IV. Hark the robbers coming through,
Coming through, coming through,
Hark the robbers coming through,
My fair lady.
What's the robbers done to you,
Done to you, done to you,
What's the robbers done to you,
My fair lady?
They have stole my watch and chain,
Watch and chain, watch and chain,
They have stole my watch and chain,
My fair lady.
What's the price will set you free,
Set you free, set you free,
What's the price will set you free,
My fair lady?
Half-a-guinea will set me free,
Will set me free, will set me free,
Half-a-guinea will set me free,
My fair lady.
Half-a-guinea you shall not have,
Shall not have, shall not have,
Half-a-guinea you shall not have,
My fair lady.
Let's join hands, it is too late,
'Tis too late, 'tis too late,
Let's join hands, it is too late,
My fair lady.
--Tong, Shropshire (Miss R. Harley).
V. Hark at the robbers going through,
Through, through, through; through, through, through;
Hark at the robbers going through,
My fair lady.
What have the robbers done to you,
You, you, you; you, you, you?
What have the robbers done to you,
My fair lady?
Stole my gold watch and chain,
Chain, chain, chain; chain, chain, chain;
Stole my gold watch and chain,
My fair lady.
How many pounds will set us free,
Free, free, free; free, free, free?
How many pounds will set us free,
My fair lady?
A hundred pounds will set you free,
Free, free, free; free, free, free;
A hundred pounds will set you free,
My fair lady.
We have not a hundred pounds,
Pounds, pounds, pounds; pounds, pounds, pounds;
We have not a hundred pounds,
My fair lady.
Then to prison you must go,
Go, go, go; go, go, go;
Then to prison you must go,
My fair lady.
To prison we will not go,
Go, go, go; go, go, go;
To prison we will not go,
My fair lady.
--Shipley, Horsham (_Notes and Queries_, 8th Series, i. 210, Miss Busk).
VI. See the robbers coming through,
Coming through, coming through,
See the robbers coming through,
A nice young lady.
Here's a prisoner we have got,
We have got, we have got,
Here's a prisoner we have got,
A nice young lady.
How many pounds to set her free,
Set her free, set her free,
How many pounds to set her free,
A nice young lady?
A hundred pounds to set her free,
Set her free, set her free,
A hundred pounds to set her free,
A nice young lady.
A hundred pounds we cannot give,
We cannot give, we cannot give,
A hundred pounds we cannot give,
A nice young lady.
Then to prison she must go,
She must go, she must go,
Then to prison she must go,
A nice young lady.
If she goes we'll go too,
We'll go too, we'll go too,
If she goes we'll go too,
A nice young lady.
Round the meadows we will go,
We will go, we will go,
Round the meadows we will go,
A nice young lady.
--Settle, Yorks. (Rev. W. S. Sykes).
VII. O what has this poor prisoner done,
Poor prisoner done, poor prisoner done?
O what has this poor prisoner done,
So early in the morning?
She stole my watch and lost my key,
Lost my key, lost my key,
She stole my watch and lost my key,
So early in the morning.
How many pounds to set her free,
Set her free, set her free?
How many pounds to set her free,
So early in the morning?
Five hundred pounds to set her free,
Set her free, set her free,
Five hundred pounds to set her free,
So early in the morning.
Five hundred pounds we have not got,
Have not got, have not got,
Five hundred pounds we have not got,
So early in the morning.
So off to prison she must go,
She must go, she must go,
So off to prison she must go,
So early in the morning.
If she go then I'll go too,
I'll go too, I'll go too,
If she go then I'll go too,
So early in the morning.
So round the meadows we must go,
We must go, we must go,
So round the meadows we must go,
So early in the morning.
--Sporle, Norfolk (Miss Matthews).
(_b_) In the Deptford version two girls join hands, holding them up as
an arch for the other players to tramp through. The first two verses are
sung first by one and then by the other of the two girls. At the finish
of these the girl then going through the arch is stopped, and the third,
fourth, and fifth verses are sung by the two girls alternately. Then
finally both girls sing the last verse, and the child is sent as
prisoner behind one or other of the two girls. The verses are then begun
again, and repeated afresh for each of the troop marching through the
arch until all of them are placed behind one or other of the two girls.
The two sides thus formed then proceed to tug against each other, and
the strongest side wins the game.
