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
two and two, arm in arm, for "courting"; holds on to her dress for
"married"; whips the "baby," and cries when it dies. In the Market
Drayton game, each pretends to tear her clothes for "naughty girl";
pretends to carry a bag for "schoolgirl"; walk in pairs side by side for
"courting"; the same, arm in arm, for "married"; "hushes" for a baby,
pretends to pat on the back for sick baby; covers her face with
handkerchief when baby dies; pats her chest when husband is sick, cries
and "makes dreadful work" when he dies; puts on handkerchief for a
widow's veil for a widow; hobbles along, and finally falls down when "a
hundred and four." In the Dorset game, when at "service," an imitation
of scrubbing and sweeping is given; walk in couples for sweethearts, and
married; the remaining verses the same as the Platt version. In the
Fernham game the children shoot out their arms alternately for a
soldier; for a mower, they stand sideways and pretend to cut grass; for
hedge-cutter, they pretend to cut with a downward movement, as with a
belt [_qy._ bill] hook, the other action similar to the Platt and Barnes
games. In the Frodingham game they stamp and pretend to drill for
"schoolboys," pretend to sew as "schoolgirls," kiss for "courting," put
on a ring for "getting married," run for a doctor when "husband" is ill,
punch and push each other for "soldiers," and haul ropes for "sailors."
In other versions, in which carpenters, blacksmiths, farmers, bakers
appear, actions showing something of those trades are performed.
(_d_) It will be seen, from the description of the way this game is
played, that it consists of imitative actions of different events in
life, or of actions imitating trades and occupations. It was probably at
one time played by both girls and boys, young men and young women. It is
now but seldom played by boys, and therefore those verses containing
lines describing male occupations are not nearly so frequently met with
as those describing girls' or womens' life only. Young girl, sweetheart,
or going courtin', marriage, birth of children, loss of baby and
husband, widowhood, and the occupations of washing and cleaning, exactly
sum up the principal and important events in many working womens'
lives--comprising, in fact, the whole. This was truer many years ago
than now, and the mention in many versions of school girl, teacher,
governess, indicate in those versions the influence which education,
first in the shape of dame or village schools, Sunday schools, and
latterly Board schools, has had upon the minds and playtime of the
children. These lines may certainly be looked upon as introductions by
the children of comparatively modern times, and doubtless have taken the
place of some older custom or habit. This game is exactly one of those
to which additions and alterations of this kind can be made without
destroying or materially altering, or affecting, its sense. It can live
as a simple game in an almost complete state long after its original
wording has been lost or forgotten, and as long as occupations continue
and events occur which lend themselves to dumb action. The origin of the
game I consider to be those dances and songs performed in imitation of
the serious avocations of life, when such ceremonies were considered
necessary to their proper performance, and acceptable to the deities
presiding over such functions, arising from belief in sympathetic magic.
At harvest homes it was customary for the men engaged in the work of the
farm to go through a series of performances depicting their various
occupations with song and dance, from their engagement as labourers
until the harvest was completed, and at some fairs the young men and
women of the village, in song and dance, would go through in pantomimic
representation, the several events of the year, such as courting,
marriage, &c., and their several occupations.
Perhaps the most singular instance of imitative action being used in a
semi-religious purpose, is that recorded by Giraldus Cambrensis in the
twelfth century, who, speaking of the church of St. Almedha, near
Brecknock, says a solemn feast is held annually in the beginning of
August: "You may see men and girls, now in the church, now in the
churchyard, now in the dance, which is led round the churchyard with a
song, on a sudden falling on the ground as in a trance, then jumping up
as in a frenzy, and representing with their hands and feet before the
people whatever work they have unlawfully done on feast days; you may
see one man put his hands to the plough, and another, as it were, goad
on the oxen, one man imitating a shoemaker, another a tanner. Now you
may see a girl with a distaff drawing out the thread and winding it
again on the spindle; another walking and arranging the threads for the
spindle; another throwing the shuttle and seeming to weave" (_Itinerary
of Wales_, chap. ii.).
For the significance of some of the pantomimic actions used, I may
mention that in Cheshire for a couple to walk "arm-in-arm" is
significant of a betrothed or engaged couple.
