When I was a young gell, a young gell, a young gell,When I was a young gell, i’ this a way went I.An’ i’ this a way, an’ i’ that a way, an’ i’ this a way went I.When I wanted a sweetheart, a sweetheart, a sweetheart,When I wanted a sweetheart, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.When I went a-courting, a-courtin’, a-courtin’,When I went a-courtin’, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.When I did get married, get married, get married,When I did get married, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.When I had a baby, &c.When I went to church, &c.My husband was a drunkard, &c.When I was a washerwoman, &c.When I did peggy, &c.My baby fell sick, &c.My baby did die, &c.My husband did die, &c.
When I was a young gell, a young gell, a young gell,When I was a young gell, i’ this a way went I.An’ i’ this a way, an’ i’ that a way, an’ i’ this a way went I.
When I wanted a sweetheart, a sweetheart, a sweetheart,When I wanted a sweetheart, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.
When I went a-courting, a-courtin’, a-courtin’,When I went a-courtin’, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.
When I did get married, get married, get married,When I did get married, i’ this a way went I.An’ i’ this a way, an’ i’ this a way, an’ i’ this a way went I.
When I had a baby, &c.
When I went to church, &c.
My husband was a drunkard, &c.
When I was a washerwoman, &c.
When I did peggy, &c.
My baby fell sick, &c.
My baby did die, &c.
My husband did die, &c.
—Liphook, Wakefield (Miss Fowler).
IV.
When I wore my flounces, my flounces, my flounces,When I wore my flounces, this a-way went I.When I was a lady, a lady, a lady,When I was a lady, this a-way went I.When I was a gentleman, a gentleman, a gentleman,When I was a gentleman, this a-way went I.When I was a washerwoman, &c.When I was a schoolgirl, &c.When I had a baby, &c.When I was a cobbler, &c.When I was a shoeblack, &c.When my husband beat me, &c.When my baby died, &c.When my husband died, &c.When I was a parson, &c.
When I wore my flounces, my flounces, my flounces,When I wore my flounces, this a-way went I.
When I was a lady, a lady, a lady,When I was a lady, this a-way went I.
When I was a gentleman, a gentleman, a gentleman,When I was a gentleman, this a-way went I.
When I was a washerwoman, &c.
When I was a schoolgirl, &c.
When I had a baby, &c.
When I was a cobbler, &c.
When I was a shoeblack, &c.
When my husband beat me, &c.
When my baby died, &c.
When my husband died, &c.
When I was a parson, &c.
—Hanbury, Staffs. (Miss Edith Hollis).
V.
When I was a lady, a lady, a lady,When I was a lady, a lady was I.’Twas this way and that way, and this way and that.When I was a gentleman, a gentleman, a gentleman,When I was a gentleman, a gentleman was I.’Twas this way and that way, and this way and that.When I was a schoolgirl, a schoolgirl, a schoolgirl,When I was a schoolgirl, a schoolgirl was I, &c.When I was a schoolboy, a schoolboy, a schoolboy, &c.When I was a schoolmaster, a schoolmaster, a schoolmaster, &c.When I was a schoolmistress, a schoolmistress, a schoolmistress, &c.When I was a donkey, a donkey, a donkey, &c.When I was a shoeblack, a shoeblack, a shoeblack, &c.
When I was a lady, a lady, a lady,When I was a lady, a lady was I.’Twas this way and that way, and this way and that.
When I was a gentleman, a gentleman, a gentleman,When I was a gentleman, a gentleman was I.’Twas this way and that way, and this way and that.
When I was a schoolgirl, a schoolgirl, a schoolgirl,When I was a schoolgirl, a schoolgirl was I, &c.
When I was a schoolboy, a schoolboy, a schoolboy, &c.
When I was a schoolmaster, a schoolmaster, a schoolmaster, &c.
When I was a schoolmistress, a schoolmistress, a schoolmistress, &c.
When I was a donkey, a donkey, a donkey, &c.
When I was a shoeblack, a shoeblack, a shoeblack, &c.
