Shuvvy-Hawle

Shuttlecock, shuttlecock, tell me trueHow many years have I to go through?One, two, three, four, &c.

—Notes and Queries, 3rd series, iii. 87.

The occurrence of this rhyme suggests that there is some sort of divination in the oldest form of the game, and it appears to me that the origin of the game must be sought for among the ancient practices of divination. An example is found among the customs of the children of Glamorganshire during the cowslip season. The cowslip heads are strung on a piece of thread and tied into a “posty,” and the play is to throw it up a tolerable height, catching it on the distended palm with a blow that sends it up again, while the player sings:—

Pisty, posty, four and forty,How many years shall I live?One, two, three, four, &c.

Of course, if it falls to the ground uncaught, or even if caught in the clenched hand, there is an end of the player’s “life.” There is a good deal of emulation amongst the children as to who shall live the longest (Notes and Queries, 3rd ser., iii. 172). Miss Burne (Shropshire Folk-lore, p. 530) mentions the same custom, giving the rhyme as—

Toss-a-ball, toss-a-ball, tell me trueHow many years I’ve got to go through,

and she says the cowslip is thence called a “tissy-ball.” In this custom we have no artificial aids to form a game, but we have a significant form of divination from natural flowers, accompanied by a rhyming formula exactly parallel to the rhymes used in the Leicestershire game of “Shuttlecock,” and I conclude therefore that we have here the true origin of the game. This conclusion is confirmed when it is found that divinatory verses generally accompany the popular form of the game.

At Wakefield the children playing “Battledore and Shuttlecock” take it in turn, and say the following sentences, one clause to each bat, and repeated until the shuttlecock falls:—

1st. This year, next year, long time, never.

2nd. Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday.

3rd. Tinker, tailor, soldier, sailor, rich man, poor man, beggar-man, thief.

4th. Silk, satin, cotton, rags.

5th. Coach, carriage, wheelbarrow, donkey-cart.—Miss Fowler

At Deptford the rhymes were—

Grandmother, grandmother,Tell me the truth,How many years have I been to school?One, two, three, &c.Grandmother, grandmother,Tell me no lie,How many childrenBefore I die?One, two, three, &c.

Grandmother, grandmother,Tell me the truth,How many years have I been to school?One, two, three, &c.

Grandmother, grandmother,Tell me no lie,How many childrenBefore I die?One, two, three, &c.

In the same way the following questions are put and answered:—

How old am I?How long am I going to live?How many children shall I have?Black currant,Red currant,Raspberry tart,Tell me the nameOf my sweetheart.A, B, C, D, &c.

How old am I?How long am I going to live?How many children shall I have?

Black currant,Red currant,Raspberry tart,Tell me the nameOf my sweetheart.A, B, C, D, &c.

Tinker, tailor, soldier, sailor, potter’s boy, flour boy, thief.

Silk, satin, cotton, muslin, rags.

Coach, carriage, wheelbarrow, dungcart.

On their buttons they say: “Bought, given, stolen,” to show how acquired.—Miss Chase.

In London the rhymes were—

One, two, buckle my shoe,Three, four, knock at the door,Five, six, pick up sticks,Seven, eight, lay them straight,Nine, ten, a good fat hen,Eleven, twelve, ring the bell,Thirteen, fourteen, maids a courting,Fifteen, sixteen, maids in the kitchen,Seventeen, eighteen, mistress waiting,Nineteen, twenty, my plate’s empty.One, two, three, four,Mary at the cottage door,Eating cherries off a plate,Five, six, seven, eight.Up the ladder, down the wall,A twopenny loaf to serve us all;You buy milk and I’ll buy flour,And we’ll have pudding in half an hour.One, two, three, four, five, six, &c.

One, two, three, four,Mary at the cottage door,Eating cherries off a plate,Five, six, seven, eight.

Up the ladder, down the wall,A twopenny loaf to serve us all;You buy milk and I’ll buy flour,And we’ll have pudding in half an hour.One, two, three, four, five, six, &c.

This year, next year, some time, never, repeated.

A, B, C, D, E, &c., repeated for the initial letter of the future husband’s name.

Tinker, tailor, soldier, sailor, apothecary, ploughboy, thief, for future husband’s vocation.

Monday, Tuesday, &c., for the wedding day.

Silk, satin, cotton, rags, for the material of the wedding gown.