The Belfast version is practically the same, except that the verses are
not sung as a dialogue, but by all the players together, and the
prisoner, when caught, has the choice of sides, by being asked, "Which
will you have, a golden apple or golden pear?" and according to the
answer given is sent behind one of the leaders. The Norfolk and
Shropshire games are different. Miss Matthews thus describes the
Norfolk game: "Two girls take hold of hands, and another, the prisoner,
stands between them. The rest form themselves into a line opposite, and
advance and retreat while singing the first verse, the gaolers singing
the next verse, and so on alternately. [At the end of the last verse but
one] the children break the line, form themselves into a ring, and dance
round the prisoner, singing the final verse." Miss Harley describes the
Shropshire version as follows: "The first six verses are sung by the
alternate parties, who advance and retire, tramping their feet, at
first, to imitate the robbers. The last verse is sung altogether going
round in a ring." In the Shipley version, Miss Busk says: "The children
form themselves into two lines, while two or three, representing the
robbers, swagger along between them. When the robbers sing the last
verse they should have attained the end of the lines [of children], as
during the parley they were safe; having pronounced the defiance they
run away. The children in the lines rush after them, and should catch
them and put them in prison."
(_c_) The analysis of this game is easy. The Deptford, Belfast, and
Wolstanton versions are clearly enough dramatic representations of the
capture of a robber, and probably the game dates from the period of the
prevalence of highway robbery. The Wolstanton version shows us that the
game is breaking up from its earlier form, while the Norfolk and
Shropshire versions show a fresh development into the mere game for
children, apart from its original significance. The action of the game
confirms this view. The Norfolk action seems to be the most nearly
perfect in its dramatic significance, and the Shropshire action comes
next. The action of the other games seems to have been grafted on to the
superior form of "Oranges and Lemons." It is probable that this fact has
preserved the words more completely than in the other cases, where the
force of the robber action would become less and less as actual
experience of robbers and robbery died out. Altogether, this game
supplies a very good example of the change produced in games by changes
in the actual life which gave rise to them. It is singular that the
verses of this game also enter into the composition of "London Bridge is
broken down." It is probable, therefore, that it may be an altered form
of the game of "London Bridge." The refrain, "My fair lady," occurs in
both games.
See "London Bridge."
Hats in Holes
A boys' game. The players range their hats in a row against the wall,
and each boy in turn pitches a ball from a line at some twenty-five feet
distance into one of the hats. The boy into whose hat it falls has to
seize it and throw it at one or other of the others, who all scamper off
when the ball is "packed in." If he fails to hit he is out, and takes
his cap up. The boy whose cap is left at the last has to "cork" the
others, that is, to throw the ball at their bent backs, each in turn
stooping down to take his punishment.--Somerset (Elworthy's _Dialect_).
See "Balls and Bonnets."
Hattie
A game with preens, pins, on the crown of a hat. Two or more may play.
Each lays on a pin, then with the hand they strike the side of the hat
time about, and whoever makes the pins by a stroke cross each other,
lifts those so crossed.--Mactaggart's _Gallovidian Encyclopædia_.
Hawkey
A game played by several boys on each side with sticks called "hawkey
bats," and a ball. A line is drawn across the middle of the ground from
one side to the other; one party stands on one side of the line and the
opposite party on the other, and neither must overstep this boundary,
but are allowed to reach over as far as their bats will permit to strike
the ball. The object is to strike the ball to the farther end to touch
the fence of the opposing party's side, when the party so striking the
ball scores one, and, supposing nine to be the game, the party obtaining
that number first of course wins the game.--West Sussex (Holloway's
_Dict. of Provincialisms_).
See "Bandy," "Doddart," "Hockey."
Headicks and Pinticks
This game was played only at Christmas. The number of players was two.
The stakes were pins. One player laid in the hollow of the hand, or on
one of the forefingers, a pin, and then placed the other forefinger over
it so as to conceal it. He then held up his hand to his opponent and
said, "Headicks or pinticks?" His opponent made a guess by pointing with
his finger and saying "Headicks," or "Pinticks." If the guess was
correct he gained the pin, but if it was incorrect he forfeited one. The
players played alternately.--Keith (Rev. W. Gregor).
Another version seems to be "Headim and Corsim." Pins are hid with
fingers in the palms of the hands; the same number is laid alongside
them, and either "Headim" or "Corsim" called out by those who do so.
When the fingers are lifted, if the heads of the pins hid and those
beside them be lying one way when the crier cried "Headim," then that
player wins; but if "Corsim," the one who hid the pins wins. This is the
king of all the games at the preens.--Mactaggart's _Gallovidian
Encyclopædia_.
The editors of Jamieson's _Dictionary_ say that the name should be
"Headum and Corsum."