—Ogbourne, Wilts. (H. S. May).
VI.
When I was a naughty girl, a naughty girl, a naughty girl,When I was a naughty girl, a-this a-way went I!And a-this a-way, and a-that a-way,And a-this a-way, and a-that a-way,And a-this a-way, and a-that a-way,And a-this a-way went I!When I was a good girl, &c., a-this a-way went I! &c.When I was a naughty girl, &c.When I went courting, &c.When I got married, &c.When I had a baby, &c.When the baby cried, &c.When the baby died, &c.
When I was a naughty girl, a naughty girl, a naughty girl,When I was a naughty girl, a-this a-way went I!And a-this a-way, and a-that a-way,And a-this a-way, and a-that a-way,And a-this a-way, and a-that a-way,And a-this a-way went I!
When I was a good girl, &c., a-this a-way went I! &c.
When I was a naughty girl, &c.
When I went courting, &c.
When I got married, &c.
When I had a baby, &c.
When the baby cried, &c.
When the baby died, &c.
—Berrington (Shropshire Folk-lore, p. 514).
VII.
When I was a naughty girl, &c. [as above]When I went to school, &c.When I went a-courting, &c.When I got married, &c.When I had a baby, &c.When the baby fell sick, &c.When my baby did die, &c.When my husband fell sick, &c.When my husband did die, &c.When I was a widow, &c.Then I took in washing, &c.Then my age was a hundred and four, &c.
When I was a naughty girl, &c. [as above]
When I went to school, &c.
When I went a-courting, &c.
When I got married, &c.
When I had a baby, &c.
When the baby fell sick, &c.
When my baby did die, &c.
When my husband fell sick, &c.
When my husband did die, &c.
When I was a widow, &c.
Then I took in washing, &c.
Then my age was a hundred and four, &c.
—Market Drayton (Shropshire Folk-lore, p. 515).
VIII.
First I was a school-maid, a school-maid, how happy was I!And a-this a-way, and a-that a-way went I!And then I got married, how happy was I! &c.And then I had a baby, how happy was I! &c.And then my husband died, how sorry was I! &c.And then I married a cobbler, how happy was I! &c.And then the baby died, how sorry was I! &c.And then I married a soldier, how happy was I! &c.And then he bought me a donkey, how happy was I! &c.And then the donkey throwed me, how sorry was I! &c.And then I was a washing-maid, how happy was I! &c.And then my life was ended, how sorry was I!
First I was a school-maid, a school-maid, how happy was I!And a-this a-way, and a-that a-way went I!
And then I got married, how happy was I! &c.
And then I had a baby, how happy was I! &c.
And then my husband died, how sorry was I! &c.
And then I married a cobbler, how happy was I! &c.
And then the baby died, how sorry was I! &c.
And then I married a soldier, how happy was I! &c.
And then he bought me a donkey, how happy was I! &c.
And then the donkey throwed me, how sorry was I! &c.
And then I was a washing-maid, how happy was I! &c.
And then my life was ended, how sorry was I!
—Chirbury (Shropshire Folk-lore, p. 515).
IX.
When first we went to school—to school—to school—How happy was I!’Twas this way and that way,How happy was I!Next I went to service—to service—to service—How happy was I!’Twas this way, and that way,How happy was I! &c.Next I had a sweetheart—a sweetheart—a sweetheart—How happy was I! &c.Next I got married—got married—got married—How happy was I! &c.Next I had a baby—a baby—a baby—How happy was I! &c.Next my husband died—he died—he died—How sorry was I! &c.Next my baby died—she died—she died—How sorry was I! &c.
When first we went to school—to school—to school—How happy was I!’Twas this way and that way,How happy was I!
Next I went to service—to service—to service—How happy was I!’Twas this way, and that way,How happy was I! &c.
Next I had a sweetheart—a sweetheart—a sweetheart—How happy was I! &c.
Next I got married—got married—got married—How happy was I! &c.
Next I had a baby—a baby—a baby—How happy was I! &c.