Coach, carriage, wheelbarrow, dungcart, for conveyance on wedding day.

Big house, little house, pigsty, barn, for future home.—(A. B. Gomme.)

It will be seen that many of these divination formulæ are used in other connections than that of “Shuttlecock,” but this rather emphasises the divinatory character of the game in its original form.—See “Ball,” “Teesty-tosty.”

A boys’ game at marbles. A small hole is made in the ground, and marbles are pushed in turn with the side of the first finger; these are won by the player pushing them into the shuvvy-hawle.—Lowsley’sBerkshire Glossary.

[Play]

Tune Silly Old Man Leicester—Leicester (Miss Ellis).

—Leicester (Miss Ellis).

[Play]

Tune Silly Old Man Monton—Monton, Lancashire (Miss Dendy).

—Monton, Lancashire (Miss Dendy).

Silly old man, he’s all alone,He wants a wife and can’t get one;Round and round and choose a good one,Or else choose none.This young couple are married together,Their fathers and mothers they must obey;Love one another like sister and brother,And down on their knees and kiss one another.

Silly old man, he’s all alone,He wants a wife and can’t get one;Round and round and choose a good one,Or else choose none.

This young couple are married together,Their fathers and mothers they must obey;Love one another like sister and brother,And down on their knees and kiss one another.

—Leicester (Miss Ellis).

II.

Silly old man, he walks alone,He walks alone, he walks alone;Silly old man, he walks alone,He wants a wife and can’t get one.All go round and choose your own,Choose your own, choose your own;All go round and choose your own,And choose a good one or else choose none.Now young couple you’re married together,Married together, married together;Now young couple you’re married together,Your father and mother you must obey.So love one another like sister and brother,And now young couple pray kiss together.

Silly old man, he walks alone,He walks alone, he walks alone;Silly old man, he walks alone,He wants a wife and can’t get one.

All go round and choose your own,Choose your own, choose your own;All go round and choose your own,And choose a good one or else choose none.

Now young couple you’re married together,Married together, married together;Now young couple you’re married together,Your father and mother you must obey.So love one another like sister and brother,And now young couple pray kiss together.

—Lancashire (Notes and Queries, 5th series, iv. 157).

III.

Silly old maid (orman), she walks alone,She walks alone, she walks alone;Silly old maid, she walks alone,She wants a man (orwife) and she can’t get one.Go around and choose your own,Choose your own, choose your own;Go around and choose your own,And take whoever you like in.Now these two are married together,Married together, married together;Now these two are married together,I pray love, kiss again.

Silly old maid (orman), she walks alone,She walks alone, she walks alone;Silly old maid, she walks alone,She wants a man (orwife) and she can’t get one.

Go around and choose your own,Choose your own, choose your own;Go around and choose your own,And take whoever you like in.

Now these two are married together,Married together, married together;Now these two are married together,I pray love, kiss again.

—Isle of Man (A. W. Moore).

IV.

Here’s a silly ould man that lies all alone,That lies all alone, that lies all alone;Here’s a silly ould man that lies all alone,He wants a wife and he can get none.Now young couple you’re married together,You’re married together, you’re married together;You must obey your father and mother,And love one another like sister and brother.I pray, young couple, you’ll kiss together.

Here’s a silly ould man that lies all alone,That lies all alone, that lies all alone;Here’s a silly ould man that lies all alone,He wants a wife and he can get none.

Now young couple you’re married together,You’re married together, you’re married together;You must obey your father and mother,And love one another like sister and brother.I pray, young couple, you’ll kiss together.

—Carleton’sTraits and Stories of the Irish Peasantry, p. 107.

Silly old man, he walks alone,Walks alone, walks alone;Silly old man, he walks alone,Wants a wife and he canna get one.All go round and choose your own,Choose your own, choose your own;All go round and choose your own,Choose a good one or let it alone.Now he’s got married and tied to a peg,Tied to a peg, tied to a peg;Now he’s got married and tied to a peg,Married a wife with a wooden leg.

Silly old man, he walks alone,Walks alone, walks alone;Silly old man, he walks alone,Wants a wife and he canna get one.

All go round and choose your own,Choose your own, choose your own;All go round and choose your own,Choose a good one or let it alone.

Now he’s got married and tied to a peg,Tied to a peg, tied to a peg;Now he’s got married and tied to a peg,Married a wife with a wooden leg.