Other versions have been sent me, but so similar to those given that it
is unnecessary to give them here. The tunes vary more. In some places
the game is sung to that of "Nuts in May." In Barnes the tune used was
sometimes that of "Isabella," vol. i. p. 247, and sometimes the first
one printed here.
The game is mentioned by Newell (_Games_, p. 88).
Whiddy
Whiddy, whiddy, way,
If you don't come, I won't play.
The players, except one, stand in a den or home. One player clasps his
hands together, with the two forefingers extended, He sings out the
above, and the boys who are "home" then cry--
Warning once, warning twice,
Warning three times over;
When the cock crows out come I,
Whiddy, whiddy, wake-cock. Warning!
This is called "Saying their prayers." The boy who begins must touch
another boy, keeping his hands clasped as above. These two then join
hands, and pursue the others; those whom they catch also joining hands,
till they form a long line. If the players who are in the home run out
before saying their prayers, the other boys have the right to pummel
them, or ride home on their backs.--London (J. P. Emslie, A. B. Gomme).
See "Chickidy Hand," "Hunt the Staigie," "Stag," "Warney."
Whigmeleerie
A game occasionally played in Angus. A pin was stuck in the centre of a
circle, from which there were as many radii as there were persons in the
company, with two names of each person at the radius opposite to him.
On the pin an index was placed, and moved round by every one in turn,
and at whatsoever person's radius it stopped, he was obliged to drink
off his glass.--Jamieson.
A species of chance game, played apparently with a kind of totum.
Whip
A boy's game, called in the South "Hoop or Hoop Hide." This is a curious
instance of corruption, for the name hoop is pronounced in the local
manner as hooip, whence whip.--Easther's _Almondbury Glossary_.
Whishin Dance
An old-fashioned dance, in which a cushion is used to kneel
upon.--Dickinson's _Cumberland Glossary_.
See "Cushion Dance."
Who goes round my Stone Wall
I. Who's going round my stone wall?
Nobody, only little Jacky Lingo.
Pray don't steal none of my fat sheep,
Unless I take one by one, two by two, three by three,
Follow me.
Have you seen anything of my black sheep?
Yes! I gave them a lot of bread and butter and sent them up
there [pointing to left or right].
Then what have you got behind you?
Only a few poor black sheep.
Well! let me see.
[The child immediately behind Johnny Lingo shows its foot between her
feet, and on seeing it the centre child says]
Here's my black sheep.
--Winterton, Anderby, Nottinghamshire (Miss M. Peacock).
II. Who's that going round my stony walk?
It's only Bobby Bingo.
Have you stolen any of my sheep?
Yes! I stole one last night and one the night before.
--Enbourne School, Berks (Miss M. Kimber).
III. Who goes round this stoney wa'?
Nane but Johnnie Lingo.
Tak care and no steal ony o' my fat sheep away!
Nane but ane.
--Galloway (J. G. Carter).
IV. Who goes round my pinfold wall?
Little Johnny Ringo.
Don't steal all my fat sheep!
No more I will, no more I may,
Until I've stol'n 'em all away,
Nip, Johnny Ringo.
--Addy's _Sheffield Glossary_.
[Illustration]
V. Who's that walking round my sandy path?
Only Jack and Jingle.
Don't you steal none of my fat geese!
Yes, I will, or No, I won't. I'll take them one by one, and
two by two, and call them Jack and Jingle.
--Barnes, Surrey (A. B. Gomme).
VI. Who runs round my pen pound?
No one but old King Sailor.
Don't you steal all my sheep away, while I'm a wailer!
Steal them all away one by one, and leave none but old King
Sailor.
--Raunds (_Northants Notes and Queries_, i. p. 232).
VII. Who's that walking round my walk?
Only Jackie Jingle.
Don't you steal of my fat sheep;
The more I will, the more I won't,
Unless I take them one by one,
And that is Jackie Jingle.
--Hersham, Surrey (_Folk-lore Record_, v. 85).
VIII. Who's going round my sunny wall to night?
Only little Jacky Lingo.
Don't steal any of my fat chicks.
I stole one last night
And gave it a little hay,
There came a little blackbird,
And carried it away.
