+---+----------------------+----------------------+---------_The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2) With Tunes, Singing-Rhymes, and Methods of Playing etc.

+---+----------------------+----------------------+----------------------+

| 1.| -- | -- | -- |

| 3.| -- | -- | -- |

| 4.| -- | -- | -- |

| 5.| -- | -- | -- |

| 6.| -- | -- | -- |

| 7.| -- | -- | -- |

| 8.| -- | -- | -- |

| 9.| -- | -- | -- |

|10.| -- | -- | -- |

|11.| -- | -- | -- |

|12.| -- | -- | -- |

|14.| -- | -- | -- |

|15.| -- | -- | -- |

|16.| -- | -- | -- |

|17.| -- | -- | -- |

|19.| -- | -- | -- |

|20.| -- | -- | -- |

| |&c. |&c. |&c. |

|23.| -- | -- | -- |

|24.| -- | -- | -- |

|25.| -- | -- | -- |

|26.| -- | -- | -- |

|27.| -- | -- | -- |

+---+----------------------+----------------------+----------------------+

+---+----------------------+----------------------+----------------------+

| 1.| -- |Sally Water. | -- |

| 2.|Sally Walker. | -- |Sally Walker. |

| 3.| -- | -- | -- |

| 4.| -- | -- | -- |

| 5.| -- | -- | -- |

| 6.| -- | -- |Sprinkle in the pan. |

| 7.| -- | -- | -- |

| 8.| -- | -- | -- |

| 9.| -- | -- | -- |

|10.| -- | -- | -- |

|11.| -- | -- | -- |

|12.|Sitting in the sun. | -- | -- |

|13.| -- | -- |Rise for a young man. |

|14.|Weeping for a young | -- | -- |

| |man. | | |

|15.| -- | -- | -- |

|16.| -- | -- | -- |

|17.| -- |Sprinkle for a young | -- |

| | |man. | |

|18.|Fly east, west. | -- |Choose east, west. |

|19.| -- | -- | -- |

|20.| -- | -- | -- |

|21.|Fly to the best loved.| -- |Choose the best loved.|

|22.| -- |Now you're married, |Now you're married, |

| | |&c. |&c. |

|23.| -- | -- | -- |

|24.| -- | -- | -- |

|25.| -- | -- | -- |

|26.|Goes courting, &c. | -- | -- |

|27.| -- | -- | -- |

+---+----------------------+----------------------+----------------------+

+---+----------------------+----------------------+----------------------+

| 1.|Sally Waters. | -- |Sallie [ ]. |

| 2.| -- |Sally Walker. | -- |

| 3.| -- | -- | -- |

| 4.| -- | -- | -- |

| 5.| -- | -- | -- |

| 6.| -- | -- | -- |

| 7.| -- | -- | -- |

| 8.| -- | -- | -- |

| 9.| -- | -- | -- |

|10.| -- | -- |Sitting on the ground.|

|11.| -- | -- | -- |

|12.| -- | -- | -- |

|13.|Rise for a young man. |Rise for a good man. | -- |

|14.| -- | -- |Sobbing for a young |

| | | |man. |

|15.| -- | -- | -- |

|16.| -- | -- | -- |

|17.| -- | -- | -- |

|19.| -- | -- | -- |

|20.| -- | -- | -- |

|21.|Then to the bestloved.| -- |Turn to the best |

|22.|Now you're married, |There's a couple, &c. | -- |

| |&c. | | |

|23.| -- | -- | -- |

|24.| -- | -- | -- |

|25.| -- | -- | -- |

|26.| -- | -- | -- |

|27.| -- | -- |A bogie in, &c. |

+---+----------------------+----------------------+----------------------+

+---+----------------------+----------------------+----------------------+

| 1.| -- | -- |Sallie [ ]. |

| 2.|Sally Walker. |Sally Walker. | -- |

| 3.| -- | -- | -- |

| 4.| -- | -- | -- |

| 5.| -- | -- | -- |

| 6.| -- | -- | -- |

| 7.| -- | -- | -- |

| 8.| -- | -- | -- |

| 9.| -- | -- | -- |

|10.| -- | -- | -- |

|11.| -- | -- | -- |

|12.| -- | -- | -- |

|13.| -- |Rise and choose your |Rise and choose. |

|14.|Lamenting for a young | -- | -- |

| |man. | | |

|15.| -- | -- | -- |

|16.| -- | -- | -- |

|17.| -- | -- | -- |

|19.| -- | -- | -- |

|20.| -- | -- | -- |

| | |&c. |&c. |

|23.| -- | -- | -- |

|24.| -- | -- | -- |

|25.| -- | -- | -- |

|26.| -- | -- | -- |

|27.| -- | -- | -- |

+---+----------------------+----------------------+----------------------+

+---+----------------------+

|No.| Beddgelert. |

+---+----------------------+

| 1.|Sallie [ ]. |

| 2.| -- |

| 3.| -- |

| 4.| -- |

| 5.| -- |

| 6.| -- |

| 7.| -- |

| 8.| -- |

| 9.| -- |

|10.|Sitting in sand. |

|11.| -- |

|12.| -- |

|13.| -- |

|14.|Crying for a young |

| |man. |

|15.| -- |

|16.| -- |

|17.| -- |

|18.| -- |

|19.| -- |

|20.| -- |

|21.|Pick the one you like |

| |best. |

|22.|Now you're married, |

| |&c. |

|23.| -- |

|24.| -- |

|25.| -- |

|26.| -- |

|27.| -- |

+---+----------------------+

The first thing to note from this analysis are the words Sally and

Water. In twenty-three versions they are Sally Water or Waters, in

seventeen versions it is Sally Walker, in six versions it is another

