in Greece more than two thousand years ago, being mentioned as a girls' game by Aristophanes. It is thus described by Pollux: "The game of 'five-stones;' little stones, pebbles, or bones are thrown up, so as to catch them on the back of the turned hand, or if not all are caught, the rest must be picked up with the fingers, while the others remain on the hand."

A pleasing painting in the Museum of Naples represents goddesses playing at "Five-stones." Aglaë is looking on; three of her bones lie on the ground, one is pressed by her thumb, the fifth is hidden by her garments. Hileæra has just thrown; she has caught three, the other two are falling to the ground. Niobe, Latona, and Ph$oelig;be are standing behind.

One of the movements of the Spanish game is still exactly the same as that described by the Greek writers of the second century. The game in America, as played in the childhood of the writer, also began with catching the stones on the back of the hand, at first one only out of the five tossed up, then two, three, four, and, finally, the whole five.

The game now consists of an indefinite number of figures, of which the names and arrangements vary in different localities. In all those described below, a single stone is tossed up, to be caught in the palm, and while this is in the air the others must be taken into the hand, or certain motions made.

Ones, twos, threes, fours.—The stones are rolled on the table or floor, either directly from the right hand, or over the back of the left hand resting on the table. A single stone being selected and tossed in the air, as above mentioned, the rest must be picked up; in the first figure one at a time, in the second by groups of two, in the third by three and one, and finally the whole four together. In case of an error, the next takes his turn.

Jumping the Ditch.—The four stones remaining, after one has been chosen, are placed in a line; the first and third of the row are then to be caught up together, and afterwards the second and fourth.

Knock at the Door,Strike the Match,Wash the Clothes, etc.—A selected stone being thrown up, motions corresponding to the title are to be made on the floor while it is in the air.

Set the Table.—Four stones are placed in a heap, as if to represent a pile of plates. One of these is taken from the heap, in the usual manner. It is then held between the thumb and palm of the right hand, and, with a second toss of the chosen stone, is deposited on the floor at the corner of an imaginary square. The square having been completed by four stones, motions are made to indicate the arrangement of the glasses, etc.Clearthe Tableis the reverse movement, in which the stones are again brought to the centre.

The Well.—The left hand is laid on the table with the thumb and index finger joined. Into the opening so formed the four stones are pushed, by a fillip of the finger. The hand is then removed from the table, and the stones must be caught up together as they lie. The figures vary, according as the thumb and index are made to form an arch or circle, are laid on the table or floor horizontally, or in an upright position, or, finally, as the hand is raised above the table in the form of a cup. These varieties receive the names ofPeas in the Pod,Doves in the Cot, etc.

Horses in the Stall.—The left hand is laid on the table with the fingers extended, and four stones placed in front of the openings, representing stalls. A stone being thrown up as usual, the four others are filliped into the openings, and afterwards must be picked up together from the positions in which they lie. InHorses out of the Stallthe stones are brought out from between the fingers, and then caught up.

Other movements areFeeding the Elephant,Spinning the Wheel,Going up the Ladder, etc., to the number of thirty or more. Failing to catch the stone thrown up, or not succeeding in the required motion, or touching a stone unnecessarily, constitute errors, in which case it is often required to go back to the very beginning of the game.

Instead of pebbles, little double tripods of iron, probably representing the more ancientbones, are generally in use; and the fifth stone, or "jack," is often replaced by a ball or marble, the latter being allowed to bound before it is caught. This usage seems to be of German origin. Sometimes marbles are used, the "jack" being of a different color from the rest,and school-girls take pride in the beauty of the agates they employ for this purpose.

About Boston a similar game is much played under the name of "Otadama," or "Japanese jacks." Seven little silk bags are filled with rice, one, of a different color from the rest, being called the "jack." The game consists of four parts. In the first figure, the silk bags being placed on the floor, the "jack" is thrown up, and the other six picked up one by one, being so deposited as to keep them together in groups of twos, so that two at a time may be caught up, which is the next thing to be done. Then come groups of three, four and two, and five and one, next the six together, the bags, after being caught, being so dropped as to prepare for the following movements. The next motion is "tattoo," which consists in throwing up the "jack" and catching it on the back of the hand, then throwing it up again from the back of the hand and catching it in the fingers, without turning over the palm.