Next my husband died—he died—he died—How sorry was I! &c.
Next my baby died—she died—she died—How sorry was I! &c.
—Dorsetshire (Folk-lore Journal, vii. pp. 218-219).
X.
Oh! when I was a soldier, I did this way, this way.Oh! when I was a mower, I did this way, this way.Oh! when I was a hedge cutter, I did this way, this way.Oh! when I was a boot cleaner, I did this way, this way.Oh! when I was a teacher, I did this way, this way.Oh! when I was a governess, I did this way, this way.Oh! when I had a baby, I did this way, this way.Oh! when my baby died, I did this way, this way.
Oh! when I was a soldier, I did this way, this way.
Oh! when I was a mower, I did this way, this way.
Oh! when I was a hedge cutter, I did this way, this way.
Oh! when I was a boot cleaner, I did this way, this way.
Oh! when I was a teacher, I did this way, this way.
Oh! when I was a governess, I did this way, this way.
Oh! when I had a baby, I did this way, this way.
Oh! when my baby died, I did this way, this way.
—Fernham and Longcot Choir Girls, Berks. (Miss I. Barclay).
XI.
When I was a school-boy, a school-boy, a school-boy,When I was a school-boy, this way went I.When I was a school-girl, &c.When I was a-courting, &c.When I got married, &c.When I had a baby, &c.When my baby died, &c.When my husband was ill, &c.When I was a shoe-black, &c.When I was a washerwoman, &c.When I was a soldier, &c.When I was a sailor, &c.
When I was a school-boy, a school-boy, a school-boy,When I was a school-boy, this way went I.
When I was a school-girl, &c.
When I was a-courting, &c.
When I got married, &c.
When I had a baby, &c.
When my baby died, &c.
When my husband was ill, &c.
When I was a shoe-black, &c.
When I was a washerwoman, &c.
When I was a soldier, &c.
When I was a sailor, &c.
—Frodingham and Nottinghamshire (Miss M. Peacock).
XII.
When I was a school girl, a school girl, a school girl,When I was a school girl, a this way went I.When I was a teacher, a teacher, a teacher,When I was a teacher, a this way went I.
When I was a school girl, a school girl, a school girl,When I was a school girl, a this way went I.
When I was a teacher, a teacher, a teacher,When I was a teacher, a this way went I.
[Verses follow for courtin’—
married woman,having a baby,death of baby.]
married woman,having a baby,death of baby.]
—Earls Heaton (H. Hardy).
XIII.
When I went a courting, I went just so.When next I went a courting, I went just so;When next I went a courting, I went just so;When next I went a courting, I went just so.
When I went a courting, I went just so.When next I went a courting, I went just so;When next I went a courting, I went just so;When next I went a courting, I went just so.
—Haxey, Lincolnshire (C. C. Bell).
(c) The children join hands and form a ring. They all dance or walk round singing the words of the first two lines of each verse. Then all standing still, they unclasp hands, and continue singing the next two lines, and while doing so each child performs some action which illustrates the events, work, condition, or profession mentioned in the first line of the verse they are singing; then rejoining hands they all dance round in a circle again. The actions used to illustrate the different events are: In the versions fromPlatt school, for “young girl,” each child holds out her dress and dances a step first to the right, then to the left, two or three times, finishing by turning herself quite round; for a “sweetheart,” the children turn their heads and kiss their hands to the child behind them; for “got married,” they all walk round in ring form, two by two, arm in arm; for having a baby, they each “rock” and “hush” a pretended baby; when the baby dies, each pretends to cry; when the husband dies, they throw their aprons or handkerchiefs over their heads and faces; for “keeping a donkey,” each child pretends to beat and drive the child immediately in front of her; for “washerwoman,” each pretends to wash or wring clothes; for a “beggar,” each drops curtseys, and holds out her hand as if asking alms, putting on an imploring countenance. TheBarnes’ versionis played in the same way, with the addition of holding the hands together to represent a book, as if learning lessons, for “schoolgirl”; pretending to hold a cane, and holding up fingers for silence, when a “teacher”; when “my husband did beat me,” each pretends to fight; and for “my husband died,” each child walks round joyfully, waving her handkerchief, and all calling out Hurrah! at the end; the other verses being acted the same as