Comparative Studies in Nursery Rhymes — John Shaqi
Comparative Studies in Nursery RhymesEckenstein, Lina
History
Comparative Studies in Nursery Rhymes
Eckenstein, Lina
Comparative literature; Nursery rhymes -- Bibliography; Nursery rhymes -- History and criticism
A similar chant comes from Spain, which gives the answers with a curious
variation. For in this case most of the numbers are explained as one
less of one kind and one more of another. Thus one stands for the Wheel
of Fortune; two for one clock and bell; three for the handle of a mortar
(? _la mano del almiles_); four for three basins and one dish; five for
three jars of red wine and two of white (_or_ for the wounds of St.
Francis); six for the loves you hold (_amores que teneis_); seven for
six cassocks and a cape; eight for seven butchers and one sheep; nine
for eight hounds and one hare; ten for the toes; eleven for ten horsemen
and one leader (_breva_, ? acorn); twelve are probably pigs.
Exactly as in the other chants the numbers are set in question and
answer, the answer being in cumulative form:--
Quién me dirá que no es una?--
La rued de la fortuna. (Ma., p. 68.)
"Who will tell me what is one?--One is the Wheel of Fortune," and so
forth.
In this Spanish version there is the alternative of associating five
with the jars of wine of Cana or with the wounds of St. Francis, both of
which are Christian conceptions that occur in the Christian chants--the
wounds of St. Francis in the Italian chant, and the jugs of wine, six in
number, in the chant as it is sung and danced in Canada. Christian
conceptions are also introduced into some of the numerous versions of
the heathen Chants of the Creed that are current among ourselves, but
they are relatively few, and by their nature suggest a change from
heathen to Christian matters of belief.
The oldest version of this chant was printed by Chambers from an
unpublished collection of songs by P. Buchan. It is in dialogue form,
and, as in the case of the Druidical chants, its words indicate a
teacher who is instructing his pupils:--
1. We will a' gae sing, boys,
Where will we begin, boys?
We'll begin the way we should,
And we'll begin at ane, boys.
O, what will be our ane, boys?
O, what will be our ane, boys?
--My only ane she walks alane,
And evermair has dune, boys.
2. Now we will a' gae sing, boys;
Where will we begin, boys?
We'll begin where we left aff,
And we'll begin at twa, boys.
What will be our twa, boys?
--'Twa's the lily and the rose
That shine baith red and green, boys.
My only ane she walks alane,
And evermair has dune, boys.
3. Now we will a' gae sing, boys, ... etc.
What will be our three, boys?
Three, three thrivers ... etc. (1870, p. 44.)
Four's the gospel-makers, five's the hymnlers o' my bower, six the
echoing waters, seven's the stars in heaven, eight's the table
rangers, nine's the muses of Parnassus, ten's the commandments,
eleven's maidens in a dance, twelve's the twelve apostles.
Public-domain text, read in full here on John Shaqi.
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