--Bocking, Essex (_Folk-lore Record_, iii. 170).
IX. Who's that round my stable door [or stony wall]?
Only little Jack and Jingo.
Don't you steal any of my fat pigs!
I stole one last night and the night before,
Chick, chick, come along with me.
--Deptford, Kent (Miss Chase).
X. Who's this walking round my stony gravel path?
Only little Jacky Jingle.
Last night he stole one of my sheep,
Put him in the fold,
Along came a blackbird, and pecked off his nose.
--Hampshire (Miss Mendham).
XI. Who is going round my fine stony house?
Only Daddy Dingo.
Don't take any of my fine chicks.
Only this one, O!
--Ellesmere (Burne's _Shropshire Folk-lore_, p. 520).
XII. Who is that walking round my stone-wall?
Only little Johnnie Nero.
Well, don't you steal any of my fat sheep!
I stole one last night and gave it a lock of hay,
Here come I to take another away.
--Sporle, Norfolk (Miss Matthews).
XIII. Who's that going round my pretty garden?
Only Jacky Jingo.
Don't you steal any of my fat sheep!
Oh, no I won't; oh, yes I will; and if I do I'll take them
one by one, so out comes Jacky Jingo.
--Ogbourne, Wilts. (H. S. May).
XIV. Who's going round my sheepfold?
Only poor Jack Lingo.
Don't steal any of my black sheep!
No, I won't, only buy one.
--Roxton, St. Neots (Miss E. Lumley).
XV. Who goes round my house this night?
None but Limping Tom.
Do you want any of my chickens this night?
None but this poor one.
--Macduff (Rev. W. Gregor).
XVI. Who goes round my house this night?
Who but Bloody Tom!
Who stole all my chickens away?
None but this poor one.
--Chambers's _Pop. Rhymes_, 122.
XVII. Who goes round the house at night?
None but Bloody Tom.
Tack care an' tack nane o' my chickens awa'!
None but this poor one.
--Keith (Rev. W. Gregor).
XVIII. Johnny, Johnny Ringo,
Don't steal all my faun sheep.
Nob but one by one,
Whaul they're all done.
--Easther's _Almondbury Glossary_.
XIX. Who's going round my stone wall?
Only an old witch.
Don't take any of my bad chickens!
No, only this one.
--Hanbury, Staffs. (Miss E. Hollis).
(_b_) The players stand in a circle, but they do not necessarily hold
hands, nor do they move round. One player kneels or stands in the
centre, and another walks round outside the circle. The child in the
centre asks the questions, and the child outside (Johnny Lingo) replies.
When the last answer is given, the outside player, or Johnny Lingo,
touches one of the circle on the back; this player, without speaking,
then follows Johnny Lingo and stands behind her holding her by her
dress, or round the waist. The dialogue is then repeated, and another
child taken. This is continued until all the circle are behind Johnny
Lingo. Then the child in the centre tries to catch one of them, and
Johnny Lingo tries to prevent it; as soon as one player is caught she
stands aside, and when all are caught the game is over.
This is the usual way of playing. The variations are: in Galloway,
Enbourne, Keith, and Hanbury, the centre player shuts her eyes, or is
blindfolded. In the Almondbury version, when the centre child gets up to
look for his sheep, and finds them (they do not stand behind Johnny
Ringo, but hide), they run about "baaing;" when he catches them he
pretends to cut their heads off. In Chambers's description of the game,
all the players except two sit upon the ground in a circle (sitting or
lying down also obtains at Barnes), one of the two stands inside, and
the other personates "Bloody Tom." Bloody Tom tries to carry off a
player after the dialogue has been said, and the centre child tries to
prevent this one from being taken, and the rest of the circle "cower
more closely round him." In the Macduff version, when all the players
have been taken, the centre child runs about crying, "Where are all my
chickens?" Some of the "chickens," on hearing this, try to run away from
"Limping Tom" to her, and he tries to prevent them. He puts them all
behind him in single file, and the centre child then tries to catch
them; when she catches them all she becomes Limping Tom, and he the
shepherd or hen. Dr. Gregor says (Keith)--The game is generally played
by boys; the keeper kneels or sits in the middle of the circle; when all
the sheep are gone, and he gets no answers to his questions, he crawls
away still blindfolded, and searches for the lost sheep. The first
player he finds becomes keeper, and he becomes Bloody Tom. In the
Winterton version (No. I.) there is a further dialogue. The game is
played in the usual way at the beginning. When Jacko Lingo says, "Follow
me" (he had previously, when saying one by one and two by two, &c.,
touched three children on their back in turn), the third one touched
leaves the ring, and stands behind him holding his clothes or waist.
