No. 2.Three Kings.

And the bells will ring, and the birds will sing,And we'll all clap hands together.

In Spain, the game is known as the "Embassy of the Moorish King." The "King of the Moors" is seated on the ground, with crossed legs, his attendants about him. The "ambassador" makes three steps forward, anddemands one of his daughters. The king replies, "If I have them, I have them not to give away; of the bread which I eat, they shall eat as well."

The ambassador withdraws angry: "In discontent I go from the king's palace." But the king, repenting, calls after him—

"Turn thee, knight, come, turn thee hither,The most fair I'll give to thee—The most lovely and the sweetest,Sweetest rose upon the tree."

The ambassador crosses hands with one of his train to make a seat, on which the bride is placed in triumph, singing—

"Thus I take her for her marriage,Spouse and wedded wife to be."

The king addresses them on departure—

"Listen, knight, I do entreat thee,Use to her all courtesy."

And the ambassadors reply—

"She, on throne of splendor seated,Shall be shining to behold,She shall lodge within a palace,She shall dress in pearls and gold."

It will thus be seen that the three knights originally represent not suitors, but envoys. If we remember that marriage, in some simple countries, is still conducted through intermediaries, whose duty it is to argue, chaffer, and dispute, before coming to the decision all along intended, we shall see reason to believe that from a form representing more or less literally the usages of primitive society have sprung in the course of time a multitude of confused representations, colored by later tastes and feelings.

The spirit and substance of the courteous and chivalric English rhyme cannot be later than the fourteenth century; the identity and primitive rudeness of the song in Iceland, Scotland (and, we shall presently add, Virginia), supposes an earlier date; while even then we have to bridge the gap between these forms and the Italian. We may, therefore, be tolerably sure that the first diffusion of the game in Europe dates far back into the Middle Age.

This antique rhyme, which comes to us from West Virginia, is a rude and remarkable variety of the preceding game, but quite unlike any English version hitherto printed.

We find a singular and apparently connected equivalent in the Färöe isles. In the form of the dialogue there in use, as in the present game, the suitor is presented in successively higher characters, as a thrall, smith, and so on, until he is finally accepted as a prince. The Italian song has shown us a similar usage. Thus the surf-beaten rocks of the North Atlantic, with their scanty population of fishermen and shepherds, whose tongue is a dialect of the ancient Norse speech, are linked by the golden chain (or network) of tradition with the fertile vales of the Alleghenies, and the historic lagoons of Venice.

The corrupt ending, too, compared with the Philadelphia version already cited, and with the Venetian game, is seen to rest on an ancient basis. The children, having forgotten the happy close, and not understanding the haggling of the suitors, took the "three kings" for bandits.

On one side of the room a mother with her daughters. On the other three wooers, who advance.

"Here come three soldiers three by three,To court your daughter merrily;Can we have a lodging, can we have a lodging,Can we have a lodging here to-night?""Sleep, my daughter, do not wake—Here come three soldiers, and they sha'n't take;They sha'n't have a lodging, they sha'n't have a lodging,They sha'n't have a lodging here to-night.""Here come three sailors three by three,To court your daughter merrily;Can we have a lodging," etc."Sleep, my daughter, do not wake—Here come three sailors and they sha'n't take;They sha'n't have a lodging," etc."Here come three tinkers three by three,To court your daughter merrily;Can we have a lodging," etc."Sleep, my daughter, do not wake—Here come three tinkers and they sha'n't take;They sha'n't have a lodging," etc."Here come three kings, three by three,To court your daughter merrily;Can we have a lodging," etc."Wake, my daughter, do not sleep—Here come three kings, and theyshalltake;Theyshallhave a lodging, they shall have a lodging,They shall have a lodging here to-night."

"Here come three soldiers three by three,To court your daughter merrily;Can we have a lodging, can we have a lodging,Can we have a lodging here to-night?"