atPlatt. TheLiphook versionis much the same: the children beckon with their fingers when “wanting a sweetheart”; kneel down and pretend to pray when “at church”; prod pretended “clothes” in a wash-tub with a “dolly” stick when “I did peggy” is said; and mourn for the “husband’s” death. In theHanbury game, the children dance round or shake themselves for “flounces “; hold up dresses and walk nicely for “lady”; bow to each other for “gentlemen”; pretend to mend shoes when “cobblers”; brush shoes for “shoeblack”; clap hands when the “husband” dies; and kneel when they are “parsons.” In theOgbourne game, the children “hold up their dresses as ladies do” in the first verse; take off their hats repeatedly when “gentlemen”; pretend to cry when “schoolgirls”; walking round, swinging their arms, and looking as cocky as possible, when “schoolboys”; patting each other’s backs when “schoolmasters”; clapping hands for “schoolmistresses”; stooping down and walking on all fours for a “donkey”; and brushing shoes for “shoeblack.” In the Shropshire games atBerrington, each child “walks demurely” for a good girl; puts finger on lip for “naughty girl”; walks two and two, arm in arm, for “courting”; holds on to her dress for “married”; whips the “baby,” and cries when it dies. IntheMarket Drayton game, each pretends to tear her clothes for “naughty girl”; pretends to carry a bag for “schoolgirl”; walk in pairs side by side for “courting”; the same, arm in arm, for “married”; “hushes” for a baby, pretends to pat on the back for sick baby; covers her face with handkerchief when baby dies; pats her chest when husband is sick, cries and “makes dreadful work” when he dies; puts on handkerchief for a widow’s veil for a widow; hobbles along, and finally falls down when “a hundred and four.” In theDorset game, when at “service,” an imitation of scrubbing and sweeping is given; walk in couples for sweethearts, and married; the remaining verses the same as thePlatt version. In theFernham gamethe children shoot out their arms alternately for a soldier; for a mower, they stand sideways and pretend to cut grass; for hedge-cutter, they pretend to cut with a downward movement, as with a belt [qy.bill] hook, the other action similar to thePlattandBarnes games. In theFrodingham gamethey stamp and pretend to drill for “schoolboys,” pretend to sew as “schoolgirls,” kiss for “courting,” put on a ring for “getting married,” run for a doctor when “husband” is ill, punch and push each other for “soldiers,” and haul ropes for “sailors.” In other versions, in which carpenters, blacksmiths, farmers, bakers appear, actions showing something of those trades are performed.
(d) It will be seen, from the description of the way this game is played, that it consists of imitative actions of different events in life, or of actions imitating trades and occupations. It was probably at one time played by both girls and boys, young men and young women. It is now but seldom played by boys, and therefore those verses containing lines describing male occupations are not nearly so frequently met with as those describing girls’ or womens’ life only. Young girl, sweetheart, or going courtin’, marriage, birth of children, loss of baby and husband, widowhood, and the occupations of washing and cleaning, exactly sum up the principal and important events in many working womens’ lives—comprising, in fact, the whole. This was truer many years ago than now, and the mention in many versions of school girl, teacher, governess, indicate inthose versions the influence which education, first in the shape of dame or village schools, Sunday schools, and latterly Board schools, has had upon the minds and playtime of the children. These lines may certainly be looked upon as introductions by the children of comparatively modern times, and doubtless have taken the place of some older custom or habit. This game is exactly one of those to which additions and alterations of this kind can be made without destroying or materially altering, or affecting, its sense. It can live as a simple game in an almost complete state long after its original wording has been lost or forgotten, and as long as occupations continue and events occur which lend themselves to dumb action. The origin of the game I consider to be those dances and songs performed in imitation of the serious avocations of life, when such ceremonies were considered necessary to their proper performance, and acceptable to the deities presiding over such functions, arising from belief in sympathetic magic.