This is done until all the children forming the circle are holding on
behind him. The child in the centre then asks the next question. When
she says, "Here's my black sheep," she tries to dodge behind Jacky
Lingo, and catch the child behind him. When she has done this she begins
again at "Have you seen anything of my black sheep," until she has
caught all the children behind Jacky Lingo. In two versions, Deptford
and Bocking, there is no mention of a player being in the centre, but
this is an obvious necessity unless the second player stands also
outside the circle. In the Raunds version the ring moves slowly round.
In the Hants version (Miss Mendham) the children sit in a line. The
thief takes one at a time and hides them, and the shepherd pulls them
out of their hiding-places. In the Shropshire game, the chickens crouch
down behind their mother, holding her gown, and the fox walks round
them.
(_c_) This game appears to represent a village (by the players standing
still in circle form), and from the dialogue the children not only
represent the village, but sheep or chickens belonging to it. The other
two players are--one a watchman or shepherd, and the other a wolf, fox,
or other depredatory animal. The sheep may possibly be supposed to be in
the pound or fold; the thief comes over the boundaries from a
neighbouring village or forest to steal the sheep at night; the watchman
or shepherd, although at first apparently deceived by the wolf,
discovers the loss, and a fight ensues, in which the thief gets the
worse, and some of the animals, if not all, are supposed to be
recovered. The names used in the game,--pen pound, pinfold, fold, stone
wall, sunny wall, sandy path, gravel path, sheep fold, garden, house,
are all indications that a village and its surroundings is intended to
be represented, and this game differs in that respect from the ordinary
Fox and Geese and Hen and Chickens games, in which no mention is made of
these.
Halliwell records two versions (_Nursery Rhymes_, pp. 61, 68). The words
and method of playing are the same as some of those recorded above.
There is also a version in _Suffolk County Folk-lore_, pp. 65, 66, which
beginning with "Who's going round my little stony wall?" after the sheep
are all stolen, continues with a dialogue, which forms a part of the
game of "Witch." The Rev. W. S. Sykes sends one from Settle, Yorkshire,
the words of which are the same as No. XIV., except that the last line
has "just one" instead of "buy one." Mr. Newell gives a version played
by American children.
Widow
I. One poor widder all left alone,
Only one daughter to marry at home,
Chews [choose] for the worst, and chews for the best,
And chews the one that yew [you] love best.
Now you're married, I wish ye good joy,
Ivery year a gal or a boy!
If one 'out dew, ye must hev tew,
So pray, young couple, kiss te'gither.
--Swaffham, Norfolk (Miss Matthews).
II. Here is a poor widow who is left alone,
And all her children married and gone;
Come choose the east, come choose the west,
Come choose the one you love the best.
Now since you've got married, I wish you joy,
Every year a girl and boy;
Love one another like sister and brother,
I pray you couple come kiss together.
--Perth (Rev. W. Gregor).
III. One poor widow was left alone,
Daughter, daughter, marry at home;
Choose the worst, or choose the best,
Choose the young gentleman you love best.
Now you are married, I wish you joy,
Father and mother, you must obey,
Love one another like sister and brother,
And now, young couple, come kiss together.
--Bexley Heath (Miss Morris.)
IV. One poor widow is left all alone, all alone, all alone,
Choose the worst, and choose the best,
And choose the one that you like best.
Now she's married I wish her joy,
Her father and mother she must obey,
Love one another like sisters and brothers,
And now it's time to go away.
--_Suffolk County Folk-lore_, p. 67.
V. One poor widow was left alone,
She had but one daughter to marry alone;
Come choose the worst, come choose the best,
Come choose the young girl that you like best.