The second figure contains "second ones," "second twos," "second threes," "second fours," "second fives," "second sixes." These are the same as in the first figure, except that in each case the bags caught, instead of being merely dropped from the hand, as before, are tossed up together with the "jack," which last must be caught again before falling. In the second and third figures "tattoo" follows every movement.

The third figure begins with "third sixes," in which, the six bags being caught up and held tightly, the "jack" is again tossed, the six slapped on the floor, and the "jack" caught on the back of the hand. The second motion is "fourth sixes," which resembles second sixes, except that the "jack" is now caught on the back of the hand. Next comes "touch." The six bags are caught up, thrown with the "jack" into the air, and the floor is touched with the middle finger, before catching the "jack." After this follows "fours and threes," in which, the six bags having been caught up, the palm is turned uppermost with the seven bags (including the "jack"), and it is required to throw off first four at a time, and afterwards the other three. "Pack up" is the next motion. The six bags are caught up, compactly arranged in the palm of the hand, and must be thrown up and caught on the back of the hand. Two chances are allowed. The bags dropped the first time may be tried by themselves. Then "third ones," which is the same as "second ones," except that, the bags being placed in a row with the "jack" at the left, the"jack" is constantly exchanged for each bag that is caught up. "Tattoo" follows each of these movements.

The fourth and last figure is done with the left hand. The palm is turned towards the floor, upon which all the bags lie in a row, the "jack" at the right; a bag is then picked up by the thumb and forefinger, keeping the other fingers extended, and is tossed on the back of the hand. It must remain there while the second bag is picked up, and is tossed off the hand when the second is tossed on. This motion is repeated with the other five, ending with the "jack," and the game is finished with "tattoo."

The game is played by two or more. In case of an error, the next plays; but an error in the last figure requires the player to go back to the beginning of the game. The "jack" is often made square and somewhat flat, while the other bags are drawn up at two ends, and have a rounder shape. It is necessary that they should be soft and flexible.

This game is of Japanese origin, "Tedama"[116]—that is, "Hand-balls"—being its proper name. As the specimen given shows, it closely resembles the ancient game of "Five-stones." We are informed, on Japanese authority, that stones are habitually used by boys in playing, and that the number of these varies. There can be no doubt that the two forms of this amusement are branches of the same root; and we thus have an example of a game which, having preserved its essential characteristics for thousands of years, has fairly circumnavigated the globe, so that the two currents of tradition, westward and eastward, from Europe and Asia, have met in America.

FOOTNOTES:[107]"Do you like best to stay at father's or grandma's?" "There's the most berries at grandma's—I'll rather be there."Georgia Boy.[108]Sphaeromachia.[109]Made, according to Johnson, with the leaves of newly sprung herbs.[110]The identical name in Austria, "Kinder."[111]They are descendants of emigrants from the Upper Rhine, and speak a dialect resembling that of the Palatinate, but mixed with English words.[112]The like method in Austria, where the general idea of the game, and many particulars, are the same. There are, however, only two bases. The same way, even to the ability to throw the bat with two fingers, which is the test of a doubtful hold, is used in Switzerland to determine choice of sides in the game answering to No. 139. These coincidences seem to point to a remote antiquity of usage.[113]"Fen burnings!" "Roundings!" "Dubs!" "Knuckle down tight where you lay!" "Burnings" signifies breathing on a marble, and thereby getting certain advantages. The lads whom we quote never used the word marbles, butmibs. "Let's play mibs."[114]"Cherry-pits are in now; buttons won't be in for a fortnight."—New York boy.[115]Communicated by the late Mr. George Nichols, of Cambridge, Mass., formerly of Salem. The common name,Jack-stones, seems to be a corruption forChuck-stones, small stones which can be chucked or thrown. "Chuckie-stanes," in Scotland, means small pebbles. "Checkstones, small pebbles with which children play."—Dialect of Craven.[116]O-tédama (pronounce as in Italian) is, we learn, compounded ofO, the,te, hand, andtama, balls. It is played with song, which consists in chanting the titles of the several movements; thus, in the first figure, (1) O Hito, (2) O Fu, (3) O Mi, (4) O Yo, (5) O Itzu, (6) O Mu. The second figure, in which beginsTonkiri("tattoo"), is called Zakara (a meaningless word); and the chant is, (1) O Hito Zakara, (2) O Fu Zakara, (3) O Mi Zakara, etc. These numbers are children's numeration, of which there are two sorts; the present series continues, (7) Nana, (8) Ya, (9) Kono, (10) To. We have varying forms from a friend in Hartford, Conn., where the song has been borrowed from Japanese students. Probably provincial usages in Japan differ. We give the above terms (not the game, which is current in the United States), as written by a Japanese gentleman. It is noteworthy that this childish system has no connection with the regular table.