Heads and Tails
That plan for deciding matters by the "birl o' a bawbee." The one side
cries "Heads" (when the piece is whirling in the air) and the other
"Tails," so whichever is uppermost when the piece alights that gains or
settles the matter, heads standing for the King's head and tails for
the figure who represents Britannia.--Mactaggart's _Gallovidian
Encyclopædia_. This is a general form of determining sides or beginning
a game all over the country.
Hecklebirnie
A play among children in Aberdeenshire. Thirty or forty children in two
rows, joining opposite hands, strike smartly with their hands thus
joined on the head or shoulders of their companion as he runs the
gauntlet through them. This is called "passing through the mires of
Hecklebirnie."--Jamieson.
The editors of Jamieson append a lengthy note connecting the name of
this game with the northern belief that the wicked were condemned to
suffer eternal punishment in Hecla, the volcanic mountain in Iceland.
See "Namers and Guessers."
Hen and Chicken
Chickery, chickery, cranny crow,
I went to the well to wash my toe,
When I got back a chicken was dead.
This verse is said by the Hen to her Chickens, after which they all go
with the Hen to search for the dead Chicken. On their way they meet the
Fox. The following dialogue between the Fox and Hen ensues, the Hen
beginning:--
What are you doing?
Picking up sticks.
What for?
To make a fire.
What's the fire for?
To boil some water.
What's the water for?
To boil some chickens in.
Where do you get them from?
Out of your flock.
That I'm sure you won't.
--Derbyshire (_Folk-lore Journal_, i. 386).
The game is played in the usual manner of "Fox and Goose" games. One is
chosen to be the Hen, and one to be the Fox. The rest are the Chickens.
The Chickens take hold of each other's waists, the first one holding the
Hen's waist. At the end of the dialogue the Fox tries to get hold of one
of the chickens. If he succeeds in catching them, they all with the Fox
try to dodge the Hen, who makes an effort to regain them.
It is known at Winterton under the name of "Pins and Needles." The
players stand in a row, one behind another, with one of the party as
their Leader. Another player, called "Outsider," pretends to scratch the
ground. The Leader asks, the questions, and the Outsider replies--
What are you scratching for?
Pins and needles.
What do you want your pins and needles for?
To mend my poke.
What do you want your poke for?
To put some sand in.
What do you want your sand for?
To sharpen knives with.
What do you want your knives for?
To cut all the little chickens' heads off with.
Here the Outsider tries to dodge past the Leader to catch one of the
children at the further end of the row, the Leader meanwhile attempting
to bar her progress. When at last she succeeds, the child caught takes
her place, and the game is recommenced.--Winterton (Miss M. Peacock).
See "Fox and Goose," "Gled-wylie."
Here comes a Lusty Wooer
[Music]
--Rimbault's _Nursery Rhymes_.
Here comes a lusty wooer,
My a dildin, my a daldin;
Here comes a lusty wooer,
Lily bright and shine a'.
Pray who do you woo?
My a dildin, my a daldin;
Pray who do you woo?
Lily bright and shine a'.
For your fairest daughter,
My a dildin, my a daldin;
For your fairest daughter,
Lily bright and shine a'.
Then there she is for you,
My a dildin, my a daldin;
Then there she is for you,
Lily bright and shine a'.
--Ritson (_Gammer Gurton's Garland_, 1783).
Northall says this game is played after the manner of the "Three Dukes"
(_Folk Rhymes_, p. 383). Halliwell (_Nursery Rhymes_, p. 98) has a
version, and Rimbault (_Nursery Rhymes_) gives both words and tune. It
is also contained in _The Merrie Heart_ (p. 47). See "Jolly Hooper,"
"Jolly Rover."
Here comes One Virgin
Here comes one Virgin on her knee,
On her knee, on her knee,
Here comes one Virgin on her knee,
Pray what will you give her?
When did you come?
I came by night and I came by day,
I came to steal poor Edie away.
She is too old, she is too young,
She hasn't learnt her virgin tongue.
Let her be old or let her be young,
For her beauty she must come.
In her pocket a thousand pounds,
On her finger a gay gold ring.
Good-bye, good-bye, my dear.
--Hurstmonceux, Sussex (Miss Chase).
One child stands by herself, and the rest of the players range
themselves in line. The child sings the first verse and the line
replies, the four succeeding verses being alternately sung. After the
last line the girl tries to pull one whom she has chosen from the line
toward her. If not successful, she must try again. If she is, they both
stand in the middle, and commence singing the words again with--
Here come _two_ virgins on their knees, &c.
Probably a degraded version of "Three Lords from Spain."
Here I sit on a Cold Green Bank
Here I sit on a cold green bank
On a cold and frosty morning.
