Please see [Transcriber’s Notes] at the end of this document.

This is Volume I of a two-volume work. Volume II (including the Addenda) is available on the Project Gutenberg website [here]. The hyperlinks to Volume II work when this book is read on the Project Gutenberg website; when read elsewhere or when the files have been downloaded, the hyperlinks to Volume II may not work.

A DICTIONARY
OF
BRITISH FOLK-LORE

EDITED BY
G. LAURENCE GOMME, Esq., F.S.A.
PRESIDENT OF THE FOLK-LORE SOCIETY, ETC.

PART I.
TRADITIONAL GAMES

BY THE SAME EDITOR.

Small 4to. In Specially Designed Cover.

ENGLISH SINGING GAMES.

A Collection of the best Traditional Children’s Singing Games, with their Traditional Music harmonised, and Directions for Playing. Each Game, Text and Music, is written out and set within a Decorative Border by Winifred Smith, who has also designed Full-page Illustrations to each Game, and Initials and Decorative Border to the playing directions.

[All rights reserved.]

THE
Traditional Games
Of England, Scotland, and Ireland

WITH
TUNES, SINGING-RHYMES, AND METHODS OF PLAYING
ACCORDING TO THE VARIANTS EXTANT AND
RECORDED IN DIFFERENT PARTS
OF THE KINGDOM

COLLECTED AND ANNOTATED BY
ALICE BERTHA GOMME

VOL. I.
ACCROSHAY-NUTS IN MAY

LONDON
DAVID NUTT, 270-71 STRAND
1894

TO
MY HUSBAND

PREFACE

Soon after the formation of the Folk-lore Society in 1878 my husband planned, and has ever since been collecting for, the compilation of a dictionary of British Folk-lore. A great deal of the material has been put in form for publication, but at this stage the extent of the work presented an unexpected obstacle to its completion.

To print the whole in one alphabet would be more than could be accomplished except by the active co-operation of a willing band of workers, and then the time required for such an undertaking, together with the cost, almost seemed to debar the hope of ever completing arrangements for its publication. Nevertheless, unless we have a scientific arrangement of the enormously scattered material and a close comparison of the details of each item of folk-lore, it is next to impossible to expect that the full truth which lies hidden in these remnants of the past may be revealed.

During my preparation of a book of games for children it occurred to me that to separate the whole of the games from the general body of folk-lore and to make them a section of the proposed dictionary would be an advantageous step, as by arranging the larger groups of folk-lore in independent sections the possibility of publishing the contemplated dictionary again seemed to revive. Accordingly, the original plan has been so far modified that these volumes will form the first section of the dictionary, which, instead of being issued in one alphabet throughout, will now be issued in sections, each section being arranged alphabetically.

The games included in this collection bear the important qualification of being nearly all Children’s Games: that is to say, they were either originally children’s games since developed into games for adults, or they were the more serious avocations of adults, which have since become children’s games only. In both cases the transition is due to traditional circumstances, and not to any formal arrangements. All invented games of skill are therefore excluded from this collection, but it includes both indoor and outdoor games, and those played by both girls and boys.

The bulk of the collection has been made by myself, greatly through the kindness of many correspondents, to whom I cannot be sufficiently grateful. In every case I have acknowledged my indebtedness, which, besides being an act of justice, is a guarantee of the genuineness of the collection. I have appended to this preface a list of the collectors, together with the counties to which the games belong; but I must particularly thank the Rev. W. Gregor, Mr. S. O. Addy, and Miss Fowler, who very generously placed collections at my disposal, which had been prepared before they knew of my project; also Miss Burne, Miss L. E. Broadwood, and others, for kindly obtaining variants and tunes I should not otherwise have received. To the many versions now printed for the first time I have added either a complete transcript of, where necessary, or a reference to, where that was sufficient, printed versions of games to be found in the well-known collections of Halliwell and Chambers, the publications of the Folk-lore and Dialect Societies, Jamieson’s, Nares’, and Halliwell’s Dictionaries, and other printed sources of information. When quoting from a printed authority, I have as far as possible given the exact words, and have always given the reference. I had hoped to have covered in my collection the whole field of games as played by children in the United Kingdom, but it will be seen that many counties in each country are still unrepresented; and I shall be greatly indebted for any games from other places, which would help to make this collection more complete. The tunes of the games have been taken down, as sung by the children, either by myself or correspondents (except where otherwise stated), and are unaltered.