"Sleep, my daughter, do not wake—Here come three soldiers, and they sha'n't take;They sha'n't have a lodging, they sha'n't have a lodging,They sha'n't have a lodging here to-night."

"Here come three sailors three by three,To court your daughter merrily;Can we have a lodging," etc.

"Sleep, my daughter, do not wake—Here come three sailors and they sha'n't take;They sha'n't have a lodging," etc.

"Here come three tinkers three by three,To court your daughter merrily;Can we have a lodging," etc.

"Sleep, my daughter, do not wake—Here come three tinkers and they sha'n't take;They sha'n't have a lodging," etc.

"Here come three kings, three by three,To court your daughter merrily;Can we have a lodging," etc.

"Wake, my daughter, do not sleep—Here come three kings, and theyshalltake;Theyshallhave a lodging, they shall have a lodging,They shall have a lodging here to-night."

(To the kings)—

"Here is my daughter safe and sound,And in her pocket five hundred pound,And on her finger a plain gold ring,And she is fit to walk with the king."

(The daughter goes with the kings; but they are villains in disguise: they rob her, push her back to her mother, and sing)—

"Here is your daughternotsafe and sound,And in her pocketnotfive hundred pound,And on her finger no plain gold ring,And she's not fit to walk with the king."

(The mother pursues the kings, and tries to catch and beat them).

Charlestown, W. Va.

This rhyme is only a later development of the same game. The suitor is now made to address himself directly to his mistress, and the mercenary character of the previous transaction is replaced by coquetry. Our New England song loses nothing by comparison with the pretty Scotch.

A company of little girls sit in a row. A little girl from the middle of the room goes dancing up to the first one in the row, singing,

"Here comes a duke a-roving,Roving, roving,Here comes a duke a-roving,With the ransy, tansy, tea!With the ransy, tansy, tario!With the ransy, tansy, tea!Pretty fair maid, will you come out,Will you come out, will you come out,To join us in our dancing?"

Little girl answers,

"No."

Suitor steps backward, singing,

"Naughty girl,[39]she won't come out,She won't come out, she won't come out,To join us in our dancing."

Suitor advances as before. The answer now is,

"Yes."

These two now retire, singing together,

"Now we've got the flowers of May,The flowers of May, the flowers of May,To join us in our dancing."

They join hands and call out the next one in the row; thus the play goes on until the last is selected, when they form a ring, dance, and sing,

"Now we've got the flowers of May,The flowers of May, the flowers of May,To join us in our dancing."

Concord, Mass.

A vulgarized form of the same game is common through the Middle States:

The pretended quarrel between intermediaries has here become a dispute of the principals.[40]

Finally, in the streets of New York the dialogue is made unrecognizable—

The child then selects a partner, when the rest sing,

"Open the gates and let the bride out," etc.;

and the couple pass under lifted hands, circle the ring, and similarly reenter, to the words,

"Open the gates and let the bride in," etc.

We have thus a curious example of the way in which an apparently meaningless game, which might be supposed the invention of thegaminsof the street, is, in fact, a degenerate form of the ancient poetry, which was brimful of grace, courtesy, and the joy of existence.

For a purpose presently to be mentioned, we must cite the corresponding Scotch rhyme, given by Chambers:

A dis, a dis, a green grass,A dis, a dis, a dis;Come all ye pretty fair maids,And dance along with us.For we are going a-roving,A-roving in this land;We'll take this pretty fair maid,We'll take her by the hand.Ye shall get a duke, my dear,And ye shall get a drake;And ye shall get a young prince,A young prince for your sake.And if this young prince chance to die,Ye shall get another;The bells will ring, and the birds will sing,And we'll all clap hands together.

A dis, a dis, a green grass,A dis, a dis, a dis;Come all ye pretty fair maids,And dance along with us.

For we are going a-roving,A-roving in this land;We'll take this pretty fair maid,We'll take her by the hand.

Ye shall get a duke, my dear,And ye shall get a drake;And ye shall get a young prince,A young prince for your sake.