name altogether, while in two versions it is Sallie only. The most

constant name, therefore, points to Sally Water as the oldest version;

and it is noticeable that in the Lincolnshire and Sheffield versions,

where the name is not Sally Water, the word water is introduced later on

in the line which directs the action of sprinkling water. Is it

possible, then, that Sally Water may be a corruption from an earlier

form where Sally is some other word, not the name of a girl, as it is

usually supposed to be, and the word water is connected, not with the

name of the maiden, but with the action of sprinkling which she is

called upon to perform? If we could surmise that the early form was

"Sallie, Sallie, water sprinkle in the pan," the accusative being placed

before the verb, the problem would be solved in this manner; but there

is no warrant for this poetical licence in popular verses, and I prefer

to suggest that "water" got attached as a surname by simple

transposition, such as the Norfolk and Beddgelert versions allow as

evidence. It follows from this that Walker and other names appear as

degraded forms of the original, and do not enter into the question of

origins, a point which may readily be conceded, considering that the

general evidence of all these singing games is, that no special names

are ever used, but that names change to suit the players. The next

incident in the analysis is the ceremony of "sprinkling the water,"

which is constant in twenty-one versions, while the Wakefield "Springin'

in the pan," the Settle "Tinkle in a can," Halliwell's "Sprinkle for a

young man," and the eight versions in which this incident is wholly

absent in any form, are evident corruptions. The tendency of the

corruption is shown by this to be that the "sprinkling of water" came to

be omitted from the verse, and therefore the other variants--

Sitting by the water (Sheffield),

Water your can (Warwickshire),

Sitting in a sigh (Nairn),

Sitting on the sand (Fraserburgh and Beddgelert).

Sitting in the sander (Cornwall),

Sitting in the sun (Brigg and Nairn),

Sat upon a cinder (Earls Heaton),

Sitting on the ground (Notts.),

are but the steps through which the entire omission of the water

incident was finally attained. The third incident is "Rise and choose" a

young man, the alternative being "Crying for a young man." The first

indicates a kneeling and reverential attitude before the water, and

occurs in twenty-one versions, while the second only occurs in fourteen

versions.

The expression "crying" is really to "announce a want," as "wants" were

formerly cried by the official "crier" of every township, and indeed as

children still in games "cry" the forfeits; but losing this meaning, the

expression came to mean crying in the sense of "weeping," and appearing

to the minds of children as a natural way of expressing a want, would

therefore succeed in ousting any more archaic notion. The incident of

crying for a lover appears in other singing games, as, for instance, in

"Poor Mary." Especially may this be considered the process which has

been going on when it is seen that "choosing" is an actual incident of

the game, even in those cases where "crying" has replaced the kneeling.

The choosing incident also assumes two forms, namely, with respect to

"east and west" in twenty-two versions, and "best and worst" in nine

versions. Now, the expression, "for better for worse," is an old

marriage formula preserved in the vernacular portion of the ancient

English marriage service (see Palgrave, _English Commonwealth_, ii., p.

cxxxvi.); and I cannot but think that we have the same formula in this

game, especially as the final admonition in nearly all the versions is

to choose "the one loved best." Following upon this comes the very

general marriage formula noted so frequently in these games. It is

slightly varied in some versions, and is replaced by a different

formula, but one that also appears in other games, in two or three

versions. One feature is very noticeable in the less common versions of

this game, viz., the assumption of the marriage being connected with the

birth of children, and the indulgences of the lovers, as in the Tong

and Scottish versions xxxii., xxxiii., and xxxiv.

