The mother departs, and as soon as she is gone the witch goes to the children and renames them all. One she calls Mustard, another Pepper, another Salt, another Vinegar, etc. Then she turns their faces to the wall, and tells them to give these names if they are asked who they are. The mother calls again at the house of the witch, and this time is admitted. She asks the children what their names are, and they all answer as they were instructed by the witch. She then asks the first child to let her feel his toe. He puts up his foot, and when the mother feels it she says, "This is my Sunday! let your big toe carry you home;" whereupon he runs off. The same process is gone through with all the other children. D.--To the mother (this time present), in the midst of her children, approaches the witch, who comes limping, leaning on a cane. The dialogue is between mother and witch. "There's old mother Hippletyhop; I wonder what she wants to-day?" "I want one of your children." "Which one do you want?" The witch names any child of the row. "What will you give her to eat?" "Plum-cake" (a different delicacy for each child). The witch carries off the child, and observes: "Walk as I do, or else I'll kill you." She takes the child home and kills her, then returns for another. When all are gone the mother goes out to look for her children. She goes to the witch's house, and finds all the children (presumed to be dead) against the wall, making the most horrible faces. She points to a child, and asks, "What did [Mary] die of?" "She died of sucking her thumbs" (naming the child's gesture). Suddenly all the children come to themselves, and cry out, "Oh, mother, we are not dead!" _Portsmouth, N. H._ E.--In a fifth version, which we have failed to obtain in full, the witch changed the children into birds; and the mother, in order to recover them, must guess the name of the bird. Colors, instead of birds, were also used to represent the children. F.--We have already spoken of the old English game of "Honey-pots" as an imitation of "Weighing." This trait, however, as might be supposed from its insignificant character, is a mere fragment of the original. In London (as we learn from an informant of the laboring class, who remembers taking part in the amusement), a child as market-woman arranges the rest in a row to indicate honey-pots, each with its specific flavor. While she is busy at one end of the row, a thief comes in and steals a pot from the other end. This process is repeated, until all the pots are taken. The dealer then goes out to buy honey-pots, and recognizes her own by the flavor, so recovering the stolen goods. * * * * *