And if this young prince chance to die,Ye shall get another;The bells will ring, and the birds will sing,And we'll all clap hands together.

Tread, tread the green grass,Dust, dust, dust;Come all ye pretty fair maidsAnd walk along with us.If you be a fair maid,As I suppose you be,I'll take you by the lily-white handAnd lead you across the sea.

Tread, tread the green grass,Dust, dust, dust;Come all ye pretty fair maidsAnd walk along with us.

If you be a fair maid,As I suppose you be,I'll take you by the lily-white handAnd lead you across the sea.

Philadelphia.

With this musical call to the dance, it was common, a generation since, for girls in this town to begin the evening dances on the green, singingas they marched in couples. The "dust" of the rhyme is a corruption. Comparing it with the Scotch song previously quoted, we do not doubt that it represents the Scotch (in other words, old English)adist, the opposite ofayont, meaningthis way, come hither. We ought probably therefore to read,

Tread, tread the green grass,Adist, adist, adist.

This song was no mere dance of rustics; the children at least kept up the usage of the day when a pleasing popular poetry was the heritage of all ranks. The spirit of the strain carries us back to that "carolling" of ladies which was, in the time of Chaucer, no less than the gay green of the meadow or the melody of the birds, an accompaniment of summer.

This pretty and interesting, hitherto imprinted, children's song is more or less familiar throughout the Middle States. We have heard it with many variations from persons of all classes and ages. It may often be listened to in the upper part of the city of New York, as it is sung (with a mere apology for a melody) by three or four girls, walking with arms entwined, or crooned by mere infants seated on the casks which, in the poorer quarters, often encumber the sidewalk.

There are also English and Scotch versions, generally inferior as regards poetical merit and antiquity of language. The English form, however, seems to contain the primitive idea, where the wooer appears as a prince, who by splendid presents overcomes the objections of a lady. This mercenary character being repugnant to modern taste, the Scotch rhyme represents the suitor as the Evil One in person; while in the United States the hero is, in his turn, made to cast off the avaricious fair, or else the lady to demand only love for love.

The numerous couplets of the American rhyme are completely in the ballad style. A "paper of pins" is substituted for a "pennorth of pins." The "easy-chair" is modern, but the verse itself ancient, combing golden hair being a world-old occupation of beauties. The gown "trimmed with golden thread," or "set off with a golden crown," refers to the attire of olden times. The mediæval bride wore a crown on the head and flowinghair; a costume also mentioned in old ballads as the usual dress of a demoiselle of rank arrayed for the dance.

"I'll give to you a paper of pins,And that's the way my love begins;If you will marry me, me, me,If you will marry me.""I don't accept your paper of pins,If that's the way your love begins;For I won't marry you, you, you,For I won't marry you.""I'll give to you an easy-chair,To sit in and comb your golden hair."I'll give to you a silver spoon,To feed your babe in the afternoon."I'll give to you a dress of green,To make you look like any queen.[41]"I'll give to you the key of my heart,For you to lock and never to part."I'll give to you the key of my chest,For you to have money at your request.""Idoaccept the key of your chest,For me to have money at my request;And I will marry you, you, you,And I will marry you.""Ha, ha, ha, money is all,And I won't marry you at all;For I won't marry you, you, you,For I won't marry you."

"I'll give to you a paper of pins,And that's the way my love begins;If you will marry me, me, me,If you will marry me."

"I don't accept your paper of pins,If that's the way your love begins;For I won't marry you, you, you,For I won't marry you."

"I'll give to you an easy-chair,To sit in and comb your golden hair.

"I'll give to you a silver spoon,To feed your babe in the afternoon.

"I'll give to you a dress of green,To make you look like any queen.[41]

"I'll give to you the key of my heart,For you to lock and never to part.

"I'll give to you the key of my chest,For you to have money at your request."

"Idoaccept the key of your chest,For me to have money at my request;And I will marry you, you, you,And I will marry you."