We'll send a young man [_or_ woman] to take you away,
To take you away,
We'll send a young man to take you away,
On a cold and frosty morning.
Pray tell me what his name shall be? [_or_]
Pray, whom will you send to take me away?
We'll send Mr. ---- to take you away.
The children form a ring around one of the party, who sits in the
middle, and says the two first lines. Then those in the circle dance
round her, singing the next four lines. This is repeated three times,
with the refrain, "On a cold," &c., after which the dancing and singing
cease, and the child is asked, "Sugar, sweet, or vinegar, sour?" Her
answer is always taken in a contrary sense, and sung, as before, three
times, whilst the children circle round. The one in the middle then
rises to her feet. The boy (or girl) named advances and kisses her, they
change places, and the game begins again.--Cornwall (_Folk-lore
Journal_, v. 56-57).
Here stands a Young Man
I. Here stands a young man who wants a sweetheart,
With all his merry maids round him;
He may choose from east, he may choose from west,
He may choose the prettiest girl that he loves best.
Now this young couple is married together,
We propose they kiss each other.
--Glapthorn (_Northants Notes and Queries_, i. 214, A. Palmer).
II. Here stands a young lady [lass] who wants a sweetheart,
Wants a sweetheart, wants a sweetheart,
And don't know where to find one, find one, find one.
Choose the prettiest that you loves best.
Now you're married I wish you joy,
First a girl and then a boy,
Seven years after son and daughter,
Pray you come to kiss together.
--Longcot, Berkshire (Miss I. Barclay).
(_b_) A ring is formed by the players joining hands, one child standing
in the centre. The ring dance round singing the first four lines. At the
fourth line the child in the centre chooses one from the ring, who goes
into the centre with her. The marriage formula or chorus is then sung,
the two kiss, and the one who was first in the centre joins the ring,
the second one choosing another in her turn. Played by both boys and
girls.
See "Sally Water," "Silly Old Man."
Here we go around, around
[Music]
Our shoes are made of leather,
Our stockings are made of silk,
Our pinafores are made of calico,
As white as any milk.
Here we go around, around, around,
And we shall touch the ground.
--Barnes and London Streets (A. B. Gomme).
A ring is formed by the children joining hands. They walk round singing
the first four lines. They then dance round quickly and sit down
suddenly, or touch the ground with their clothes.
A version of this game from Liphook, Hants, almost identical in words,
has been sent by Miss Fowler, and another from Crockham Hill, Kent, by
Miss Chase.
Here's a Soldier
Here's a soldier left his lone [_qy._ alone],
Wants a wife and can't get none.
Merrily go round and choose your own,
Choose a good one or else choose none;
Choose the worst or choose the best,
Or choose the very one you like best.
What's your will, my dilcy dulcy officer?
What's your will, my dilcy dulcy dee?
My will is to marry, my dilcy dulcy officer;
My will is to marry, my dilcy dulcy dee.
Come marry one of us, my dilcy dulcy officer;
Come marry one of us, my dilcy dulcy dee.
You're all too old and ugly, my dilcy dulcy officer;
You're all too old and ugly, my dilcy dulcy dee.
Thrice too good for you, sir, my dilcy dulcy officer;
Thrice too good for you, sir, my dilcy dulcy dee.
This couple got married, we wish them good joy,
Every year a girl and a boy,
And if that does not do, a hundred and two,
We hope the couple will kiss together.
--Annaverna, co. Louth (Miss R. Stephen).
(_b_) One child stands in the middle, the others dance round singing.
The one in the middle chooses another before the four last lines are
sung. Then the rest dance round singing these lines, and kiss each
other.
(_c_) It is evident that these words comprise two distinct games, which
have become mixed in some inexplicable fashion. The first six lines and
the last four are one game, a ring form, with the marriage formula and
blessing. The other portion of the game is a dialogue game, evidently
having had two lines of players, questions being asked and answers
given. It is, in fact, a part of the "Three Dukes" game. The first part
is a kiss-in-the-ring game, a version of "Here stands a Young Man,"
"Silly Old Man," and "Sally Water."
Hewley Puley
Take this, What's this?
Hewley Puley.
Where's my share?
About the kite's neck.
Where's the kite?
Flown to the wood.
Where's the wood?
The fire has burned it.
Where's the fire?
The water's quenched it.
Where's the water?
The ox has drunk it.
Where's the ox?
The butcher has killed it.
Where's the butcher?
The rope has hanged him.
Where's the rope?
The rat has gnawed it.
Where's the rat?
The cat has killed it.
Where's the cat?
Behind the door, cracking pebble-stones and marrow-bones for yours
and my supper, and the one who speaks first shall have a box on the
ear.