(_e_) In considering the probable origin of the game, the first thing

will be to ascertain as far as possible what ideas the words are

intended to convey. Taking note of the results of the analysis, so far

as they show the corruptions which have taken place in the words, it

seems clear that though it is not possible to restore the original

words, their original meaning is still preserved. This is, that they

accompanied the performance of a marriage ceremony, and that a chief

feature of this ceremony was connected with some form of water-worship,

or some rite in which water played a chief part. Now it has been noted

before that the games of children have preserved, by adaptation, the

marriage ceremony of ancient times (_e.g._, "Merry ma Tansa," "Nuts in

May," "Poor Mary," "Round and Round the Village"); but this is the first

instance where such an important particularisation as that implied by

water-worship qualifies the marriage ceremony. It is therefore necessary

to see what this exactly means. Mr. Hartland, in his _Perseus_ (i.

167-9), draws attention to the general significance of the water

ceremonial in marriage customs, and Mr. F. B. Jevons, in his

introduction to Plutarch's _Romane Questions_, and in the _Transactions

of the Folk-lore Congress_, 1891, deals with the subject in reference to

the origin of custom obtaining among both Aryan and non-Aryan speaking

people. In this connection an important consideration arises. The

Esthonian brides, on the morning after the wedding, are taken to make

offerings to the water spirit, and they throw offerings into the spring

(or a vessel of water), overturn a vessel of water in the house, and

sprinkle their bridegrooms with water. The Hindoo offerings of the bride

were cast into a water vessel, and the bride sprinkles the court of the

new house with water by way of exorcism, and also sprinkles the

bridegroom (Jevons, _loc. cit._, p. 345). Here the parallel between the

non-Aryan Esthonian custom and the Aryan Hindoo custom is very close,

and it is a part of Mr. Jevons' argument that, among the Teutons, with

whom alone of Aryan speaking peoples the Esthonians came into contact,

the custom was limited to the bride simply stepping over a vessel of

water. There is certainly something a great deal more than the parallel

to the Teutonic custom in the game of "Sally, Sally Water," and as it

equates more nearly to Hindoo and Esthonian custom, the question is,

Does it help Mr. Jevons in the important point he raises? I think it

does. A custom is very low down among the strata of survivals when it is

only to be recognised as part of a children's singing game, and the

proposition it suggests is that children have preserved more of the old

custom than was preserved by the people who adopted a portion of it into

their marriage ceremony. A custom so treated must be older than the

marriage ceremony with which it thus came into contact, and if this is a

true conclusion, we have in this children's game a relic of the

pre-Celtic peoples of these islands--a relic therefore going back many

centuries for its origin, and which is of inestimable service in

discussing some important problems of the ethnic significance of

folk-lore. These conclusions are entirely derived from the significant

position which this game occupies in relation to Esthonian (non-Aryan)

and to Teutonic (Aryan) marriage customs respectively, and therefore it

is of considerable importance to note that it entirely fits in with the

conclusion which my husband has drawn as to the non-Aryan origin of

water-worship (see Gomme's _Ethnology of Folk-lore_, pp. 79-105).

There is, however, something further which seems to bring this game into

line with non-Aryan marriage customs. The marriage signified by the game

is acknowledged and sanctioned by the presence of witnesses; is made

between two people who choose each other without any form of compulsion;

is accompanied by blessings upon the young couple and prognostications

of the birth of children. These points show that the marriage ceremony

belongs to a time when the object of the union was to have children, and

when its duration was not necessarily for life. It is curious to note

that water worship is distinctly connected with the desire to have

children (_Proc. Roy. Irish Acad._, 3rd ser., ii. 9); and that the idea

of the temporary character of the marriage status of the lower classes

of the people is still extant I have certain evidence of. Early in

November of 1895, a man tried for bigamy gave as his defence that he

thought his marriage was ended with his first wife, as he had been away

seven years. It is a frequently told story. A year and a day and seven

years are the two periods for which the popular mind regards marriage

binding. "I was faithful to him for seven years, and had more than my

two children," a woman said to me once, as if two children were the

required or expected number to be born in that period. If there is a

popular belief of this kind, it is strangely borne out by this

game-rhyme. "First a girl, and then a boy," may also be shown to be a

result to be desired and prayed for, in the popular belief that a man's

cycle of life is not complete until he is the father of a daughter, who,

in her turn, shall have a son. Miss Hawkins Dempster obtained evidence

of such a belief from the lips of a man who considered he was entitled

to marry another woman, as his wife had only borne him sons, and

therefore his life was not (like hers) complete.