"Ha, ha, ha, money is all,And I won't marry you at all;For I won't marry you, you, you,For I won't marry you."

This is from a New York child; our next version is from Connecticut:

"Oh, miss, I'll give you a paper of pins,If you will tell me how love begins:If you will marry, marry, marry,If you will marry me.""I'll not accept your paper of pins,And I won't tell you how love begins;For I won't marry, marry, marry,For I won't marry you.""O miss, I'll give you a coach and six,Every horse as black as pitch."O miss, I'll give you a red silk gown,With gold and laces hanging round."O miss, I'll give you a little gold bell,To ring for the waiter[42]when you are not well."O miss, I'll give you the key to my heart,That we may lock and never part."O miss, I'll give you the key to my chest,That you may have money at your request.""I will accept the key of your chest,That I may have money at my request.""Ah, I see, money is all,Woman's love is none at all;And I won't marry, marry, marry,And I won't marry you."

"Oh, miss, I'll give you a paper of pins,If you will tell me how love begins:If you will marry, marry, marry,If you will marry me."

"I'll not accept your paper of pins,And I won't tell you how love begins;For I won't marry, marry, marry,For I won't marry you."

"O miss, I'll give you a coach and six,Every horse as black as pitch.

"O miss, I'll give you a red silk gown,With gold and laces hanging round.

"O miss, I'll give you a little gold bell,To ring for the waiter[42]when you are not well.

"O miss, I'll give you the key to my heart,That we may lock and never part.

"O miss, I'll give you the key to my chest,That you may have money at your request."

"I will accept the key of your chest,That I may have money at my request."

"Ah, I see, money is all,Woman's love is none at all;And I won't marry, marry, marry,And I won't marry you."

Finally, we have a variation with a more tender conclusion:

"Will you have a paper of pins?For that's the way my love begins—And will you marry me, me, me,And will you marry me?""No, I'll not have a paper of pins,If that's the way your love begins.""Will you have a little lap-dog,Who may follow you abroad?"Will you have a coach and four,Footman behind and footman before?"Will you have a dress of red,All trimmed round with golden thread?"Will you have a satin gown,All set off with a golden crown?"Will you have the key to my chest,To draw out gold at your request?"Will you have the key to my heart,That we may love and never part?""Yes, I will have the key to your heart,That we may love and never part,And I will marry you, you, you,And I will marry you."

"Will you have a paper of pins?For that's the way my love begins—And will you marry me, me, me,And will you marry me?"

"No, I'll not have a paper of pins,If that's the way your love begins."

"Will you have a little lap-dog,Who may follow you abroad?

"Will you have a coach and four,Footman behind and footman before?

"Will you have a dress of red,All trimmed round with golden thread?

"Will you have a satin gown,All set off with a golden crown?

"Will you have the key to my chest,To draw out gold at your request?

"Will you have the key to my heart,That we may love and never part?"

"Yes, I will have the key to your heart,That we may love and never part,And I will marry you, you, you,And I will marry you."

The same idea is contained in a song originally Scotch, but which comes to us (through an Irish medium) from Pennsylvania:

"Will you come to the Highland braes,Bonny lassie, Highland lassie?Will you come to the Highland braes,My bonny Highland lassie?"

The reply is, "Na, na, it will not dee, bonnie laddie," etc.: when the wooer gradually increases his offers:

"I will give you a golden comb,If you will be mine and never roam;"

and finally inquires,

"Will you go to the kirk with me,There to be my wedded wife?"

which is eagerly accepted:

"And them's the words away to town,And I will get my wedding-gown."

This pretty song has been recited to us by informants of the most cultivated class, and, on the other hand, we have seen it played as a round by the very "Arabs of the street," in words identically the same. It is an old English song, which has been fitted for a ring-game by the composition of an additional verse, to allow the selection of a partner.

"There she stands, a lovely creature,Who she is, I do not know;I have caught her for her beauty,—Let her answer, yes or no."Madam, I have gold and silver,Lady, I have houses and lands,Lady, I have ships on the ocean,All I have is at thy command.""What care I for your gold and silver,What care I for your houses and lands,What care I for your ships on the ocean—All I want is a nice young man."