[107]"Do you like best to stay at father's or grandma's?" "There's the most berries at grandma's—I'll rather be there."Georgia Boy.

[107]"Do you like best to stay at father's or grandma's?" "There's the most berries at grandma's—I'll rather be there."

Georgia Boy.

[108]Sphaeromachia.

[109]Made, according to Johnson, with the leaves of newly sprung herbs.

[110]The identical name in Austria, "Kinder."

[111]They are descendants of emigrants from the Upper Rhine, and speak a dialect resembling that of the Palatinate, but mixed with English words.

[112]The like method in Austria, where the general idea of the game, and many particulars, are the same. There are, however, only two bases. The same way, even to the ability to throw the bat with two fingers, which is the test of a doubtful hold, is used in Switzerland to determine choice of sides in the game answering to No. 139. These coincidences seem to point to a remote antiquity of usage.

[113]"Fen burnings!" "Roundings!" "Dubs!" "Knuckle down tight where you lay!" "Burnings" signifies breathing on a marble, and thereby getting certain advantages. The lads whom we quote never used the word marbles, butmibs. "Let's play mibs."

[114]"Cherry-pits are in now; buttons won't be in for a fortnight."—New York boy.

[115]Communicated by the late Mr. George Nichols, of Cambridge, Mass., formerly of Salem. The common name,Jack-stones, seems to be a corruption forChuck-stones, small stones which can be chucked or thrown. "Chuckie-stanes," in Scotland, means small pebbles. "Checkstones, small pebbles with which children play."—Dialect of Craven.

[116]O-tédama (pronounce as in Italian) is, we learn, compounded ofO, the,te, hand, andtama, balls. It is played with song, which consists in chanting the titles of the several movements; thus, in the first figure, (1) O Hito, (2) O Fu, (3) O Mi, (4) O Yo, (5) O Itzu, (6) O Mu. The second figure, in which beginsTonkiri("tattoo"), is called Zakara (a meaningless word); and the chant is, (1) O Hito Zakara, (2) O Fu Zakara, (3) O Mi Zakara, etc. These numbers are children's numeration, of which there are two sorts; the present series continues, (7) Nana, (8) Ya, (9) Kono, (10) To. We have varying forms from a friend in Hartford, Conn., where the song has been borrowed from Japanese students. Probably provincial usages in Japan differ. We give the above terms (not the game, which is current in the United States), as written by a Japanese gentleman. It is noteworthy that this childish system has no connection with the regular table.

Petite fille de Paris,Prête-moi tes souliers gris,Pour aller en Paradis.Nous irons un à un,Dans le chemin des Saints;Deux à deux,Sur le chemin des cieux.

French Counting Rhyme.

There are various ways in which children decide who shall begin in a game, or, as the phrase is, be "it."[117]When this position is an advantage, it is often determined by the simple process of "speaking first." So far as can be determined when all are shouting at once, the first speaker is then entitled to the best place. Otherwise it is the practice to draw straws, the shortest gaining; to "toss up" a coin, "heads or tails;" or to choose between the two hands, one of which holds a pebble.

The most interesting way of decision, however, is by employing the rhymes for "counting out." A child tells off with his finger one word of the rhyme for each of the group, and he on whom the last word falls is "out."[118]This process of exclusion is continued until one only is left, who has the usually unpleasant duty of leading in the sport. All European nations possess such rhymes, and apply them in a like manner. These have the common peculiarity of having very little sense, beingoften mere jargons of unmeaning sounds. This does not prevent them from being very ancient. People of advanced years often wonder to find their grandchildren using the same formulas, without the change of a word. The identity between American and English usage establishes the currency of some such for three centuries, since they must have been in common use at the time of the settlement of this country. We may be tolerably sure that Shakespeare and Sidney directed their childish sports by the very same rhymes which are still employed for the purpose. Furthermore, German and other languages, while they rarely exhibit the identical phrases, present us with types which resemble our own, and obviously have a common origin. Such a relation implies a very great antiquity; and it becomes a matter of no little curiosity to determine the origin of a practice which must have been consecrated by the childish usage of all the great names of modern history.