The games consist of two main divisions, which may be called descriptive, and singing or choral. The descriptive games are arranged so as to give the most perfect type, and, where they occur, variable types in succession, followed, where possible, by any suggestions I have to make as to the possible origin of the game. The singing games are arranged so as to give, first, the tunes; secondly, the different versions of the game-rhymes; thirdly, the method of playing; fourthly, an analysis of the game-rhymes on a plan arranged by my husband, and which is an entirely novel feature in discussing the history of games; fifthly, a discussion of the results of the analysis of the rhymes so far as the different versions allow; and sixthly, an attempt to deduce from the evidence thus collected suggestions as to the probable origin of the game, together with such references to early authorities and other facts bearing upon the subject as help to elucidate the views expressed. Where the method of playing the game is involved, or where there are several changes in the forms, diagrams or illustrations, which have been drawn by Mr. J. P. Emslie, are inserted in order to assist the reader to understand the different actions, and in one or two instances I have been able to give a facsimile reproduction of representations of the games from early MSS. in the Bodleian and British Museum Libraries.

Although none of the versions of the games now collected together are in their original form, but are more or less fragmentary, it cannot, I think, fail to be noticed how extremely interesting these games are, not only from the point of view of the means of amusement (and under this head there can be no question of their interest), but as a means of obtaining an insight into many of the customs and beliefs of our ancestors. Children do not invent, but they imitate or mimic very largely, and in many of these games we have, there is little doubt, unconscious folk-dramas of events and customs which were at one time being enacted as a part of the serious concerns of life before the eyes of children many generations ago. As to the many points of interest under this and other heads there is no occasion to dwell at length here, because the second volume will contain an appendix giving a complete analysis of the incidents mentioned in the games, and an attempt to tell the story of their origin and development, together with a comparison with the games of children of foreign countries.

The intense pleasure which the collection of these games has given me has been considerably enhanced by the many expressions of the same kind of pleasure from correspondents who have helped me, it not being an infrequent case for me to be thanked for reviving some of the keenest pleasures experienced by the collector since childhood; and I cannot help thinking that, if these traditional games have the power of thus imparting pleasure after the lapse of many years, they must contain the power of giving an equal pleasure to those who may now learn them for the first time.

ALICE BERTHA GOMME.

Barnes Common, S.W.,
Jan. 1894.