"There she stands, a lovely creature,Who she is, I do not know;I have caught her for her beauty,—Let her answer, yes or no.

"Madam, I have gold and silver,Lady, I have houses and lands,Lady, I have ships on the ocean,All I have is at thy command."

"What care I for your gold and silver,What care I for your houses and lands,What care I for your ships on the ocean—All I want is a nice young man."

New York.

In former times, the amusements of young people at their winter-evening gatherings consisted almost entirely of "playing games." On such occasions the following rhyme was used (in eastern Massachusetts) about the beginning of the century, to select partners for the ring. Chairs were placed in a circle, and the players of one sex seated, so as to leave alternate vacant places, for which they chose occupants, singing—

"Green grow the rushes, O!Green grow the rushes, O!He who will my true love be,Come and sit by the side of me."

Those waiting to be selected sang,

"Pick and choose, but choose not me,Choose the fairest you can see."

This dialogue was repeated for each player until all were taken in, which, if the party was numerous, of necessity took a long time.

A child, representing a mother, is followed by a file of daughters, each grasping the frock of the girl in front.

There comes a poor widow from Barbary-land,[43]With all her children in her hand;One can brew, and one can bake,And one can make a wedding-cake;Pray take one,Pray take two,Pray take one that pleases you.[44]

Philadelphia.

The "poor widow" is also represented as having only one daughter left.

Sister, O Phoebe, how happy we be,As we go under the juniper-tree!We'll put on our night-caps to keep our heads warm,And two or three kisses will do us no harm—Will do us no harm, Io!I am a poor widow, a-marching around,And all of my daughters are married but one;So rise up my daughter, and kiss whom you please,And kiss whom you please, Io!

Philadelphia.

Another old version of this round:

I am a rich widow, I live all alone,I have but one daughter, and she is my own;Go, daughter, go choose, go choose your one,Go choose a good one, or else choose you none.

New York.

Finally, we have the modern corruption of the street, which, however, shows us the manner of playing:

A child stands in the ring, as the mother. The daughter reclines as if asleep, her head resting on her hands, till the words,rise up.

Herestandsa poor widow a-walking around,Io! Io! Io!So put on the night-cap to keep her head warm,To keep her head warm, Io!So rise up my daughter, and kiss whom you please,And kiss whom you please, Io!

New York.

The widow with daughters to marry is a European celebrity. The titlesrichandpoor, moreover, in this and the last number, are not meaningless, but show that two independent characters have been united in one. In the original European game, which we have not encountered in an English form, there is both arichand apoormother; the latter begs away, one by one, the daughters of the former, until she has secured all. The present round and the preceding are only reductions, or adaptations to the dance, of this more ancient and dramatic game. Once more, the game of the rich and poor mothers, though centuries old, and existing in many European tongues, is itself but an outgrowth of a still more ancient childish drama, which has given birth to innumerable sports, dances, and songs, exhibiting very different external characteristics all over Europe, but of which primitive and complete versions at present seem to exist only in America.[45]

This rhyme has been familiar throughout the New England States. Some of our older readers will remember how the doors of all the apartments of an old-fashioned mansion, with its great chimney in the centre, would be thrown open at an evening party, and the children march through the house, and up and down the staircase, singing the familiar air—

Come, Philanders,[46]let's be a-marching,Every one choose from his heartstrings;[47]Choose your true love now or never,And be sure you choose no other.O, my dear——, how I do love you!Nothing on earth do I prize above you!With a kiss now let me greet you,And I will never, never leave you.

Plymouth, Mass.(about 1800).

Another version:

Come, Philander, let us be a-marching,From the ranks there's no deserting,Choose your own, your own true lover,See that you don't choose any other;Now farewell, dear love, farewell,We're all a-marching, so farewell.

Deerfield, Mass.