—Monton, Lancashire (Miss Dendy).

VI.

Silly old maid, she lives alone,She lives alone, she lives alone;[Silly old maid, she lives alone,]Wants a husband but can’t get one.So now go round and choose your own,Choose your own, choose your own;Now go round and choose your own,Choose the very one you love best.Now young couple, you’re married for ever,Your father and mother you must obey;Love another like sister and brother,And now young couple, pray kiss together.

Silly old maid, she lives alone,She lives alone, she lives alone;[Silly old maid, she lives alone,]Wants a husband but can’t get one.

So now go round and choose your own,Choose your own, choose your own;Now go round and choose your own,Choose the very one you love best.

Now young couple, you’re married for ever,Your father and mother you must obey;Love another like sister and brother,And now young couple, pray kiss together.

—Dublin (Mrs. Lincoln).

(c) The children form a ring, joining hands. A child, usually a boy, stands in the middle. The ring dances round and sings the verses. The boy in the centre chooses a girl when bidden by the ring. These two then stand in the centre and kiss each other at the command. The boy then takes a place in the ring, and the girl remains in the centre and chooses a boy in her turn. In theDublinandIsle of Man versionsa girl is first in the centre; in theManx version(A. W. Moore) the two children hold hands when in the centre.

(d) In theTraits and Stories of the Irish Peasantry, Mr. Carleton gives this game as one of those played by young people of both sexes at funeral wakes. It is played in the same way as the game now is; boys and girls stand alternately in a ring holding hands, choosing each other in turn, and kissing. The other versions do not differ materially from each other, except that the Lancashire version described by Miss Dendy has evidently been corrupted quite lately, because apurer formis quoted from the same county inNotes and Queries. The game seems to be one of the group of marriage games arising from the fact that at any gathering of people for the purpose of a ceremonial, whether a funeral or a festival, it was the custom to form matrimonial alliances. The words are used for kiss-in-the-ring games, and also in some marriage games when the last player is left without a partner.

One boy takes his stand in an upright position at a wall. Another boy stoops with his head in the breast of the one standingupright. A third boy jumps stride-leg on his back, and tries to “crown,”i.e., put his hand on the head of the boy at the wall. The boy on whose back he is tries every means by shifting from side to side, and by throwing up his back, to prevent him from doing so, and to cast him off. If he succeeds in doing so, he takes his stand behind the stooping boy in the same position. Another boy then tries to do the same thing over the two stooping boys. If he succeeds in crowning the standing boy, he takes his station at the wall. If not, he takes his stand behind the two stooping boys. The game goes on till a boy “crowns” the one standing at the wall.—Banchory (Rev. W. Gregor).

See “Saddle the Nag.”

Strutt says (Sports, p. 383), “This amusement is probably very ancient. Boys often contend for superiority of skill in this game, and he who passes the rope about most times without interruption is the conqueror. In the hop season a hop-stem, stripped of its leaves, is used instead of a rope, and, in my opinion, it is preferable.” On Good Friday on Brighton beach the fisher folk used to play at skipping, six to ten grown-up people skipping at one rope.

Apart from the ordinary, and probably later way of playing, by one child holding a rope in both hands, turning it over the head, and either stepping over it while running, or standing still and jumping until the feet catch the rope and a trip is made, skipping appears to be performed in two ways, jumping or stepping across with (1) more or less complicated movements of the rope and feet, and (2) the ordinary jumping over a turned rope while chanting rhymes, for the purpose of deciding whether the players are to be married or single, occupation of future husband, &c.

Of the first class of game there are the following variants:—

“Pepper, salt, mustard, cider, vinegar.”—Two girls turn the rope slowly at first, repeating the above words, then they turn it as quickly as possible until the skipper is tired out, or trips.

“Rock the Cradle.”—In this the holders of the rope do not throw it completely over, but swing it from side to side with an even motion like the swinging of the pendulum of a clock.

“Chase the Fox.”—One girl is chosen as a leader, or fox. The first runs through the rope, as it is turned towards her, without skipping; the others all follow her; then she runs through from the other side as the rope is turned from her, and the others follow. Then she runs in and jumps or skips once, and the others follow suit; then she skips twice and runs out, then three times, the others all following in turn until one trips or fails. The first one to do this takes the place of one of the turners, the turner taking her place as one of the skippers.