LIST OF AUTHORITIES

LIST OF GAMES

• [Accroshay.]
• [All-hid.]
• [All a Row.]
• [All in the Well.]
• [All the Birds in the Air.]
• [All the Boys in our Town.]
• [All the Fishes in the Sea.]
• [All the Soldiers in the Town.]
• [Allicomgreenzie.]
• [Alligoshee.]
• [Almonds and Reasons.]
• [Angel and Devil.]
• [Auntieloomie.]
• [Babbity Bowster.]
• [Bad.]
• [Baddin.]
• [Badger the Bear.]
• [Bag o’ Malt.]
• [Ball.]
• [Ball and Bonnets.]
• [Ball in the Decker.]
• [Ball of Primrose.]
• [Baloon.]
• [Bandy-ball.]
• [Bandy-cad.]
• [Bandy-hoshoe.]
• [Bandy-wicket.]
• [Banger.]
• [Bar.]
• [Barbarie, King of the.]
• [Barley-break.]
• [Barnes (Mr.).]
• [Base-ball.]
• [Basket.]
• [Battledore and Shuttlecock.]
• [Bedlams or Relievo.]
• [Beds.]
• [Bell-horses.]
• [Bellie-mantie.]
• [Belly-blind.]
• [Bend-leather.]
• [Betsy Bungay.]
• [Bicky.]
• [Biddy-base.]
• [Biggly.]
• [Billet.]
• [Billy-base.]
• [Bingo.]
• [Bird-apprentice.]
• [Birds, Beasts, and Fishes.]
• [Bittle-battle.]
• [Bitty-base.]
• [Black Man’s Tig.]
• [Black Thorn.]
• [Blind Bell.]
• [Blind Bucky Davy.]
• [Blind Harie.]
• [Blind Hob.]
• [Blind Man’s Buff.]
• [Blind Man’s Stan.]
• [Blind Nerry Mopsy.]
• [Blind Palmie.]
• [Blind Sim.]
• [Block, Hammer, and Nail.]
• [Blow-point.]
• [Bob Cherry.]
• [Boggle about the Stacks.]
• [Boggle-bush.]
• [Bonnety.]
• [Booman.]
• [Boss-out.]
• [Boss and Span.]
• [Boys and Girls.]
• [Branks.]
• [Bridgeboard.]
• [Broken-down Tradesmen.]
• [Brother Ebenezer.]
• [Bubble-hole.]
• [Bubble-justice.]
• [Buck, Buck.]
• [Buck i’ t’ Neucks.]
• [Buckerels.]
• [Buckey-how.]
• [Buff.]
• [Buk-hid.]
• [Bull in the Park.]
• [Bulliheisle.]
• [Bummers.]
• [Bun-hole.]
• [Bunch of Ivy.]
• [Bung the Bucket.]
• [Bunting.]
• [Burly Whush.]
• [Buttons.]
• [Buzz and Bandy.]
• [Cache-pole.]
• [Caiche.]
• [Call-the-Guse.]
• [Camp.]
• [Canlie.]
• [Capie-Hole.]
• [Carrick.]
• [Carry my Lady to London.]
• [Carrying the Queen a Letter.]
• [Cashhornie.]
• [Castles.]
• [Cat and Dog.]
• [Cat-Beds.]
• [Cat’s Cradle.]
• [Cat-gallows.]
• [Cat i’ the Hole.]
• [Cat after Mouse.]
• [Catchers.]
• [Chacke-Blyndman.]
• [Chance Bone.]
• [Change Seats.]
• [Checkstone.]
• [Cherry Odds.]
• [Cherry-pit.]
• [Chicamy.]
• [Chickidy Hand.]
• [Chinnup.]
• [Chinny-mumps.]
• [Chock or Chock-hole.]
• [Chow.]
• [Chuck-farthing.]
• [Chuck-hole.]
• [Chucks.]
• [Church and Mice.]
• [Click.]
• [Click, Clock, Cluck.]
• [Clowt-clowt.]
• [Clubby.]
• [Coal under Candlestick.]
• [Cob.]
• [Cobbin-match.]
• [Cobble.]
• [Cobbler’s Hornpipe.]
• [Cob-nut.]
• [Cock.]
• [Cock-battler.]
• [Cock-fight.]
• [Cock-haw.]
• [Cock-stride.]
• [Cockertie-hooie.]
• [Cockle-bread.]
• [Cockly-jock.]
• [Cock’s-headling.]
• [Cock-steddling.]
• [Codlings.]
• [Cogger.]
• [Cogs.]
• [Common.]
• [Conkers.]