Why, of all the names of the Damon and Sylvia class,Philander,[48]which, according to derivation, should mean fondness for the male sex, came to be a proverbial expression for an amorous person, and contributed to the English language a verb (to philander) we cannot say. Children's intelligence made wild work of the word. A New England variation was, "Come,Lysanders;" and in Pennsylvania, on the Maryland border, the first line has been ingeniously distorted into "Cumberland city-town-boys" marching! Cumberland being a town in the latter state.

(1.) By this name was known in Massachusetts, at the beginning of the century, an elaborate dance (for such, though practised in a Puritan community, it really was) which has a very decided local flavor.

Partners having been chosen, the girl says—

"Come, my dearest partner, and join both heart and hand;You want you a wife, and I want me a man.So married we will be, if we can agree,We'll march down together, so happy are we."

The partners now separate, the lad saying—

"Now I must part, and leave you alone,So fare you well, my true love, till I return."

The maid replies—

"I mourn, I mourn, for that is the cry,I'm left all alone, and I'm sure I shall die."

But, after walking round, rejoins her partner, who welcomes her—

"Oh, here comes my love, and how do you do?And how have you been since I parted with you?"

The pair then address the row—

"There is a scene secure from all harm,Please to give us joy by the raising of the arm."

The other players, who stand each lad opposite his lass, raise arms, and the couple walk down under the arch so formed, pausing at the foot—

"Now we are married, and never more to part,Please to give a kiss from the bottom of the heart."

And the game proceeds with the next couple.

Scituate, Mass.(about 1800).

(2.) No better as respects poetry, but with more evidence of old English origin, is the following game, in which couples circle in a ring about two chairs, from time to time changing partners. We have not been clearly informed of the way of playing, but presume that at the time of the change the youth or girl in the ring must select a mate.

"On the green carpet here we stand,Take your true love in your hand;Take the one whom you professTo be the one whom you love best."

A change of partners.

"Very well done, said Johnny Brown,Is this the way to London town?Stand ye here, stand ye there,Till your true love doth appear."

A mate is finally chosen, and the ring sings—

"Oh, what a beautiful choice you've made!Don't you wish you'd longer stayed?[Give her a kiss, and send her away,And tell her she can no longer stay."[49]]

Salem, Mass.

The "green carpet" is, of course, the grass, on which the village dance proceeds in the summer-time,[50]and the remains of an ancient "carol" appear in the corrupt rhyme.

(3.) To the game ofMarriage, as played in France and Italy, the following closely corresponds:

A boy and girl having been chosen by singing our No. 17, and standing in the centre of the ring, the game proceeds, with imitative motion and gesture—

"Row the boat! Row the boat!Let the boat stand!I think —— —— is a handsome young man;I think —— —— is as handsome as he,And they shall be married, if they can agree."[51]

Such short rhymes are not used independently, but joined to some fragment of a ballad, which they serve to turn into a game, as may be seen in our No. 12.

(4.) We take this opportunity to give one or two other familiar examples of kissing rounds:

Had I as many eyes as the stars in the skies,And were I as old as Adam,I'd fall on my knees, and kiss whom I please,Your humble servant, madam.

In Boston, half a century since, this ran—

As manywives as the stars in the skies,And eachas old as Adam, etc.

In Georgia, at the present day—

Many, many stars are in the skies,Andeach as old as Adam, etc.

(5.) The following is yet more inane, yet it furnishes a curious example of correspondence—

"—— —— languishes.""For whom?""For —— ——."

This is not much more crude than the French equivalent.[52]

(6.) We may add that the familiar American game, known as "Pillow," or "Pillows and Keys" (whykeys?), in which a player kneels on apillowand solicits a kiss, is no doubt a descendant of the "Cushion Dance," alluded to by old dramatists.