At harvest homes it was customary for the men engaged in the work of the farm to go through a series of performances depicting their various occupations with song and dance, from their engagement as labourers until the harvest was completed, and at some fairs the young men and women of the village, in song and dance, would go through in pantomimic representation, the several events of the year, such as courting, marriage, &c., and their several occupations.
Perhaps the most singular instance of imitative action being used in a semi-religious purpose, is that recorded by Giraldus Cambrensis in the twelfth century, who, speaking of the church of St. Almedha, near Brecknock, says a solemn feast is held annually in the beginning of August: “You may see men and girls, now in the church, now in the churchyard, now in the dance, which is led round the churchyard with a song, on a sudden falling on the ground as in a trance, then jumping up as in a frenzy, and representing with their hands and feet before the people whatever work they have unlawfully done on feast days; you may see one man put his hands to the plough, and another, as it were, goad on the oxen, one man imitating a shoemaker, another a tanner. Now you may see a girl with adistaff drawing out the thread and winding it again on the spindle; another walking and arranging the threads for the spindle; another throwing the shuttle and seeming to weave” (Itinerary of Wales, chap. ii.).
For the significance of some of the pantomimic actions used, I may mention that in Cheshire for a couple to walk “arm-in-arm” is significant of a betrothed or engaged couple.
Other versions have been sent me, but so similar to those given that it is unnecessary to give them here. The tunes vary more. In some places the game is sung to that of “Nuts in May.” In Barnes the tune used was sometimes that of “Isabella,” vol. i. p. 247, and sometimes the first one printedhere.
The game is mentioned by Newell (Games, p. 88).[Addendum]
Whiddy, whiddy, way,If you don’t come, I won’t play.
Whiddy, whiddy, way,If you don’t come, I won’t play.
The players, except one, stand in a den or home. One player clasps his hands together, with the two forefingers extended, He sings out the above, and the boys who are “home” then cry—
Warning once, warning twice,Warning three times over;When the cock crows out come I,Whiddy, whiddy, wake-cock. Warning!
Warning once, warning twice,Warning three times over;When the cock crows out come I,Whiddy, whiddy, wake-cock. Warning!
This is called “Saying their prayers.” The boy who begins must touch another boy, keeping his hands clasped as above. These two then join hands, and pursue the others; those whom they catch also joining hands, till they form a long line. If the players who are in the home run out before saying their prayers, the other boys have the right to pummel them, or ride home on their backs.—London (J. P. Emslie, A. B. Gomme).
See “Chickidy Hand,” “Hunt the Staigie,” “Stag,” “Warney.”
A game occasionally played in Angus. A pin was stuck in the centre of a circle, from which there were as many radii as there were persons in the company, with two names of each personat the radius opposite to him. On the pin an index was placed, and moved round by every one in turn, and at whatsoever person’s radius it stopped, he was obliged to drink off his glass.—Jamieson.
A species of chance game, played apparently with a kind of totum.
A boy’s game, called in the South “Hoop or Hoop Hide.” This is a curious instance of corruption, for the name hoop is pronounced in the local manner as hooip, whence whip.—Easther’sAlmondbury Glossary.
An old-fashioned dance, in which a cushion is used to kneel upon.—Dickinson’sCumberland Glossary.
See “Cushion Dance.”
I.
Who’s going round my stone wall?Nobody, only little Jacky Lingo.Pray don’t steal none of my fat sheep,Unless I take one by one, two by two, three by three,Follow me.Have you seen anything of my black sheep?Yes! I gave them a lot of bread and butter and sent them up there [pointing to left or right].Then what have you got behind you?Only a few poor black sheep.Well! let me see.
Who’s going round my stone wall?Nobody, only little Jacky Lingo.Pray don’t steal none of my fat sheep,Unless I take one by one, two by two, three by three,Follow me.Have you seen anything of my black sheep?Yes! I gave them a lot of bread and butter and sent them up there [pointing to left or right].Then what have you got behind you?Only a few poor black sheep.Well! let me see.