“Visiting.”—One girl turns the rope over herself, and another jumps in and faces her, while skipping in time with the girl she visits. She then runs out again without stopping the rope, and another girl runs in.

“Begging.”—Two girls turn, and two others run and skip together side by side. While still skipping they change places; one says, as she passes, “Give me some bread and butter;” the other answering, “Try my next door neighbour.” This is continued until one trips.

“Winding the Clock.”—Two turn the rope, and the skipper counts one, two, three, up to twelve, turning round each time she jumps or skips.

“Baking Bread.”—Two girls turn, and another runs in with a stone in her hand, which she puts down on the ground, and picks up again while skipping.

“The Ladder.”—The girls run in to skip, first on one foot and then the other, with a stepping motion.

Two other games are as follows:—(1.) Two ropes are used, and a girl holds either end in each hand, turning them alternately; the skipper has to jump or skip over each in turn. When the rope is turned inwards, it is called “double dutch,” when turned outwards, “French dutch.” (2.) The skipper has a short rope which she turns over herself, while two other girls turn a longer rope over her head.

The second class of games consists of those cases where the skipping is accompanied by rhymes, and is used for the purposeof foretelling the future destiny of the skipper. These rhymes are as follows (all collected by Miss Chase):—

Ipsey, Pipsey, tell me trueWho shall I be married to?A, B, C, &c.

Letters—initial of one to whom you’ll be married.—Hurstmonceux, Sussex.

Half pound tuppeny rice,Half a pound of treacle,Penny ’orth of spiceTo make it nice,Pop goes the weazle.

—Crockham Hill, Kent.

When I was young and able,I sat upon the table;The table broke,And gave me a poke,When I was young and able.

[The children now add that when singing

Pass the baker,[8]Cook the tater,

is the full couplet.]—Deptford.

Every morning at eight o’clock,You all may hear the postman’s knock.1, 2, 3, 4. There goes “Polly.”

Girl named running out, and another girl running in directly.—Marylebone.

Up and down the ladder wall,Ha’penny loaf to feed us all;A bit for you, and a bit for me,And a bit for Punch and Judy.

—Paddington Green.

As they run thus, each calls in turn, “Red, yellow, blue, white.” Where you are tripped, the colour stopped on marks that of your wedding gown.—Deptford.

Each of the two girls turning the rope takes a colour, and as the line of children run through, they guess by shouting, “Red?” “Green?” When wrong nothing happens; they take the place of turner, however, if they hit upon her colour. Another way is to call it “Sweet stuff shop,” or “green grocers,” and guess various candies and fruits until they choose right.—Deptford.

When several girls start running in to skip, they say,

“All in, a bottle of gin,”

and as they leave at a dash, they cry—

“All out, a bottle of stout.”

While “in” jumping, the turners time the skippers’ movements by a sing song.

Up and down the city wall,Ha’penny loaf to feed us all;I buy milk, you buy flour,You shall havepepperin half an hour.

—Deptford.

At pepper turn swiftly.

Up and down the ladder wall,Penny loaf to feed us all;A bit for you, and a bit for me,And a bit for all the familee.

—Marylebone.

Up and down the city wall,In and out “The Eagle,”That’s the way the money goes,Pop goes the weazel.

—From “A London Maid.”

Dancing Dolly had no sense,For to fiddle for eighteenpence;All the tunes that she could play,Were “Sally get out of the donkey’s way.”

—Deptford.

My mother saidThat the rope must goOver my head.

—Deptford.

Andy Pandy,Sugardy candy,French almondRock.

—Deptford.

B-L-E-S-S-I-N-G.Roses red, roses white,Roses in my garden;I would not partWith my sweetheartFor tuppence hapenny farthing.

A, B, C, &c., to X, Y, Z.—Deptford.

Knife and fork,Lay the cloth,[9]Don’t forget the salt,Mustard, vinegar,Pepper!

—Deptford.

They sometimes make a girl skip back and forth the long way of the rope, using this dialogue—

Girl skipping.—“Father, give me the key.”

Father.—“Go to your mother.”

Girl jumping in opposite direction.—“Mother, give me the key.”

Mother.—“Go to your father.”

Lady, lady, drop your handkerchief,Lady, lady, pick it up.

Suiting action to the words, still skipping.

Rhyme to time the jumps—

Cups and saucers,Plates and dishes,My old man wearsCalico breeches.