FOOTNOTES:[35]The game, half a century since, was played by boys as well as girls. New England variations are numerous; thus for the last line of verse 4, "I'll turn my face another way." For verse 7, "Go through the kitchen and through the hall, and choose the fairest one of all." A New York variety puts the last words into the mouth of the bride: "I'm so happy that I could sing."[36]So in an English variety:"I will give you pots and pans, I will give you brass,I will give you anything for a pretty lass.""No.""I will give you gold and silver, I will give you pearl,I will give you anything for a pretty girl.""Take one, take one, the fairest you may see."Halliwell, "Nursery Rhymes."[37]The ending is like ours—"Prenez la plus jolie de toutes.""Voilà la plus jolie de toutes."[38]Eco la Nina al campo—fra tanti suoni e canti;Eco la Nina al campo—olà, olà, olà.Faciamo un bel' inchino—profondo al suo rispeto;Faciamo un bel' inchino—olà, olà, olà.[39]A New Hampshire fragment has here,"Thescornful maid, she won't come out,"which seems more genuine.[40]An English variety, printed a century since in "Gammer Gurton's Garland," has as the first line of the refrain,My-a-dildin, my-a-daldin;and as the alternate line,Lily white and shine-a.The last phrase comes to us as the fragment of a game in Massachusetts, about 1800. We are reminded of the songs of Autolycus in "A Winter's Tale," "with such delicate burdens ofdildosand fadings."[41]Here verses may be improvised at pleasure; for instance, said the little reciter,"I'll give to you a dress of black,A green silk apron and a white cap,If you will marry," etc.[42]In the English version "to ring upyour maidens."[43]Variation: "Here comes an old woman from Sunderland," or "Cumberland."[44]In Canada the game goes:J'ai tant d'enfants à marier!J'ai tant d'enfants à marier!Grand Dieu! je n' sais commentPouvoir en marier tant.Mademoiselle, on parle à vous;On dit que vous aimez beaucoup;Si c'est vrai que vous aimez,Entrez dans la danse, entrez![45]See Note; also No. 154, and Note.[46]Usually plural.[47]Or, dialectically, "every one his true loversarching."[48]"Were his men like him, he'd command a regiment of Damons andPhilanders."—"Two Faces under One Hood," by Thomas Dibdin.[49]From another version.[50]As Lodge has it—Footing it featlie on the grassie ground,These damsels circling with their brightsome faires—[51]Fifty years ago the corresponding French game was still played as a "game of society"—Eh! qui marirons-nous?Mademoiselle, ce sera vous:Entrez dans la danse;J'aimerai qui m'aimera, j'aimerai qui m'aime.The round then proceeds—Eh! qui lui donnerons-nous?Mon beau monsieur, ce sera vous.Amans, embrassez-vous, etc.[52]"Qui est-ce qui languira?""Ce sera —— —— qui languira.""—— —— la guerira."French game in Cambrai.

[35]The game, half a century since, was played by boys as well as girls. New England variations are numerous; thus for the last line of verse 4, "I'll turn my face another way." For verse 7, "Go through the kitchen and through the hall, and choose the fairest one of all." A New York variety puts the last words into the mouth of the bride: "I'm so happy that I could sing."

[36]So in an English variety:"I will give you pots and pans, I will give you brass,I will give you anything for a pretty lass.""No.""I will give you gold and silver, I will give you pearl,I will give you anything for a pretty girl.""Take one, take one, the fairest you may see."Halliwell, "Nursery Rhymes."

[36]So in an English variety:

"I will give you pots and pans, I will give you brass,I will give you anything for a pretty lass.""No.""I will give you gold and silver, I will give you pearl,I will give you anything for a pretty girl.""Take one, take one, the fairest you may see."

Halliwell, "Nursery Rhymes."

[37]The ending is like ours—"Prenez la plus jolie de toutes.""Voilà la plus jolie de toutes."

[37]The ending is like ours—

"Prenez la plus jolie de toutes.""Voilà la plus jolie de toutes."

[38]Eco la Nina al campo—fra tanti suoni e canti;Eco la Nina al campo—olà, olà, olà.Faciamo un bel' inchino—profondo al suo rispeto;Faciamo un bel' inchino—olà, olà, olà.