[The child immediately behind Johnny Lingo shows its foot between her feet, and on seeing it the centre child says]
Here’s my black sheep.
Here’s my black sheep.
—Winterton, Anderby, Nottinghamshire (Miss M. Peacock).
II.
Who’s that going round my stony walk?It’s only Bobby Bingo.Have you stolen any of my sheep?Yes! I stole one last night and one the night before.
Who’s that going round my stony walk?It’s only Bobby Bingo.Have you stolen any of my sheep?Yes! I stole one last night and one the night before.
—Enbourne School, Berks (Miss M. Kimber).
III.
Who goes round this stoney wa’?Nane but Johnnie Lingo.Tak care and no steal ony o’ my fat sheep away!Nane but ane.
Who goes round this stoney wa’?Nane but Johnnie Lingo.Tak care and no steal ony o’ my fat sheep away!Nane but ane.
—Galloway (J. G. Carter).
IV.
Who goes round my pinfold wall?Little Johnny Ringo.Don’t steal all my fat sheep!No more I will, no more I may,Until I’ve stol’n ’em all away,Nip, Johnny Ringo.
Who goes round my pinfold wall?Little Johnny Ringo.Don’t steal all my fat sheep!No more I will, no more I may,Until I’ve stol’n ’em all away,Nip, Johnny Ringo.
—Addy’sSheffield Glossary.
Playing Who goes round my Stone Wall
V.
Who’s that walking round my sandy path?Only Jack and Jingle.Don’t you steal none of my fat geese!Yes, I will, or No, I won’t. I’ll take them one by one, and two by two, and call them Jack and Jingle.
Who’s that walking round my sandy path?Only Jack and Jingle.Don’t you steal none of my fat geese!Yes, I will, or No, I won’t. I’ll take them one by one, and two by two, and call them Jack and Jingle.
—Barnes, Surrey (A. B. Gomme).
VI.
Who runs round my pen pound?No one but old King Sailor.Don’t you steal all my sheep away, while I’m a wailer!Steal them all away one by one, and leave none but old King Sailor.
Who runs round my pen pound?No one but old King Sailor.Don’t you steal all my sheep away, while I’m a wailer!Steal them all away one by one, and leave none but old King Sailor.
—Raunds (Northants Notes and Queries, i. p. 232).
VII.
Who’s that walking round my walk?Only Jackie Jingle.Don’t you steal of my fat sheep;The more I will, the more I won’t,Unless I take them one by one,And that is Jackie Jingle.
Who’s that walking round my walk?Only Jackie Jingle.Don’t you steal of my fat sheep;The more I will, the more I won’t,Unless I take them one by one,And that is Jackie Jingle.
—Hersham, Surrey (Folk-lore Record, v. 85).
VIII.
Who’s going round my sunny wall to night?Only little Jacky Lingo.Don’t steal any of my fat chicks.I stole one last nightAnd gave it a little hay,There came a little blackbird,And carried it away.
Who’s going round my sunny wall to night?Only little Jacky Lingo.Don’t steal any of my fat chicks.I stole one last nightAnd gave it a little hay,There came a little blackbird,And carried it away.
—Bocking, Essex (Folk-lore Record, iii. 170).
IX.
Who’s that round my stable door [or stony wall]?Only little Jack and Jingo.Don’t you steal any of my fat pigs!I stole one last night and the night before,Chick, chick, come along with me.
Who’s that round my stable door [or stony wall]?Only little Jack and Jingo.Don’t you steal any of my fat pigs!I stole one last night and the night before,Chick, chick, come along with me.
—Deptford, Kent (Miss Chase).
X.
Who’s this walking round my stony gravel path?Only little Jacky Jingle.Last night he stole one of my sheep,Put him in the fold,Along came a blackbird, and pecked off his nose.
Who’s this walking round my stony gravel path?Only little Jacky Jingle.Last night he stole one of my sheep,Put him in the fold,Along came a blackbird, and pecked off his nose.