• [Conquerors or Conkers.]
• [Contrary, Rules of.]
• [Cop-halfpenny.]
• [Corsicrown.]
• [Cots and Twisses.]
• [Course o’ Park.]
• [Crab-sowl.]
• [Crates.]
• [Cricket.]
• [Crooky.]
• [Cross and Pile.]
• [Cross-bars.]
• [Cross-questions.]
• [Cross Tig.]
• [Cry Notchil.]
• [Cuck-ball.]
• [Cuckoo.]
• [Cuddy and the Powks.]
• [Cudgel.]
• [Curcuddie.]
• [Curly Locks.]
• [Currants and Raisins.]
• [Cushion Dance.]
• [Cutch a Cutchoo.]
• [Cutters and Trucklers.]
• [Dab.]
• [Dab-an-thricker.]
• [Dab-at-the-hole.]
• [Dalies.]
• [Davie-drap.]
• [Deadily.]
• [Diamond Ring.]
• [Dibbs.]
• [Dinah.]
• [Dip o’ the Kit.]
• [Dish-a-loof.]
• [Doddart.]
• [Doncaster Cherries.]
• [Dools.]
• [Down in the Valley.]
• [Drab and Norr.]
• [Draw a Pail of Water.]
• [Drawing Dun out of the Mire.]
• [Drop Handkerchief.]
• [Dropping the Letter.]
• [Duck under the Water.]
• [Duck at the Table.]
• [Duck Dance.]
• [Duck Friar.]
• [Ducks and Drakes.]
• [Duckstone.]
• [Duffan Ring.]
• [Dumb Crambo.]
• [Dumb Motions.]
• [Dump.]
• [Dumps.]
• [Dust-point.]
• [Eller Tree.]
• [Ezzeka.]
• [Father’s Fiddle.]
• [Feed the Dove.]
• [Find the Ring.]
• [Fippeny Morrell.]
• [Fire, Air, and Water.]
• [Fivestones.]
• [Flowers.]
• [Follow my Gable.]
• [Follow my Leader.]
• [Fool, Fool, come to School.]
• [Foot and Over.]
• [Football.]
• [Forfeits.]
• [Fox.]
• [Fox and Goose (1).]
• [Fox and Geese (2).]
• [Fox in the Fold.]
• [Fox in the Hole.]
• [French Jackie.]
• [French and English.]
• [French Blindman’s Buff.]
• [Friar-rush.]
• [Frincy-francy.]
• [Frog-lope.]
• [Frog in the Middle.]
• [Gap.]
• [Garden Gate.]
• [Gegg.]
• [Genteel Lady.]
• [Ghost at the Well.]
• [Giants.]
• [Giddy.]
• [Gilty-galty.]
• [Gipsy.]
• [Gled-wylie.]
• [Glim-glam.]
• [Gobs.]
• [Green Grass.]
• [Green Gravel.]
• [Green Grow the Leaves (1).]
• [Green Grow the Leaves (2).]
• [Gully.]
• [Hairry my Bossie.]
• [Half-Hammer.]
• [Han’-and-Hail.]
• [Hand in and Hand out.]
• [Handy-Croopen.]
• [Handy Dandy.]
• [Hap the Beds.]
• [Hard Buttons.]
• [Hare and Hounds.]
• [Harie Hutcheon.]
• [Hark the Robbers.]
• [Hats in Holes.]
• [Hattie.]
• [Hawkey.]
• [Headicks and Pinticks.]
• [Heads and Tails.]
• [Hecklebirnie.]
• [Hen and Chicken.]
• [Here comes a Lusty Wooer.]
• [Here comes One Virgin.]
• [Here I sit on a Cold Green Bank.]
• [Here stands a Young Man.]
• [Here we go around, around.]
• [Here’s a Soldier.]
• [Hewley Puley.]
• [Hey Wullie Wine.]
• [Hickety, Bickety.]
• [Hickety-hackety.]
• [Hick, Step, and Jump.]
• [Hide and Seek (1).]
• [Hide and Seek (2).]
• [Hinch-Pinch.]
• [Hinmost o’ Three.]
• [Hirtschin Hairy.]
• [Hiry-hag.]
• [Hiss and Clap.]
• [Hitch, Jamie, Stride and Loup.]
• [Hitchapagy.]
• [Hitchy Cock Ho.]
• [Hity Tity.]
• [Hoatie, Hots.]
• [Hob-in-the-Hall.]
• [Hockerty Cokerty.]