This origin is by no means clear; but we may make remarks which will at least clear away misconceptions. We begin with that class of formulas which we have marked from 1 to 13 inclusive.

Respecting these rhymes, we observe, in the first place, that they are meaningless. We might suppose that they were originally otherwise; for example, we might presume that the first of the formulas given below had once been an imitation or parody of some list of saints, or of some charm or prayer. A wider view, however, shows that the rhymes are in fact a mere jargon of sound, and that such significance, where it appears to exist, has been interpreted into the lines. We observe further, that, in despite of the antiquity of some of these formulas, their liability to variation is so great that phrases totally different in sound and apparent sense may at any time be developed out of them.

These variations are effected chiefly in two ways—rhyme and alliteration. A change in the termination of a sound has often involved the introduction of a whole line to correspond; and in this manner a fragment of nursery song may be inserted which totally alters the character of the verse. Again, the desire for a quaint alliterative effect has similarly changed the initial letters of the words of the formulas, according as the whim of the moment suggested.

From the fact that neither rhyme nor alliteration is any guide to the relations of these formulas, but seem arbitrarily introduced, we might conclude that the original type had neither one nor the other of these characteristics. This view is confirmed by European forms in which they appearas mere lists of unconnected words, possessing some equality of tone. Rhythm is a more permanent quality in them than termination or initial. From these considerations it appears likely that the original form of the rhymes of which we speak was that of a comparatively brief list of dissyllabic or trisyllabic words.

Now, when we observe that the first word of all the rhymes of this class is obviously a form of the numberone; that the second word appears to betwo, or a euphonic modification oftwo, and that numbers are perpetually introducing themselves into the series, it is natural to suppose that these formulas may have arisen from simple numeration.

This supposition is made more probable by a related and very curious system of counting up to twenty (of which examples will be found below), first brought into notice by Mr. Alexander J. Ellis, vice-president of the Philological Society of Great Britain, and called by him the "Anglo-Cymric Score." Dr. J. Hammond Trumbull, of Hartford, Conn., noticing the correspondence of Mr. Ellis's score with numerals attributed to a tribe of Indians in Maine (the Wawenocs), was led to make inquiries, which have resulted in showing that the method of counting in question was really employed by Indians in dealing with the colonists, having been remembered in Rhode Island, Connecticut, Massachusetts, New Hampshire, and Ohio (where it passed for genuine Indian numeration), and in this way handed down to the present generation as a curiosity. Mr. Ellis has found this score to be still in use in parts of England—principally in Cumberland, Westmoreland, and Yorkshire, where it is employed by shepherds to count their sheep, by old women to enumerate the stitches of their knitting, by boys and girls for "counting out," or by nurses to amuse children. It is, therefore, apparent that this singular method of numeration must have been tolerably familiar in the mother-country in the seventeenth century, since the Indians evidently learned it from the early settlers of New England. It appears, indeed, that not only the score itself, but also its chief variations, must have been established at that time. Mr. Ellis, however, who has shown that the basis of these formulas is Welsh, is disposed "to regard them as a comparatively recent importation" into England. Be that as it may, we see that the elements of change we have described, alliteration and rhyme, have been busy with the series. While the score has preserved its identity as a list of numerals, the successive pairs of numbers have been altered beyond all recognition, and with perfect arbitrariness.

It is plain that our counting rhymes cannot have been formed from the "Anglo-Cymric score," since the latter is only in use in parts of England, while the former are common to many European nations. Nothing, however, prevents the supposition that they owe their origin to a similar root. All that can be said is, that no modern language is responsible for the practice, which can hardly be supposed to have originated within the last thousand years.

Turning now to other types of formulas for counting, we see that any game-rhyme or nursery verse may do duty for such. Of lines used solely for this purpose, we find forms which have analogies on the continent of Europe. Some of the childish verses so used, like the French rhyme we have set at the head of our chapter, contain allusions which stamp them as ancient. On the other hand, it seems that, in our own country, little American inventions of the sort, recommended by some attractive quaintness, have gained currency, unwritten as of course they are, from Canada to the Gulf.