The free choice of both woman and man is opposed to the theory of our

present marriage ceremony, where permission or authority to marry is

only necessary for the woman, the man being able to do as he pleases.

This is now regarded as a sign of women's early subjection to the

authority of men and their subordinate place in the household. But it

does not follow that this was the relative position of men and women

when a ceremony was first found needful and instituted. I am inclined to

think it must have been, rather, the importance attached to the woman's

act of ratification, in the presence of witnesses, of her formal promise

to bear children to a particular man. Marriage would then consist of

contracts between two parties for the purpose of, and which actually

resulted in, the birth of children; of concubinage, or the wife

consenting to children being born to her husband by another woman in her

stead, if she herself failed in this respect (such children being hers

and her husband's jointly); of marriage without ceremony or set purpose,

resulting from young people being thrown together at feast times,

gathering in of harvests, &c., which might or might not result in the

birth of children. These conditions of the marriage rite are at variance

with what we know of the Aryan marriage generally and its results; and

that they flow from the customs preserved in the game under

consideration is further proof of the origin of the game from a marriage

rite of the pre-Celtic people of these islands. The "kissing together"

of the married couple is the token to the witnesses of their mutual

consent to the contract.

Attention has already been directed to the fact that parts of the

formula preserved in this game are also found in other games, and it may

possibly be assumed therefrom that the same origin must be given to

these games as to "Sally Water." The objection to such a conclusion is

mainly that it is impossible to decide to which game the popular

marriage formula originally belonged, and from which it has been

borrowed by the other games. Seeing how exactly it fits the

circumstances of "Sally Water," it might not be too much to suggest that

it rightly belongs to this game. Another point to be noted is that the

tune to which the words of the marriage formula are sung is always the

same, irrespective of that to which the previous verses are sung, and

this rule obtains in all those games in which this formula appears--a

further proof of the antiquity of the formula as an outcome of the early

marriage ceremony.

[7] Redruth version--

Fly for the east, fly for the west,

Fly for the very one you love best.

Sally Sober

A game among girls [undescribed].--Dickinson's _Cumberland Glossary_

(_Supplement_).

Salmon Fishers

I. Cam' ye by the salmon fishers,

Cam' ye by the roperee?

Saw ye a sailor laddie

Sailing on the raging sea?

Oh, dear ----, are ye going to marry?

Yes, indeed, and that I am.

Tell to me your own true lover,

Tell to me your lover's name?

_He's_ a bonnie lad, _he's_ a bonnie fellow,

Oh, he's a bonnie lad,

Wi' ribbons blue and yellow,

Stockings of blue silk;

Shoes of patent leather,

Points to tie them up.

A gold ring on his finger.

Did you see the ship he came in?

Did you see it comin' in?

Every lassie wi' her laddie,

Every widow wi' her son.

Mother, struck eight o'clock,

Mother, may I get out?

For my love is waiting

For to get me out.

First he gave me apples,

Then he gave me pears,

Then he gave me a sixpence

To kiss him on the stairs.

Oh, dear me, I wish I had my tea,

To write a letter to my love

To come back and marry me.

--Rosehearty (Rev. W. Gregor).

II. Cam' ye by the salmon fishers?

Cam' ye by the roperee?

Saw ye a sailor laddie

Waiting on the coast for me?

I ken fahr I'm gyain,

I ken fahs gyain wi' me;

I ha'e a lad o' my ain,

Ye daurna tack 'im fae me.

Stockings of blue silk,

Shoes of patent leather,

Kid to tie them up,

And gold rings on his finger.

Oh for six o'clock!

Oh for seven I weary!

Oh for eight o'clock!

And then I'll see my dearie.

--Fochabers (Rev. W. Gregor).

III. Come ye by the salmon fishers?

Come ye by the roperee?

Saw ye my dear sailor laddie

Sailing on the raging sea?

Tip for gold and tip for silver,

Tip for the bonnie laddie I do adore;

My delight's for a sailor laddie,

And shall be for evermore.

Sit you down, my lovely Elsie,

Take your baby on your knee;

Drink your health for a jolly sailor,

He will come back and marry you.

He will give you beads and ear-rings,

He will give you diamonds free;

Sailors they are bonnie laddies,

Oh, but they are neat and clean!