--Maxey, Northants (Rev. W. D. Sweeting).
VI. Here's a poor widow she's left alone,
She has got nothing to marry upon;
Come choose to the east, come choose to the west,
Come choose the one that you love best.
Now they're married, we wish them joy,
Every year a girl and a boy;
Seven years old, seven years to come,
Now kiss the couple, and that's well done.
--Auchterarder, N.B. (Miss E. S. Haldane).
(_b_) The children form a ring by joining hands. One player stands in
the centre. The ring dance round singing the first verse; the widow then
chooses one player from the ring, who goes into the centre with her, and
the ring dances round singing the second part. The one first in the
centre then joins the ring, and the second player becomes the widow and
chooses in her turn.
This belongs to the marriage group of Kiss in the Ring games. Northall
(_English Folk Rhymes_, p. 374), gives a version similar to the above.
See "Kiss in the Ring," "Poor Widow," "Sally Water," "Silly Young Man."
Wiggle-Waggle
The players sit round a table under the presidency of a "Buck." Each
person has his fingers clenched, and the thumb extended. Buck from time
to time calls out as suits his fancy: "Buck says, Thumbs up!" or, "Buck
says, Thumbs down!" or, "Wiggle-waggle!" If he says "Thumbs up!" he
places both hands on the table, with the thumbs sticking straight up. If
"Thumbs down!" he rests his thumbs on the table with his hands up. If
"Wiggle-waggle!" he places his hands as in "Thumbs up!" but wags his
thumbs nimbly. Everybody at the table has to follow the word of command
on the instant, and any who fail to do so are liable to a
forfeit.--Evan's _Leicestershire Words_.
See "Horns."
Wild Boar
"Shoeing the Wild Boar," a game in which the player sits cross-legged on
a beam or pole, each of the extremities of which is placed or swung in
the eyes of a rope suspended from the back tree of an outhouse. The
person uses a switch, as if in the act of whipping up a horse; when
being thus unsteadily mounted, he is most apt to lose his balance. If he
retains it, he is victor over those who fail.--Teviotdale (Jamieson).
Wild Birds
"All the Wild Birds in the Air," the name of a game in which one acts
the dam of a number of birds, who gives distinct names of birds, such as
are generally known to all that are engaged in the sport. The person who
opposes tries to guess the name of each individual. When he errs he is
subject to a stroke on the back. When he guesses right he carries away
on his back that bird, which is subjected to a blow from each of the
rest. When he has discovered and carried off the whole, he has gained
the game.--Jamieson. Jamieson adds that this sport seems only to be
retained in Abernethy, Perthshire; and it is probable, from the
antiquity of the place, that it is very ancient.
See "All the Birds in the Air," "Fool, Fool."
Willie, Willie Wastell
Willie, Willie Wastell,
I am on your castle,
A' the dogs in the toun
Winna pu' Willie doun.
Like Willie, Willie Wastel,
I am in my castel
A' the dogs in the toun
Dare not ding me doun.
--Jamieson.
A writer in the _Gentlemen's Magazine_ for 1822, Part I. p. 401, says
that the old distich--
"Willy, Willy Waeshale!
Keep off my castle,"
used in the North in the game of limbo, contains the true etymon of the
adjective "Willy."
The same game as "Tom Tiddler's Ground." It is played in the same way.
Jamieson says the second rhyme given shows that the rhyme was formerly
repeated by the player holding the castle, and not, as now, by the
opposing players.
See "King of the Castle," "Tom Tiddler's Ground."
Wind up the Bush Faggot
[Music: _Andante_, with determined deliberation.
Repeat from beginning till all are wound up.]
[Music: _Allegro_, with unbounded vigour.
_Note._--(1) The simplicity of time and no _dotted_ notes, also
_change_ of key for 2/4 music.
(2) The game unites common and triple time very successfully.
(3) Notwithstanding the injunction it is best _not_ to wind up
too _tight_.]
--Essex (Miss Dendy).
In the Essex game all the players join hands and form a long line. They
should stand in sizes, the tallest should be the first, and should
stand quite still. All the rest walk round this tallest one, singing--
Wind up the bush faggot, and wind it up tight,
Wind it all day and again at night,