It appears, from foreign usage, that it was formerly common for each game to have its own especial formula for "counting out," a practice of which we have an example in No. 107.

(1.) Onery, uery, hickory, Ann,Fillison, follason, Nicholas John,Queevy, quavy, Virgin Mary,Singalum, sangalum, buck.

—Philadelphia.

(2.) Onery, uery, ickory, Ann,Filisy, folasy, Nicholas John,Queevy, quavy, Irish Mary,Stingalum, stangalum, buck.[119]

—New England.

(3.) Onery, uery, ickory, Ann,Fillison, follason, Nicholas John,Queevy, quavy, English navy,Stinkalum, stankalum, John Buck.B-u-c-kspells buck.

(3.) Onery, uery, ickory, Ann,Fillison, follason, Nicholas John,Queevy, quavy, English navy,

Stinkalum, stankalum, John Buck.B-u-c-kspells buck.

—Cincinnati(1880).

(4.) Onery, uery, ickory, a,Hallibone, crackabone, ninery-lay,Whisko, bango, poker my stick,Mejoliky one leg!

—Scituate, Mass.(about 1800).

(5.) Onery, uery, hickory, able,Hallowbone, crackabone, Timothy, ladle,

—Salem, Mass.[120]

(6.) One's all, zuzall, titterall, tann,Bobtailed vinegar, little Paul ran,Harum scarum, merchant marum,Nigger, turnpike, toll-house, out.

—Salem, Mass.[121]

(7.) One-amy, uery, hickory, seven,Hallibone, crackabone, ten and eleven,Peep—O, it must be done,Twiggle, twaggle, twenty-one.

—Georgia.[122]

(8.) Onery, uery, ickery, see,Huckabone, crackabone, tillibonee;Ram pang, muski dan,Striddledum, straddledum, twenty-one.[123]

—Connecticut.

(9.) Eny, meny, mony, my,Tusca, leina, bona, stry,Kay bell, broken well,We, wo, wack.[124]

—Massachusetts.

(10.) Eny, meny, mony, mine,Hasdy, pasky, daily, ine,Agy, dagy, walk.

—Connecticut.

(11.) Eny, meny, mony, mite,Butter, lather, bony strike,Hair cut, froth neck,Halico balico,We, wo, wack.

—Philadelphia.

(12.) Ena, mena, mona, my,Panalona, bona, stry,Ee wee, fowl's neck,Hallibone, crackabone, ten and eleven,O-u-t spells out.

(13.) Intery, mintery, cutery corn,Apple-seed and apple-thorn,Wire, briar, limber lock,Five mice in a flock;Catch him Jack,Hold him Tom,Blow the bellows,Old man out.

—Massachusetts.

(14.) Ikkamy, dukkamy, alligar, mole,Dick slew alligar slum,Hukka pukka, Peter's gum,Francis.

—Massachusetts.

(15.)ane.tane.tother.feather.fip.sother.lother.co.deffrey.dick.een dick.teen dick.tother dick.feather dick.bumfrey.een bumfrey.teen bumfrey.tother bumfrey.feather bumfrey.gig it.

(15.)

(16.)een.teen.tuther.futher.fip.sother.lother.porter.dubber.dick.een dick.teen dick.tuther dick.futher dick.bumpit.een bumpit.teen bumpit.tuther bumpit.futher bumpit.gig it.[125]

(16.)

(17.) Stick, stock, stone dead,Set him up,Set him down,Set him in the old man's crown.

—Philadelphia.

(18.) Apples and oranges, two for a penny,Takes a good scholar to count as many;O-u-t, out goes she.

—Philadelphia.

(19.) a, b, c, d, e, f, g,h, i, j, k, l, m, n, o, p,q, r, s, t,u are out.

—Cincinnati.

(20.) 1, 2, 3, 4,Mary at the kitchen-door,5, 6, 7, 8,Mary at the garden-gate.

—Massachusetts(1820).

(21.) 1, 2, 3, 4,Lily at the kitchen-door,Eating grapes off the plate,5, 6, 7, 8.

—Philadelphia(1880).

(22.) 1, 2, 3, 4, 5, 6, 7, 8,Mary sat at the garden-gate,Eating plums off a plate,1, 2, 3, 4, 5, 6, 7, 8.

