The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2): With Tunes, Singing-Rhymes, and Methods of Playing etc.Gomme, Alice Bertha
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The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2): With Tunes, Singing-Rhymes, and Methods of Playing etc.
Gomme, Alice Bertha
Folklore -- Great Britain; Games -- Great Britain
(_c_) The children join hands and form a ring. They all dance or walk
round singing the words of the first two lines of each verse. Then all
standing still, they unclasp hands, and continue singing the next two
lines, and while doing so each child performs some action which
illustrates the events, work, condition, or profession mentioned in the
first line of the verse they are singing; then rejoining hands they all
dance round in a circle again. The actions used to illustrate the
different events are: In the versions from Platt school, for “young
girl,” each child holds out her dress and dances a step first to the
right, then to the left, two or three times, finishing by turning
herself quite round; for a “sweetheart,” the children turn their heads
and kiss their hands to the child behind them; for “got married,” they
all walk round in ring form, two by two, arm in arm; for having a baby,
they each “rock” and “hush” a pretended baby; when the baby dies, each
pretends to cry; when the husband dies, they throw their aprons or
handkerchiefs over their heads and faces; for “keeping a donkey,” each
child pretends to beat and drive the child immediately in front of her;
for “washerwoman,” each pretends to wash or wring clothes; for a
“beggar,” each drops curtseys, and holds out her hand as if asking alms,
putting on an imploring countenance. The Barnes’ version is played in
the same way, with the addition of holding the hands together to
represent a book, as if learning lessons, for “schoolgirl”; pretending
to hold a cane, and holding up fingers for silence, when a “teacher”;
when “my husband did beat me,” each pretends to fight; and for “my
husband died,” each child walks round joyfully, waving her handkerchief,
and all calling out Hurrah! at the end; the other verses being acted the
same as at Platt. The Liphook version is much the same: the children
beckon with their fingers when “wanting a sweetheart”; kneel down and
pretend to pray when “at church”; prod pretended “clothes” in a wash-tub
with a “dolly” stick when “I did peggy” is said; and mourn for the
“husband’s” death. In the Hanbury game, the children dance round or
shake themselves for “flounces “; hold up dresses and walk nicely for
“lady”; bow to each other for “gentlemen”; pretend to mend shoes when
“cobblers”; brush shoes for “shoeblack”; clap hands when the “husband”
dies; and kneel when they are “parsons.” In the Ogbourne game, the
children “hold up their dresses as ladies do” in the first verse; take
off their hats repeatedly when “gentlemen”; pretend to cry when
“schoolgirls”; walking round, swinging their arms, and looking as cocky
as possible, when “schoolboys”; patting each other’s backs when
“schoolmasters”; clapping hands for “schoolmistresses”; stooping down
and walking on all fours for a “donkey”; and brushing shoes for
“shoeblack.” In the Shropshire games at Berrington, each child “walks
demurely” for a good girl; puts finger on lip for “naughty girl”; walks
Public-domain text, read in full here on John Shaqi.
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