[8]To change from left to right side, crossing a second skipper, is called “Pass the Baker.”[9]In Marylebone add here, “Bring me up a leg of pork.”

[8]To change from left to right side, crossing a second skipper, is called “Pass the Baker.”

[9]In Marylebone add here, “Bring me up a leg of pork.”

This game might be played by two, three, or more. A small stone of a squarish form, called the “bob,” was placedon a level piece of ground. On this stone each player placed an old button, for buttons were the stakes. A point was fixed several yards from the stone, and a line was drawn. Along this line, “the stance,” the players took their stand, each holding in his hand a small flat stone named “the pitcher.” This stone was thrown so as to strike “the bob” and make the buttons fall on “the pitcher,” or nearer it than “the bob.” The button or buttons that lay nearer “the pitcher” than “the bob” fell to the lot of the player. The second player did the same, but he had to guard against driving any of the buttons nearer the first player’s stone. If a button was nearer his stone than “the bob,” or the first player’s stone, he claimed it. The third player followed the same course if all the buttons had not been won by the two players. If the buttons were not all won at the first throw, the first player had a second chance, and so on till all the buttons were won. If two played, if each won a button, they alternately began, but if one gained the two buttons, the other began. When three played, if one had two for his share he played last in the following game, and the one that had nothing played first. If the players, when three played, were experts, the one whose lot it was to play second, who was called the “poust,” lost heavily, and to be “pousted” was always looked upon as a misfortune, for the reason that the first player often by the first throw gained the whole stake, and then in the following game the last player became the first, and the gainer in the foregoing game became the last. If this player carried off the whole stake, he in the next game took the last place, and the last took the first, and so between the two good players the “poust” had no chance.—Aberdeenshire (Rev. W. Gregor).—See “Buttons.”

Mr. Ballantyne describes the game as played in his young days at Biggar as follows:—Two boys would each select his own side. “First pick” was decided by lot. A third boy took two straws, one shorter than the other, and held them between his finger and thumb in such a way that only equallengths were visible. Each leader drew a straw. The one who drew the longest had “first pick” of all the intended players, the other leader had the next; alternate choice was then made by them until both sides were complete, and were ranged by their leaders. Then lots were again drawn as to which side should go out first. The side going out had to show the Gig; anything easily carried in the hand sufficed. The “outs” went out from the den twenty or thirty yards, sometimes round the end of a house, to “smuggle the Gig”—that is, to give one of their number the Gig to carry, care being taken that the “ins” did not know who had it. During this time the leader of the ins called “out” in a loud voice—

Zimerie, twaerie, hickeri seeven,Aucherie, daucherie, ten and eleven;Twall ran musha danTweedledum, twadledum, twenty-one. Time’s up!

Outs had all to appear by “Ready” when the chase began. Boundary limits were fixed, beyond which outs could not run and ins could not stand, within a fixed distance of the den. This den was a place marked by a mark or rut in the ground, about four feet by six feet. The outs endeavoured (particularly the one carrying the Gig) to get into the den before any one could catch and “crown” him. The pursued, when caught, was held by the pursuer, his cap taken off, and the palm of the hand was placed on the crown of his head. As he did so the pursuer would say, “Deliver up the Gig.” If he had it not, the pursuer went off after another player. If he had the Gig, and succeeded in getting into the den without being “crowned,” outs won the game; but if the Gig was caught and “crowned,” ins won.

At Fraserburgh the players are divided equally. A spot is marked off, called the Nestie. Any small object known to all is chosen as the Gig. One half of the players receive the Gig and retire, so as not to be seen distinctly by the other half that remains in and near the Nestie. The Gig is concealed on the person of one of the players that retire. When everything is ready those having the Gig move towards the Nestie, and those in the Nestie come to meet them. The aim is tocatch the player who has the Gig before reaching the Nestie. If this is done the same players again hide the Gig, but if the Gig is discovered, the players discovering it now hide it.

At Old Aberdeen sides are chosen, then a small article (such as a knife) is made thegig. Then one side, determined by a toss, goes out and smuggles the gig and cries out, “Smuggle the gig.” Then the other side rushes in and tries to catch the one that has the “gig.” If the one that has the gig is free, the same side goes out again.—Rev. W. Gregor.

See “Gegg.”