(23.) 1, 2, 3, 4, 5, 6, 7,All good children go to heaven.

—Massachusetts to Pennsylvania.

(24.) 1, 2, 3, 4, 5, 6, 7, 8,All bad children have to wait.

—Massachusetts.

(25.) Monkey, monkey, bottle of beer,How many monkeys are there here?1, 2, 3,You are he (she).

—Massachusetts to Georgia.

(26.) Linnet, linnet,Come this minute,Here's a house with something in it;This was built for me, I know.

—Philadelphia.

(27.) School's up, school's down,School's all around the town.

(28.) Three potatoes in a pot,Take one out and leave it hot.

—Philadelphia.

(29.) Mittie Mattie had a hen,She laid eggs for gentlemen,Sometimes nine and sometimes ten.

—Georgia.

(30.) William a Trimbletoe,He's a good fisherman,Catch his hands, put them in pens,Some fly East, some fly West,Some fly over the cuckoo's nest—O-u-t spells out and be gone.

—Georgia.

(31.) Red, white, and blue,All out but you.

—Philadelphia.

(32.) Engine No. 9,Out goes she.

—Philadelphia.

(33.) As I went up the apple-tree,All the apples fell on me;Bake a pudding, bake a pie,Did you ever tell a lie?Yes, you did, you know you did,You broke your mother's teapot-lid—L-i-d, that spells lid.

—Cincinnati.

(34.) Little man, driving cattle,Don't you hear his money rattle?One, two, three,Out goes he (she).

—Massachusetts.

(35.) Monday's child is fair of face,Tuesday's child is full of grace,Wednesday's child is sour and sad,Thursday's child is merry and glad,Friday's child is full of sin,Saturday's child is pure within;The child that is born on the Sabbath day,To heaven its steps shall tend alway.[126]

—Georgia.

FOOTNOTES:[117]The French expression is the same,l'êtreoren être. The Germans do not use an equivalent, but say to bein, to beout;sein daran, sein daraus.[118]An old way of arranging this is for each of the group to put a finger inside a hat, in order that the words may be told off on the fingers.[119]Englishonery,twoery, etc. The forms we give date back to about 1820, before the publication of the "Nursery Rhymes of England." There are numerous small variations. "VirginMary" we have from informants in the Middle States; "IrishMary" was the common New England phrase.[120]This rhyme was used only bygirls. Boys employed No. 2, and would have been laughed at for counting like girls.[121]Used byboysin the western part of the town, where were the toll-house and negro settlement.[122]English rhymes:Oneery, twoery, ziccary, zan,Hollowbone, crackabone, ninery, ten—etc.[123]This class of formulas (Nos. 1 to 8) appear to be mere variations of the same type, a fact which does not prevent individual forms from exhibiting a wonderful permanence. We consider as identical a class of German formulas, very wide-spread and variable, thus:(a.) Unichi, dunichi, tipel-te! Tibel, tabel, domine.(b.) Eckati peckati zuchati me, Avi schavi domine.(c.) Aeniga mäniga tumpel-ti, Tifel, tafel numine.(d.) Anigl panigl subtrahi! Tivi tavi, domini.(e.) Endeli bändeli deffendé, Gloria tibi domine.A rhyme quoted by Mr. Ellis from theMillhill Magazine(a school paper), and credited to America, is similar:(f.) Eeney, meeny, tipty te, Teena, Dinah, Domine.The following formulas from Transylvania are of a simpler type; the first is said to imitate theGipsy, the second theMagyar, speech:(g.) Unemi, dunemi, tronemi, ronemi, donemi,ronza, konza, jewla, dewla, tschok!(h.) Aketum, täketum, tinum, tanum, ärsak, märsak, etc.We take the latter type to be a nearer approach to the original form. All sorts of intermediate stages can be observed from between these lists and the more complicated examples; but we find no signs of numbers above ten, as in the "Anglo-Cymric score." The Russian and Finnish tongues present similar rhymed lists, while many Italian rhymes are of like origin, though disguised and extended.[124]In North Germany:Ene tene mone mei, Paster Lone bone, strei,Ene fune herke berke, Wer? wie? wo? was?As this is but one case of identity out of many hundreds, we suppose the rhyme borrowed from the English. There are many German rhymes beginning "Ene mene mu," or similarly; but the variation of the first sounds is endless: ene dene, ene tene, ene mene, ente twente, entele mentele, ane tane, unig tunig, oringa loringa, etc.; by association or rhyme, any nursery song may be introduced, or the first words may be dropped.[125]These examples of the "Anglo-Cymric score" (see page196) were obtained, No. 15 from Mrs. Ellis Allen of West Newton, now ninety years of age, who was born at Scituate, Mass., where she learned the formula; and No. 16 of her daughter, who learned it from an Indian woman,Mary Wolsomog, of Natick. Though mother and daughter, neither had ever heard the other's version of the score. To illustrate the relation of this score with Welsh numerals, we add two examples from Mr. Ellis's paper ("reprinted for private circulation from the Transactions of the Philological Society for 1877-8-9," pp. 316-372), selected from his fifty-three versions; the first is from England, the second from Ireland:aina.peina.para.peddera.pimp.ithy.mithy.owera.lowera.dig.ain-a-dig.pein-a-dig.par-a-dig.pedder-a-dig.bumfit.ain-a-bumfit.pein-a-bumfit.par-a-bumfit.pedder-a-bumfit.giggy.eina.mina.pera.peppera.pinn.chester.nester.nera.dickera.nin.eina dickera.mina dickera.pera dickera.peppera dickera.pumpi.eina pumpi.mina pumpi.pera pumpi.peppera pumpi.ticket.The modern Welsh numerals, as given by Mr. Ellis:un.dau.tri.pedwar.pump.chwech.saith.wyth.nau.deg.un ar deg.deuddeg.tri ar deg.pedwar ar deg.pymtheg.un ar bymtheg.dau ar bymtheg.tri ar bymtheg.pedwar ar bymtheg.ugain.The numbers 4, 5, 15, and combinations 1+15, 2+15, 3+15, 4+15, seem to make the connection unmistakable; but 2, 3, 6, 7, 8, 9 appear to have been arbitrarily affected by rhyme and alliteration.[126]This verse is used as a counting rhyme by children in the state mentioned.