—Hampshire (Miss Mendham).
XI.
Who is going round my fine stony house?Only Daddy Dingo.Don’t take any of my fine chicks.Only this one, O!
Who is going round my fine stony house?Only Daddy Dingo.Don’t take any of my fine chicks.Only this one, O!
—Ellesmere (Burne’sShropshire Folk-lore, p. 520).
XII.
Who is that walking round my stone-wall?Only little Johnnie Nero.Well, don’t you steal any of my fat sheep!I stole one last night and gave it a lock of hay,Here come I to take another away.
Who is that walking round my stone-wall?Only little Johnnie Nero.Well, don’t you steal any of my fat sheep!I stole one last night and gave it a lock of hay,Here come I to take another away.
—Sporle, Norfolk (Miss Matthews).
XIII.
Who’s that going round my pretty garden?Only Jacky Jingo.Don’t you steal any of my fat sheep!Oh, no I won’t; oh, yes I will; and if I do I’ll take them one by one, so out comes Jacky Jingo.
Who’s that going round my pretty garden?Only Jacky Jingo.Don’t you steal any of my fat sheep!Oh, no I won’t; oh, yes I will; and if I do I’ll take them one by one, so out comes Jacky Jingo.
—Ogbourne, Wilts. (H. S. May).
XIV.
Who’s going round my sheepfold?Only poor Jack Lingo.Don’t steal any of my black sheep!No, I won’t, only buy one.
Who’s going round my sheepfold?Only poor Jack Lingo.Don’t steal any of my black sheep!No, I won’t, only buy one.
—Roxton, St. Neots (Miss E. Lumley).
XV.
Who goes round my house this night?None but Limping Tom.Do you want any of my chickens this night?None but this poor one.
Who goes round my house this night?None but Limping Tom.Do you want any of my chickens this night?None but this poor one.
—Macduff (Rev. W. Gregor).
XVI.
Who goes round my house this night?Who but Bloody Tom!Who stole all my chickens away?None but this poor one.
Who goes round my house this night?Who but Bloody Tom!Who stole all my chickens away?None but this poor one.
—Chambers’sPop. Rhymes, 122.
XVII.
Who goes round the house at night?None but Bloody Tom.Tack care an’ tack nane o’ my chickens awa’!None but this poor one.
Who goes round the house at night?None but Bloody Tom.Tack care an’ tack nane o’ my chickens awa’!None but this poor one.
—Keith (Rev. W. Gregor).
XVIII.
Johnny, Johnny Ringo,Don’t steal all my faun sheep.Nob but one by one,Whaul they’re all done.
Johnny, Johnny Ringo,Don’t steal all my faun sheep.Nob but one by one,Whaul they’re all done.
—Easther’sAlmondbury Glossary.
XIX.
Who’s going round my stone wall?Only an old witch.Don’t take any of my bad chickens!No, only this one.
Who’s going round my stone wall?Only an old witch.Don’t take any of my bad chickens!No, only this one.
—Hanbury, Staffs. (Miss E. Hollis).
(b) The players stand in a circle, but they do not necessarily hold hands, nor do they move round. One player kneels or stands in the centre, and another walks round outsidethe circle. The child in the centre asks the questions, and the child outside (Johnny Lingo) replies. When the last answer is given, the outside player, or Johnny Lingo, touches one of the circle on the back; this player, without speaking, then follows Johnny Lingo and stands behind her holding her by her dress, or round the waist. The dialogue is then repeated, and another child taken. This is continued until all the circle are behind Johnny Lingo. Then the child in the centre tries to catch one of them, and Johnny Lingo tries to prevent it; as soon as one player is caught she stands aside, and when all are caught the game is over.
