(_b_) In the Yorkshire version a ring is formed with one child in the middle as the ’Oary Man. Whatever he, or she, does, all in the ring must mimic, going round and singing at the same time. Any one found late in changing the action or idle in obeying the caperings of the central child becomes the ’Oary Man in place of the child taking that part. Both girls and boys play. In the Redhill version, Holy Gabriel kneels in the middle of the circle. He acts as leader, and always had the fiddle as his instrument, though he now usually plays the pianoforte as his first instrument. The other children choose any instrument they like. Holy Gabriel pretends to play the fiddle, and all the other children play their own instruments until Holy Gabriel changes his to one of theirs, when that one must immediately begin to play the fiddle, and continue until Holy Gabriel takes another instrument or returns to the fiddle. This is done in vigorous pantomime. In the Luton variant the children sit in a semicircle, the Drummer faces them. He plays the drum; all the other children play on any other instrument they like. If the other players do not at once change their instrument, or neglect to sing the lines, a forfeit is demanded. (_c_) Mr. Hardy says some sing this game, “Follow my game an holy man.” Mr. Hardy once thought it was the remnant of a goblin story of a hoary man of the gable or house-roof, who presided over the destinies of poor cottagers, and he had begun to make out the folk tale. The fairy would sometimes come down, and, playing his antics, compel whomsoever observed him to follow him in a mimicking procession. Miss Hope writes of “Holy Gabriel” that the game is played at Mead Vale, a small village in Surrey, but is unknown at larger villages and towns a few miles off. Some of the women who played it in their youth say that it began in the Primitive Methodist school at Mead Vale. It is played at Outword, also a remote village, and was introduced there by a stonemason, who stated that he had learned it from a cousin who had been in America. Further inquiry by Miss Hope elicited the fact that the cousin had learned the game, when a boy, in his native place in Lancashire. He did not know whether it was a well-known game there. This information points perhaps to a modern origin, but in such cases it must be borne in mind that people are very fond of suggesting recent circumstances as the cause of the most ancient traditions or customs. The obvious analogy to the incident in the myth of the Pied Piper, and to the Welsh custom at St. Almedha Church, near Brecknock, recorded by Giraldus Cambrensis, where the imitation of a frenzied leader is carried out as a religious ceremony, rather suggests that in this game we may have a survival of a ceremonial so common among early or uncultured people, the chief incident of which is the frenzied dancing of a god-possessed devotee.