[117]The French expression is the same,l'êtreoren être. The Germans do not use an equivalent, but say to bein, to beout;sein daran, sein daraus.

[118]An old way of arranging this is for each of the group to put a finger inside a hat, in order that the words may be told off on the fingers.

[119]Englishonery,twoery, etc. The forms we give date back to about 1820, before the publication of the "Nursery Rhymes of England." There are numerous small variations. "VirginMary" we have from informants in the Middle States; "IrishMary" was the common New England phrase.

[120]This rhyme was used only bygirls. Boys employed No. 2, and would have been laughed at for counting like girls.

[121]Used byboysin the western part of the town, where were the toll-house and negro settlement.

[122]English rhymes:Oneery, twoery, ziccary, zan,Hollowbone, crackabone, ninery, ten—etc.

[122]English rhymes:

Oneery, twoery, ziccary, zan,Hollowbone, crackabone, ninery, ten—etc.

[123]This class of formulas (Nos. 1 to 8) appear to be mere variations of the same type, a fact which does not prevent individual forms from exhibiting a wonderful permanence. We consider as identical a class of German formulas, very wide-spread and variable, thus:(a.) Unichi, dunichi, tipel-te! Tibel, tabel, domine.(b.) Eckati peckati zuchati me, Avi schavi domine.(c.) Aeniga mäniga tumpel-ti, Tifel, tafel numine.(d.) Anigl panigl subtrahi! Tivi tavi, domini.(e.) Endeli bändeli deffendé, Gloria tibi domine.A rhyme quoted by Mr. Ellis from theMillhill Magazine(a school paper), and credited to America, is similar:(f.) Eeney, meeny, tipty te, Teena, Dinah, Domine.The following formulas from Transylvania are of a simpler type; the first is said to imitate theGipsy, the second theMagyar, speech:(g.) Unemi, dunemi, tronemi, ronemi, donemi,ronza, konza, jewla, dewla, tschok!(h.) Aketum, täketum, tinum, tanum, ärsak, märsak, etc.We take the latter type to be a nearer approach to the original form. All sorts of intermediate stages can be observed from between these lists and the more complicated examples; but we find no signs of numbers above ten, as in the "Anglo-Cymric score." The Russian and Finnish tongues present similar rhymed lists, while many Italian rhymes are of like origin, though disguised and extended.