--Halliwell's _Nursery Rhymes_, p. 222.
The children are seated, and the questions are put by one of the party
who holds a twisted handkerchief or something of the sort in the hand.
The handkerchief was called "hewley puley," and the questions are asked
by the child who holds it. If one answers wrongly, a box on the ear with
the handkerchief was the consequence; but if they all replied correctly,
the one who broke silence first had that punishment.
For similar rhymes see "Dump," "Mother, may I go out?"
Hey Wullie Wine
I. Hey Wully wine, and How Wully wine,
I hope for hame ye'll no incline;
Ye'll better light, and stay a' night,
And I'll gie thee a lady fine.
Wha will ye gie, if I wi' ye bide,
To be my bonny blooming bride,
And lie down lovely by my side?
I'll gie thee Kate o' Dinglebell,
A bonny body like yersell.
I'll stick her up in the pear-tree
Sweet and meek, and sae is she:
I lo'ed her ance, but she's no for me,
Yet I thank ye for your courtesy.
I'll gie thee Rozie o' the Cleugh,
I'm sure she'll please thee weel eneugh.
Up wi' her on the bane dyke,
She'll be rotten or I'll be ripe:
She's made for some ither, and no me,
Yet I thank ye for your courtesy.
Then I'll gie ye Nell o' sweet Sprinkell,
Owre Galloway she bears the bell.
I'll set her up in my bed-head,
And feed her wi' milk and bread;
She's for nae ither, but jist for me,
Sae I thank ye for your courtesy.
--Mactaggart's _Gallovidian Encyclopædia_.
II. I maun ride hame, I maun gang hame,
And bide nae langer here;
The road is lang, the mirk soon on,
And howlets mak' me fear.
Light doon and bide wi' us a' night,
We'll choose ye a bonnie lass;
Ye'll get your wull and pick o' them a',
And the time it soon wull pass.
Which ane will ye choose,
If I with you will bide?
The fairest and rarest
In a' the kintra side.
A girl's name was then mentioned. If the lad was pleased with the choice
made, he replied--
I'll set her up on a bonnie pear-tree,
It's tall and straight, and sae is she;
I'd keep wauken a' night her love to be.
If he was not pleased, he replied in one or other of the next three
verses--
I'll set her up ayont the dike,
She'll be rotten ere I be ripe,
The corbies her auld banes wull pike.
I'll set her up on a high crab-tree,
It's sour and dour, and so is she;
She may gang to the mools unkissed by me.
Though she be good and fair to see,
She's for another, and no for me;
But I thank you for your courtesie.
When a girl took the place of the lad, she replied in one or other of
the three following, according as she was angry or pleased--
I'll put him in a riddle
And riddle him o'er the sea,
And sell to Johnny Groat's
For a Scotch bawbee.
I'll set him up on my lum-head [chimney],
And blaw him up wi' pouther and lead;
He'll never be kissed though he be dead.
I'll set him up at my table head,
Feed him wi' sweet milk and bread,
If he likes gang hame on his fine steed.
--Biggar (Wm. Ballantyne).
(_b_) In Biggar, all the players were seated round the hearthstone, lads
on one side, lassies the other; one lad rising up said the first verse,
then one acting as "maister" said the next verse. The young man then
said the next two lines, to which the other replied in the two
following, and naming at the close any girl he thought would be
acceptable. If the lad was pleased he sang the next verse. If he was
not pleased with the girl offered him he replied in either of the three
following verses. The first of the three was generally said if the girl
was thought to be too old; if bad-tempered, the second. If the lad found
no fault, but wished to politely refuse, he sang the last verse. The
girl then was asked in her turn, and the same formula gone through, she
saying either of the three last verses given. Forfeits were demanded for
every refusal, and were cried at the end of the game.
(_c_) Mr. Ballantyne writes: "This game was a great favourite in my
father's house. This was a forfeit game, forfeits being called 'wadds.'"
Chambers, _Popular Rhymes_, p. 124, gives a version of this game. It is
practically the same as Mr. Ballantyne's version, with only a few verbal
differences. Mactaggart says, "The chief drift of this singular game
seemed to be to discover the sweethearts of one another," and such
discoveries are thought valuable, but not so much as they were
anciently. In any case, it appears to me that the game is an early one,
or, at all events, a reflection of early custom.
Hickety, Bickety
Hickety, bickety, pease-scone,
Where shall this poor Scotchman gang?
Will he gang east, or will he gang west,
Or will he gang to the craw's nest?
--Chambers (_Popular Rhymes_, p. 122).