• [Hockey.]
• [Hoges.]
• [Ho-go.]
• [Hoilakes.]
• [Holy Bang.]
• [Honey Pots.]
• [Hood.]
• [Hoodle-cum-blind.]
• [Hoodman Blind.]
• [Hooper’s Hide.]
• [Hop-crease.]
• [Hop-frog.]
• [Hop-score.]
• [Hop-scotch.]
• [Hop, Step, and Jump.]
• [Hornie.]
• [Hornie Holes.]
• [Horns.]
• [Hot Cockles.]
• [How many Miles to Babylon.]
• [Howly.]
• [Huckie-buckie down the Brae.]
• [Huckle-bones.]
• [Hummie.]
• [Hundreds.]
• [Hunt the Hare.]
• [Hunt the Slipper.]
• [Hunt the Staigie.]
• [Hunting.]
• [Hurling.]
• [Hurly-burly.]
• [Huss.]
• [Hustle Cap.]
• [Hynny-pynny.]
• [Isabella.]
• [Jack’s Alive.]
• [Jack, Jack, the Bread’s a-burning.]
• [Jack upon the Mopstick.]
• [Jackysteauns.]
• [Jauping Paste-eggs.]
• [Jenny Jones.]
• [Jenny Mac.]
• [Jib-Job-Jeremiah.]
• [Jiddy-cum-jiddy.]
• [Jingle-the-bonnet.]
• [Jingo-ring.]
• [Jinkie.]
• [Jock and Jock’s Man.]
• [Jockie Blind-man.]
• [Joggle along.]
• [Johnny Rover.]
• [Jolly Fishermen.]
• [Jolly Hooper.]
• [Jolly Miller.]
• [Jolly Rover.]
• [Jolly Sailors.]
• [Jowls.]
• [Jud.]
• [Keeling the Pot.]
• [Keppy Ball.]
• [Kibel and Nerspel.]
• [King by your leave.]
• [King Cæsar.]
• [King Come-a-lay.]
• [King of Cantland.]
• [King o’ the Castle.]
• [King Plaster Palacey.]
• [King William.]
• [King’s Chair.]
• [Kirk the Gussie.]
• [Kiss in the Ring.]
• [Kit-cat.]
• [Kit-cat-cannio.]
• [Kittlie-cout.]
• [Knapsack.]
• [Knights.]
• [Knocked at the Rapper.]
• [Knor and Spell.]
• [Lab.]
• [Lady of the Land.]
• [Lady on the Mountain.]
• [Lady on Yonder Hill.]
• [Lag.]
• [Lammas.]
• [Lamploo.]
• [Lang Larence.]
• [Leap Candle.]
• [Leap-frog.]
• [Leap the Bullock.]
• [Leaves are Green.]
• [Lend me your Key.]
• [Letting the Buck out.]
• [Level-coil.]
• [Libbety-lat.]
• [Limpy Coley.]
• [Little Dog, I call you.]
• [Lobber.]
• [Loggats.]
• [London.]
• [London Bridge.]
• [Long-duck.]
• [Long Tag.]
• [Long Tawl.]
• [Long Terrace.]
• [Loup the Bullocks.]
• [Lubin.]
• [Lug and a Bite.]
• [Luggie.]
• [Luking.]
• [Mag.]
• [Magic Whistle.]
• [Magical Music.]
• [Malaga Raisins.]
• [Marbles.]
• [Mary Brown.]
• [Mary mixed a Pudding up.]
• [Merrils.]
• [Merritot.]
• [Merry-ma-tansa.]
• [Milking Pails.]
• [Mineral, Animal, and Vegetable.]
• [Minister’s Cat.]
• [Mollish’s Land.]
• [Monday, Tuesday.]
• [Moolie Pudding.]
• [More Sacks to the Mill.]
• [Mother, may I go out to Play?]
• [Mother Mop.]
• [Mother, Mother, the Pot boils over.]
• [Mount the Tin.]
• [Mouse and the Cobbler.]
• [Muffin Man.]
• [Mulberry Bush.]
• [Munshets.]
• [Musical Chairs.]
• [Nacks.]
• [Namers and Guessers.]
• [Neighbour.]
• [Neivie-nick-nack.]
• [Nettles.]
• [New Squat.]
• [Nine Holes.]
• [Nine Men’s Morris.]
• [Nip-srat-and-bite.]
• [Nitch, Notch, No-Notch.]
• [Not.]
• [Noughts and Crosses.]
• [Nur and Spel.]
• [Nuts in May.]