In Mid-Cornwall, in the second week of June, at St. Roche, and in one or two adjacent parishes, a curious dance is performed at their annual “feasts.” It enjoys the rather undignified name of “Snail Creep,” but would be more properly called the “Serpent’s Coil.” The following is scarcely a perfect description of it:—“The young people being all assembled in a large meadow, the village band strikes up a simple but lively air and marches forward, followed by the whole assemblage, leading hand-in-hand (or more closely linked in case of engaged couples), the whole keeping time to the tune with a lively step. The band, or head of the serpent, keeps marching in an ever-narrowing circle, whilst its train of dancing followers becomes coiled around it in circle after circle. It is now that the most interesting part of the dance commences, for the band, taking a sharp turn about, begins to retrace the circle, still followed as before, and a number of young men, with long leafy branches in their hands as standards, direct this counter movement with almost military precision.”—W. C. Wade (Western Antiquary, April 1881).

A game similar to the above dance is often played by Sunday school children in West Cornwall, at their out-of-door summer treats, called by them “Roll tobacco.” They join hands in one long line, the taller children at their head. The first child stands still, whilst the others in ever-narrowing circles dance around singing until they are coiled into a tight mass. The outer coil then wheels sharply in a contrarydirection, followed by the remainder, retracing their steps.—Courtney’sCornish Feasts and Folk-lore, p. 39. A Scottish game, “Row Chow Tobacco,” described by Jamieson, is played in the same way, the boy at the extremity being called the “Pin.” A clamorous noise succeeds the “winding up,” the players crying out “Row Chow Tobacco” while giving and receiving the fraternal hug. The words are pronounced Rowity-chowity-bacco. The naming of this game in connection with tobacco is curious. It is undoubtedly the same as “Snail Creep.” I am inclined to think that all these games are connected with an ancient form of Tree-worship, and that the analogy of tobacco-rolling is quite modern.

See “Bulliheisle,” “Eller Tree,” “Tuilyie-waps,” “Wind up the Bush Faggot.”

See “Musical Chairs.”

A game similar to “Bob Cherry,” but played with an apple.—Halliwell’sDictionary.

An undescribed boy’s game mentioned in a statute of Edward III.’s time.—Halliwell’sDictionary.

I am an old soldier, I come from the war,Come from the war;I am an old soldier, I come from the war,And my age it is sixty-and-three.I have but one son and he lies alone, lies alone,I have but one son and he lies alone;And he’s still making moan for lying alone.Son, go choose a wife of your own,Choose a good one or else choose none,Or bring none home to me.Now they’re got married, they’re bound to obey,Bound to obey in every degree;And as you go round kiss all but me.

I am an old soldier, I come from the war,Come from the war;I am an old soldier, I come from the war,And my age it is sixty-and-three.

I have but one son and he lies alone, lies alone,I have but one son and he lies alone;And he’s still making moan for lying alone.

Son, go choose a wife of your own,Choose a good one or else choose none,Or bring none home to me.

Now they’re got married, they’re bound to obey,Bound to obey in every degree;And as you go round kiss all but me.

—Belfast, Ireland (W. H. Patterson).

The players form a ring and sing the first three verses. Then one of the players chooses a girl from the ring. The first three verses are again sung until the whole ring is arranged in couples; then the first couple kneels in the middle, and the rest dance round them singing the marriage formula; then the second couple, and so on, each couple kissing.

The players knelt in a line; the one at the head, in a very solemn tone, chaunted, “Solomon had a great dog;” the others answered in the same way, “Just so” (this was always the refrain). Then the first speaker made two or three more ridiculous speeches, ending with, “And at last this great dog died, and fell down,” giving at the same time a violent lurch against his next neighbour, who, not expecting it, fell against his, and so on, to the end of the line.—Cornwall (Folk-lore Journal, v. 50).

See “Obadiah,” “Quaker’s Wedding.”

A Lancashire game, very similar to “Hot Peas and Bacon.”—Halliwell’sDictionary.