(a.) Unichi, dunichi, tipel-te! Tibel, tabel, domine.(b.) Eckati peckati zuchati me, Avi schavi domine.(c.) Aeniga mäniga tumpel-ti, Tifel, tafel numine.(d.) Anigl panigl subtrahi! Tivi tavi, domini.(e.) Endeli bändeli deffendé, Gloria tibi domine.

A rhyme quoted by Mr. Ellis from theMillhill Magazine(a school paper), and credited to America, is similar:

(f.) Eeney, meeny, tipty te, Teena, Dinah, Domine.

The following formulas from Transylvania are of a simpler type; the first is said to imitate theGipsy, the second theMagyar, speech:

(g.) Unemi, dunemi, tronemi, ronemi, donemi,ronza, konza, jewla, dewla, tschok!(h.) Aketum, täketum, tinum, tanum, ärsak, märsak, etc.

We take the latter type to be a nearer approach to the original form. All sorts of intermediate stages can be observed from between these lists and the more complicated examples; but we find no signs of numbers above ten, as in the "Anglo-Cymric score." The Russian and Finnish tongues present similar rhymed lists, while many Italian rhymes are of like origin, though disguised and extended.

[124]In North Germany:Ene tene mone mei, Paster Lone bone, strei,Ene fune herke berke, Wer? wie? wo? was?As this is but one case of identity out of many hundreds, we suppose the rhyme borrowed from the English. There are many German rhymes beginning "Ene mene mu," or similarly; but the variation of the first sounds is endless: ene dene, ene tene, ene mene, ente twente, entele mentele, ane tane, unig tunig, oringa loringa, etc.; by association or rhyme, any nursery song may be introduced, or the first words may be dropped.

[124]In North Germany:

Ene tene mone mei, Paster Lone bone, strei,Ene fune herke berke, Wer? wie? wo? was?

As this is but one case of identity out of many hundreds, we suppose the rhyme borrowed from the English. There are many German rhymes beginning "Ene mene mu," or similarly; but the variation of the first sounds is endless: ene dene, ene tene, ene mene, ente twente, entele mentele, ane tane, unig tunig, oringa loringa, etc.; by association or rhyme, any nursery song may be introduced, or the first words may be dropped.

[125]These examples of the "Anglo-Cymric score" (see page196) were obtained, No. 15 from Mrs. Ellis Allen of West Newton, now ninety years of age, who was born at Scituate, Mass., where she learned the formula; and No. 16 of her daughter, who learned it from an Indian woman,Mary Wolsomog, of Natick. Though mother and daughter, neither had ever heard the other's version of the score. To illustrate the relation of this score with Welsh numerals, we add two examples from Mr. Ellis's paper ("reprinted for private circulation from the Transactions of the Philological Society for 1877-8-9," pp. 316-372), selected from his fifty-three versions; the first is from England, the second from Ireland:aina.peina.para.peddera.pimp.ithy.mithy.owera.lowera.dig.ain-a-dig.pein-a-dig.par-a-dig.pedder-a-dig.bumfit.ain-a-bumfit.pein-a-bumfit.par-a-bumfit.pedder-a-bumfit.giggy.eina.mina.pera.peppera.pinn.chester.nester.nera.dickera.nin.eina dickera.mina dickera.pera dickera.peppera dickera.pumpi.eina pumpi.mina pumpi.pera pumpi.peppera pumpi.ticket.The modern Welsh numerals, as given by Mr. Ellis:un.dau.tri.pedwar.pump.chwech.saith.wyth.nau.deg.un ar deg.deuddeg.tri ar deg.pedwar ar deg.pymtheg.un ar bymtheg.dau ar bymtheg.tri ar bymtheg.pedwar ar bymtheg.ugain.The numbers 4, 5, 15, and combinations 1+15, 2+15, 3+15, 4+15, seem to make the connection unmistakable; but 2, 3, 6, 7, 8, 9 appear to have been arbitrarily affected by rhyme and alliteration.

The modern Welsh numerals, as given by Mr. Ellis:

The numbers 4, 5, 15, and combinations 1+15, 2+15, 3+15, 4+15, seem to make the connection unmistakable; but 2, 3, 6, 7, 8, 9 appear to have been arbitrarily affected by rhyme and alliteration.

[126]This verse is used as a counting rhyme by children in the state mentioned.

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