ERRATA.

On page 15, line 12, for “Eggatt” read “Hats in Holes.”

On pp. 24, 49, 64, 112, for “Folk-lore Journal, vol. vi.” read “vol. vii.”

On page 62, last line, insert “vol. xix.” after “Journ. Anthrop. Inst.”

On page 66, line 4, delete “Move All.”

On page 224, fig. 3 of “Hopscotch” should be reversed.

On page 332, diagram of “London” omitted.

CHILDREN’S GAMES.

Accroshay

A cap or small article is placed on the back of a stooping boy by other boys as each in turn jumps over him. The first as he jumps says “Accroshay,” the second “Ashotay,” the third “Assheflay,” and the last “Lament, lament, Leleeman’s (or Leleena’s) war.” The boy who in jumping knocks off either of the things has to take the place of the stooper.—Cornwall (Folk-lore Journal, v. 58).

See “[Leap-frog].”

All-hid

“A meere children’s pastime” (A Curtaine Lecture, 1637, p. 206). This is no doubt the game of “[Hide and Seek],” though Cotgrave apparently makes it synonymous with “[Hoodman Blind].” See Halliwell’s Dictionary. It is alluded to in Dekker’s Satiromastix, “Our unhansomed-fac’d Poet does play at Bo-peepes with your Grace, and cryes All-hidde, as boyes doe.” Tourneur, Rev. Trag., III., v. 82, “A lady can at such Al-hid beguile a wiser man,” is quoted in Murray’s Dictionary as the first reference.

All a Row

All a row, a bendy bow,
Shoot at a pigeon and kill a crow;
Shoot at another and kill his brother;
Shoot again and kill a wren,
And that’ll do for gentlemen.

—Northall’s English Folk Rhymes, p. 386.

This is a marching game for very little children, who follow each other in a row.

(b) Halliwell gives the first two lines only (Nursery Rhymes, No. dxv., p. 101), and there is apparently no other record of this game. It is probably ancient, and formerly of some significance. It refers to days of bows and arrows, and the allusion to the killing of the wren may have reference to the Manx and Irish custom of hunting that bird.

All in the Well

A juvenile game in Newcastle and the neighbourhood. A circle is made, about eight inches in diameter, termed the well, in the centre of which is placed a wooden peg four inches long, with a button balanced on the top. Those desirous of playing give buttons, marbles, or anything else, according to agreement, for the privilege of throwing a short stick, with which they are furnished, at the peg. Should the button fly out of the ring, the player is entitled to double the stipulated value of what he gives for the stick. The game is also practised at the Newcastle Races and other places of amusement in the North with three pegs, which are put into three circular holes made in the ground about two feet apart, and forming a triangle. In this case each hole contains a peg about nine inches long, upon which are deposited either a small knife or some copper. The person playing gives so much for each stick, and gets all the articles that are thrown off so as to fall on the outside of the holes.—Northumberland (Brockett’s North Country Glossary).

All the Birds in the Air

A Suffolk game, not described (Moor’s Suffolk Glossary). Jamieson also gives it without description. Compare the rhyme in the game “[Fool, fool, come to School],” “[Little Dog, I call you].”[Addendum]

All the Boys in our Town

I.

All the boys in our town
Shall lead a happy life,
Except ’tis ——, and he wants a wife.
A wife he shall have, and a-courting he shall go,
Along with ——, because he loves her so.
He huddles her, he cuddles her,
He sits her on his knee;
He says, My dear, do you love me?
I love you, and you love me,
And we shall be as happy
As a bird upon a tree.

The wife makes the pudding,
And she makes it nice and soft—
In comes the husband and cuts a slice off.
Tas-el-um, Tos-el-um, don’t say Nay,
For next Monday morning shall be our wedding day;
The wife in the carriage,
The husband in the cart.

