This round, although very familiar to all American children, seems, strangely enough, to be unknown in Great Britain; yet it is still a favorite in France, Provence, Spain, Italy, Sicily, Germany, and Sweden; it was played by Froissart (born 1337), and Rabelais (born 1483); while the general resemblance of the song in European countries proves that in the five centuries through which we thus trace it, even the words have undergone little change. Like the first game of our collection, it is properly a dance rather of young people than of children; and a comparative examination of versions inclines us to the belief that it is of Romance descent. The lines of the French refrain,[71] and the general form of the dance, suggest that the song may probably have had (perhaps in remote classic time) a religious and symbolic meaning, and formed part of rustic festivities designed to promote the fertility of the fields; an object which undoubtedly formed the original purpose of the May festival. So much for conjecture; but, in any case, it is pleasant to think of the many generations of children, in so many widely separated lands, who have rejoiced in the pretty game. The ring circles, singing, about a child in the centre-- [Illustration] Oats, pease, beans, and barley grows, Oats, pease, beans, and barley grows; How you, nor I, nor nobody knows, Oats, pease, beans, and barley grows. The children now pause, and sing with appropriate gestures-- Thus the farmer sows his seed, Stands erect and takes his ease, Stamps his foot, and claps his hands, And turns about to view his lands. [Illustration] Waiting for a partner, Waiting for a partner, Open the ring and take her in, And kiss her when you get her in. The boy selects a girl, and the two kneel in the ring, and salute-- Now you're married, you must obey, You must be true to all you say, You must be kind, you must be good, _And make your husband chop the wood_. What we have said of the permanency of the words applies only to the action, the essential part, of the game. The _amatory chorus_, by which the song is made to serve the purpose of love-making, is very variable. Thus we have the quaint conclusion of the last line at greater length: And now you're married in Hymen's band, You must obey your wife's command; You must obey your constant good, And keep your wife in hickory wood-- Split the wood and carry it in, [_twice_] And then she'll let you kiss her again. "Splitting the wood" was a very troublesome part of the New England farmer's ménage. More commonplace are the choruses: You must be good, you must be true, And do as you see others do. Or-- And live together all your life, And I pronounce you man and wife. Or again-- And love each other like sister and brother, And now kneel down and kiss each other.[72]