dancers, Thomas the clown, his son Tom, Captain Brown, Obadiah Trim a tailor, a Foppish Knight, Love-ale a vintner, and Bridget the clown’s wife[677]. At Linton in Craven there are five, the clown, Nelson, Jack Tar, Tosspot, and Miser a woman[678]. The fifth version is of unnamed locality. It has two clowns, Tommy in skin and tail, and Bessy, and amongst the dancers are a Squire’s Son and a Tailor[679]. Such a nomenclature will not repay much analysis. The ‘Squire,’ whose son figures amongst the dancers, is identical with the ‘Tommy,’ although why he should have a son I do not know. Similarly, the ‘Bridget’ at Wharfdale and the ‘Miser’ at Linton correspond to the ‘Bessy’ who appears elsewhere. The Shetland dance, so far as the names go, is far more literary and less of a folk affair than any of the English examples. The grotesques are absent altogether, and the dancers belong wholly to that heroic category which is also represented in a degenerate form at Houghton-le-Spring. They are in fact those ‘seven champions of Christendom’--St. George of England, St. James of Spain, St. Denys of France, St. David of Wales, St. Patrick of Ireland, St. Anthony of Italy, and St. Andrew of Scotland--whose legends were first brought together under that designation by Richard Johnson in 1596[680]. Precisely the same divergence between a popular and a literary or heroic type of nomenclature presents itself in such of the German sword-dance rhymes as are in print. Three very similar versions from Styria, Hungary, and Bohemia are traceable to a common ‘Austro-Bavarian’ archetype[681]. The names of these, so far as they are intelligible at all, appear to be due to the village imagination, working perhaps in one or two instances, such as ‘Grünwald’ or ‘Wilder Waldmann,’ upon stock figures of the folk festivals[682]. It is the heroic element, however, which predominates in the two other sets of verses which are available. One is from the Clausthal in the Harz mountains, and here the dancers represent the five kings of England, Saxony, Poland, Denmark, and Moorland, together with a serving-man, Hans, and one Schnortison, who acts as leader and treasurer of the party[683]. In the other, from Lübeck, the dancers are the ‘worthies’ Kaiser Karl, Josua, Hector, David, Alexander, and Judas Maccabaeus. They fight with one Sterkader, in whom Müllenhoff finds the Danish hero Stercatherus mentioned by Saxo Grammaticus; and to the Hans of the Clausthal corresponds a Klas Rugebart, who seems to be the red-bearded St. Nicholas[684].