[38]

Eco la Nina al campo—fra tanti suoni e canti;Eco la Nina al campo—olà, olà, olà.Faciamo un bel' inchino—profondo al suo rispeto;Faciamo un bel' inchino—olà, olà, olà.

[39]A New Hampshire fragment has here,"Thescornful maid, she won't come out,"which seems more genuine.

[39]A New Hampshire fragment has here,

"Thescornful maid, she won't come out,"

which seems more genuine.

[40]An English variety, printed a century since in "Gammer Gurton's Garland," has as the first line of the refrain,My-a-dildin, my-a-daldin;and as the alternate line,Lily white and shine-a.The last phrase comes to us as the fragment of a game in Massachusetts, about 1800. We are reminded of the songs of Autolycus in "A Winter's Tale," "with such delicate burdens ofdildosand fadings."

[40]An English variety, printed a century since in "Gammer Gurton's Garland," has as the first line of the refrain,

My-a-dildin, my-a-daldin;

and as the alternate line,

Lily white and shine-a.

The last phrase comes to us as the fragment of a game in Massachusetts, about 1800. We are reminded of the songs of Autolycus in "A Winter's Tale," "with such delicate burdens ofdildosand fadings."

[41]Here verses may be improvised at pleasure; for instance, said the little reciter,"I'll give to you a dress of black,A green silk apron and a white cap,If you will marry," etc.

[41]Here verses may be improvised at pleasure; for instance, said the little reciter,

"I'll give to you a dress of black,A green silk apron and a white cap,If you will marry," etc.

[42]In the English version "to ring upyour maidens."

[43]Variation: "Here comes an old woman from Sunderland," or "Cumberland."

[44]In Canada the game goes:J'ai tant d'enfants à marier!J'ai tant d'enfants à marier!Grand Dieu! je n' sais commentPouvoir en marier tant.Mademoiselle, on parle à vous;On dit que vous aimez beaucoup;Si c'est vrai que vous aimez,Entrez dans la danse, entrez!

[44]In Canada the game goes:

J'ai tant d'enfants à marier!J'ai tant d'enfants à marier!Grand Dieu! je n' sais commentPouvoir en marier tant.Mademoiselle, on parle à vous;On dit que vous aimez beaucoup;Si c'est vrai que vous aimez,Entrez dans la danse, entrez!

[45]See Note; also No. 154, and Note.

[46]Usually plural.

[47]Or, dialectically, "every one his true loversarching."

[48]"Were his men like him, he'd command a regiment of Damons andPhilanders."—"Two Faces under One Hood," by Thomas Dibdin.

[49]From another version.

[50]As Lodge has it—Footing it featlie on the grassie ground,These damsels circling with their brightsome faires—

[50]As Lodge has it—

Footing it featlie on the grassie ground,These damsels circling with their brightsome faires—

[51]Fifty years ago the corresponding French game was still played as a "game of society"—Eh! qui marirons-nous?Mademoiselle, ce sera vous:Entrez dans la danse;J'aimerai qui m'aimera, j'aimerai qui m'aime.The round then proceeds—Eh! qui lui donnerons-nous?Mon beau monsieur, ce sera vous.Amans, embrassez-vous, etc.

[51]Fifty years ago the corresponding French game was still played as a "game of society"—

Eh! qui marirons-nous?Mademoiselle, ce sera vous:Entrez dans la danse;J'aimerai qui m'aimera, j'aimerai qui m'aime.

The round then proceeds—

Eh! qui lui donnerons-nous?Mon beau monsieur, ce sera vous.Amans, embrassez-vous, etc.

[52]"Qui est-ce qui languira?""Ce sera —— —— qui languira.""—— —— la guerira."French game in Cambrai.

[52]

"Qui est-ce qui languira?""Ce sera —— —— qui languira.""—— —— la guerira."

French game in Cambrai.

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