They can kiss a bonnie lassie

In the dark, and A, B, C;

When the sailors come home at evening

They take off their tarry clothes,

They put on their light blue jackets,

That is the way the sailors go.

--Rev. W. Gregor.

A circle is formed, and the children dance round singing. Before

beginning they agree which of the players is to be named in the fifth

line of the Rosehearty version.

Jamieson's _Dictionary_ (_sub voce_), "Schamon's Dance," says, "Some

particular kind of dance anciently used in Scotland."

Blaw up the bagpyp than,

The schamon's dance I mon begin,

I trow it sall not pane.

--"Peblis to the Play," _Chronicles of Scottish Poetry_, i. 135.

Pinkerton defines salmon as "probably _show-man_, _shaw-man_."

See "Shame Reel, or Shamit Dance."

Salt Eel

This is something like "Hide and Find." The name of Salt Eel may have

been given it from one of the points of the game, which is to baste the

runaway individual, whom you may overtake, all the way home with your

handkerchief, twisted hard for that purpose. Salt Eel implies on board

ship a rope's ending, and on shore an equivalent process.--Moor's

_Suffolk Words and Phrases_.

Save All

Two sides are chosen in this game. An even number of boys, say eight on

each side. Half of these run out of the line, and are chased by half of

the boys from the other side. If two out of four get "home" to door or

lamp-post, they _save all_ the prisoners which have been made; if two

out of four are caught before the others get "home," the side catching

them beats.--Deptford (Miss Chase).

Say Girl

A game undescribed, recorded by the Rev. S. D. Headlam as played by some

Hoxton school children.--_Church Reformer_, 1894.

Scat

A paper-knife, or thin slip of wood, is placed by one player on his open

palm. Another takes it up quickly, and tries to "scat" his opponent's

hand before he can draw it away. Sometimes a feint of taking the

paper-knife is made three or four times before it is really done. When

the "scat" is given, the "scatter" in his turn rests the knife on his

palm. Scat is the Cornish for "slap."--_Folk-lore Journal_, v. 50.

Scop-peril, or Scoperel

Name for teetotum ordinarily manufactured by sticking a pointed peg

through a bone button.--Easther's _Almondbury Glossary_; also in SW.

Lincolnshire, Cole's _Glossary_.

See "Totum."

Scotch-hoppers

In _Poor Robin's Almanack_ for 1677, in the verses to the reader, on the

back of the title-page, concerning the chief matters in the volume,

among many other articles of intelligence, the author professes to

show--

"The time when school boys should play at _Scotch-hoppers_."

Another allusion occurs in the same periodical for 1707--"Lawyers and

Physitians have little to do this month, and therefore they may (if they

will) play at _Scotch-hoppers_. Some men put their hands into peoples'

pockets open, and extract it clutch'd, of that beware. But counsel

without a cure, is a body without a soul." And again, in 1740--"The

fifth house tells ye whether whores be sound or not; when it is good to

eat tripes, bloat herrings, fry'd frogs, rotten eggs, and monkey's tails

butter'd, or an ox liver well stuck with fish hooks; when it is the most

convenient time for an old man to play at _Scotch-hoppers_ amongst the

boys. In it also is found plainly, that the best armour of proof against

the fleas, is to go drunk to bed."

See "Hopscotch," "Tray-Trip."

Scots and English

Boys first choose sides. The two chosen leaders join both hands, and

raising them high enough to let the others pass through below, cry--

Brother Jack, if ye'll be mine,

I'll gie ye claret wine;

Claret wine is good and fine,

Through the needle ee, boys.

Letting their arms fall they enclose a boy and ask him to which side he

will belong, and he is disposed of according to his own decision. The

parties being at length formed, are separated by a real or imaginary

line, and place at some distance behind them, in a heap, their hats,

coats, &c. They stand opposite to each other, the object being to make a

successful incursion over the line into the enemy's country, and bring

off part of the heap of clothes. It requires both address and swiftness

of foot to do so without being taken by the foe. The winning of the game

is decided by which party first loses all its men or its property. At

Hawick, where the legendary mimicry of old Border warfare peculiarly

flourishes, the boys are accustomed to use the following rhymes of

defiance:--

King Covenanter, come out if ye daur venture!

Set your foot on Scots' ground, English, if ye daur!

--Chambers' _Popular Rhymes_, p. 127.

The Traditional Games of England, Scotland, and Ireland (Vol 2 of 2) With Tunes, Singing-Rhymes, and Methods of Playing etc. · 第 11 / 36 段