A large hole is made in the ground, surrounded by smaller ones, according to the number of the players, every one of whom has a shintie, or hooked stick. The middle hole is called the kirk. He who takes the lead in the game is called the sow-driver. His object is to drive a small piece of wood or bone, called the sow, into the large hole or kirk; while that of his opponents, every one of whom keeps his shintie in one of the smaller holes, is to frustrate his exertions by driving back the sow. If he succeeds, either in knocking it into one of the small holes, while one of his antagonists is in the act of striking it back, he is released from the drudgery of being driver. In the latter case, the person whose vacancy he has occupied takes the servile station which he formerly held.—Lothian (Jamieson). This is said to be the same game with “Church and Mice” in Fife. Jamieson’s description is not verylucid. It appears that each player must hold his shintie with its end in his hole, and it is only when he takes it out to prevent the sow-driver getting his sow into or towards the kirk, that the sow-driver has the chance of putting the sow into the player’s hole, and so causing that player to take the place of sow-driver.

See “Kirk the Gussie.”

A common game among boys. “You shall finde me playing at Span Counter.”—Dekker’sNorthward Hoe. Toone,Etymological Dictionary, mentions this as a juvenile game played with counters.

Boys shall not playAt span counter or blow pipe.

—Donne (Satireiv.).

Dr. Grosart, in noting this passage, says, “I rather think the game is still played by boys when they directly, or by rebound, endeavour to play their button or marble into a hole.” Strutt briefly notes the game as being similar to “Boss Out.”—Sports, p. 384. Halliwell (Dictionary) simply gives the quotation from Donne’s Poems, p. 131, mentioning the game.

See “Boss Out.”

A mode resorted to by boys of measuring distances, particularly at the game ofmarbles. It means a space and something more.—Brockett’sNorth Country Words.

A game played by boys with marbles or halfpence. A marble or halfpenny is struck against the wall. If the second player can bring his so near that of his antagonist as to include both within aspan, he claims both as his.—Jamieson.

This is the same game as “Banger,” “Boss Out.” Probably the Old English game of “Span Counter,” or “Span Farthing,” was originally the same.—See Johnson’sDictionary.

A game at marbles played in the eastern parts of England.—Halliwell’sDictionary.

The same game as “Spangie.”—Keith (Rev. W. Gregor).

The name of a game among children at Newcastle-upon-Tyne. I suspect this is nearly the same with “Hide and Seek.” “I spye” is the usual exclamation at a childish game called “Hie, spy, hie.”—Brand, ii. 442.

A game at marbles, in which they are dropped from the hand in heaps.—Easther’sAlmondbury Glossary.

An old game (undescribed) mentioned in the playApollo Shroving, London, 1627, p. 49.

A game ofHide-and-Seek, with this difference, that when those are found who are hid the finder cries Spy-arm; and if the one discovered can catch the discoverer, he has a ride upon his back to the dools.—Mactaggart’sGallovidian Encyclopædia.

See“Hide and Seek” (1).

A stack in the centre of the stackyard was selected, and round a part of one side a rut was marked in the earth usually by the toe-bit of the ploughman’s boot. This enclosure, not over four feet wide at the broadest part, was called the den. One of the players, selected to be the catcher, stood within this den, and when all the players were ready turned his face to the stack, and counted out loud the numerals from one to twenty, the last with a great shout. During the count the players ran round the stacks out of sight, but no hiding nor leaving the stackyard, this was “not fair.” When twenty was heard one would shout back “Ready!” Then out came the catcher. He was not permitted to stand in or near the den, but went out among the stacks and caught as many players as he could before theyreached the den. The great aim of those “out” was to get into the den unseen and untouched. If all the players got in, then the catcher had to try again; but when all were caught (which was seldom or never), the last one caught was catcher for the next game. When one player was touched by the catcher he or she had to remain in the den till the rest were all in.—Biggar (Wm. Ballantyne).

Mr. Ballantyne says, “This game usually ended in a promiscuous ‘catching’ and ‘touching’ game, each lad trying to catch the lass he liked best, and some lads, for the fun of the thing, would try and get a particular girl first, her wishes and will not being considered in the matter; and it seemed to be an unwritten law among them for the lass to ‘gang wi’ the lad that catched her first,’ yet I have known lassies take this opportunity to favour the lad they preferred. It was the correct thing for the people to visit each other’s farms in rotation to play ‘the stacks.’” This game was played when all the crops of grain were in the stackyard under thack and rape (?nape). Then it was customary for the servant lads and lasses of neighbours’ “ferm toons” to gather together and play at this game. Mr. Ballantyne considers it was the third of three festivals formerly held at the ingathering of the crops.

See “Barley Break.”

A boys’ game. One boy issues forth and tries to “tig” another, previously saying this nominy, or the first two lines—

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