This is the usual way of playing. The variations are: inGalloway,Enbourne,Keith, andHanbury, the centre player shuts her eyes, or is blindfolded. In theAlmondbury version, when the centre child gets up to look for his sheep, and finds them (they do not stand behind Johnny Ringo, but hide), they run about “baaing;” when he catches them he pretends to cut their heads off. InChambers’s descriptionof the game, all the players except two sit upon the ground in a circle (sitting or lying down also obtains atBarnes), one of the two stands inside, and the other personates “Bloody Tom.” Bloody Tom tries to carry off a player after the dialogue has been said, and the centre child tries to prevent this one from being taken, and the rest of the circle “cower more closely round him.” In theMacduff version, when all the players have been taken, the centre child runs about crying, “Where are all my chickens?” Some of the “chickens,” on hearing this, try to run away from “Limping Tom” to her, and he tries to prevent them. He puts them all behind him in single file, and the centre child then tries to catch them; when she catches them all she becomes Limping Tom, and he the shepherd or hen. Dr. Gregor says (Keith)—The game is generally played by boys; the keeper kneels or sits in the middle of the circle; when all the sheep are gone, and he gets no answers to his questions, he crawls away still blindfolded, and searches for the lost sheep. The first player he finds becomes keeper, and he becomes Bloody Tom. In theWinterton version(No. I.) there is a further dialogue. Thegame is played in the usual way at the beginning. When Jacko Lingo says, “Follow me” (he had previously, when saying one by one and two by two, &c., touched three children on their back in turn), the third one touched leaves the ring, and stands behind him holding his clothes or waist. This is done until all the children forming the circle are holding on behind him. The child in the centre then asks the next question. When she says, “Here’s my black sheep,” she tries to dodge behind Jacky Lingo, and catch the child behind him. When she has done this she begins again at “Have you seen anything of my black sheep,” until she has caught all the children behind Jacky Lingo. In two versions,DeptfordandBocking, there is no mention of a player being in the centre, but this is an obvious necessity unless the second player stands also outside the circle. In theRaunds versionthe ring moves slowly round. In theHants version(Miss Mendham) the children sit in a line. The thief takes one at a time and hides them, and the shepherd pulls them out of their hiding-places. In theShropshire game, the chickens crouch down behind their mother, holding her gown, and the fox walks round them.
(c) This game appears to represent a village (by the players standing still in circle form), and from the dialogue the children not only represent the village, but sheep or chickens belonging to it. The other two players are—one a watchman or shepherd, and the other a wolf, fox, or other depredatory animal. The sheep may possibly be supposed to be in the pound or fold; the thief comes over the boundaries from a neighbouring village or forest to steal the sheep at night; the watchman or shepherd, although at first apparently deceived by the wolf, discovers the loss, and a fight ensues, in which the thief gets the worse, and some of the animals, if not all, are supposed to be recovered. The names used in the game,—pen pound, pinfold, fold, stone wall, sunny wall, sandy path, gravel path, sheep fold, garden, house, are all indications that a village and its surroundings is intended to be represented, and this game differs in that respect from the ordinaryFox and GeeseandHen and Chickensgames, in which no mention is made of these.
Halliwell records two versions (Nursery Rhymes, pp. 61, 68). The words and method of playing are the same as some of those recorded above. There is also a version inSuffolk County Folk-lore, pp. 65, 66, which beginning with “Who’s going round my little stony wall?” after the sheep are all stolen, continues with a dialogue, which forms a part of the game of “Witch.” The Rev. W. S. Sykes sends one from Settle, Yorkshire, the words of which are the same as No. XIV., except that the last line has “just one” instead of “buy one.” Mr. Newell gives a version played by American children.
I.
One poor widder all left alone,Only one daughter to marry at home,Chews [choose] for the worst, and chews for the best,And chews the one that yew [you] love best.Now you’re married, I wish ye good joy,Ivery year a gal or a boy!If one ’out dew, ye must hev tew,So pray, young couple, kiss te’gither.
One poor widder all left alone,Only one daughter to marry at home,Chews [choose] for the worst, and chews for the best,And chews the one that yew [you] love best.
Now you’re married, I wish ye good joy,Ivery year a gal or a boy!If one ’out dew, ye must hev tew,So pray, young couple, kiss te’gither.
—Swaffham, Norfolk (Miss Matthews).
II.