—Hampshire (from friend of Miss Mendham).

II.

All the boys in our town
Leads a happy life,
Excepting [Charley Allen],
And he wants a wife;
And a-courting he shall go
Along with [girl’s name],
Because he loves her so.

He kisses her, he cuddles her,
He sets her on his knee,
And says, My dearest darling,
Do you love me?
I love you and you love me;
We’ll both be as happy
As birds on the tree.

Alice made a pudding,
She made it nice and sweet,
Up came Charley, cut a slice off—
A slice, a slice, we don’t say No;
The next Monday morning the wedding goes (or “is our wedding day”).
I’ve got knives and forks,
I’ve got plates and dishes,
I’ve got a nice young man,
He breaks his heart with kisses.

If poor Alice was to die,
Wouldn’t poor Charley, he would cry.
He would follow to the grave
With black buttons and black crape,
And a guinea for the church,
And the bell shall ring.

Up came the doctor, up came the cat,
Up came the devil with a white straw hat.
Down went the doctor, down went the cat,
Down went the devil with a white straw hat.[1]

—Deptford (Miss Chase).

III.

Up the heathery mountains and down the rushy glen
We dare not go a-hunting for Connor and his men;
They are all lusty bachelors but one I know,
And that’s [Tom Mulligan], the flower of the flock;
He is the flower of the flock, he is the keeper of the glen,
He courted [Kate O’Neill] before he was a man;
He huggled her, he guggled her, he took her on his knee,
Saying, My bonnie [Kate O’Neill], won’t you marry me?

So —— made a pudding so nice and so sweet,
Saying, Taste, love, taste, and don’t say no,
For next Sunday morning to church we will go.

With rings on our fingers and bells on our toes,
And a little baby in her arms, and that’s the way she goes.
And here’s a clap, and here’s a clap, for Mrs. ——’s daughter.

—Belfast (W. H. Patterson).

IV.

Up the plain and down the plain,
As stippy [slippery] as a glass,
We will go to Mrs. ——
To find a pretty lass.

[Annie] with her rosy cheeks,
Catch her if you can,
And if you cannot catch her
I’ll tell you who’s the man.

[Annie] made a pudding,
She made it very sweet;
She daren’t stick a knife in
Till George came home at neet [night].

Taste [George], taste, and don’t say Nay!
Perhaps to-morrow morning’ll be our wedding day.
[The bells shall ring, and we shall sing,
And all clap hands together.][2]

—Earls Heaton (Herbert Hardy).

(b) A full description of this game could not be obtained in each case. The [Earls Heaton] game is played by forming a ring, one child standing in the centre. After the first verse is sung, a child from the ring goes to the one in the centre. Then the rest of the verses are sung. The action to suit the words of the verses does not seem to have been kept up. In the [Hampshire version], after the line “As a bird upon a tree,” the two children named pair off like sweethearts while the rest of the verse is being sung.

(c) The analysis of the game rhymes is as follows:—

It appears by the analysis that all the incidents of the [Hants version] of this game occur in one or other of the versions, and these incidents therefore may probably be typical of the game. This view would exclude the important incidents of bride capture in the [Earls Heaton version]; the bride having a baby in the [Belfast version], and the two minor incidents in the [Deptford version] (Nos. 13 and 15 in the analysis), which are obviously supplemental. Chambers, in his Popular Rhymes of Scotland, pp. 119, 137, gives two versions of a courtship dance which are not unlike the words of this game, though they do not contain the principal incidents. Northall, in his English Folk Rhymes, p. 363, has some verses of a similar import, but not those of the game. W. Allingham seems to have used this rhyme as the commencement of one of his ballads, “Up the airy mountain.”

(d) The game is clearly a marriage game. It introduces two important details in the betrothal ceremony, inasmuch as the “huddling and cuddling” is typical of the rude customs at marriage ceremonies once prevalent in Yorkshire, the northern counties, and Wales, while the making of the pudding by the bride and the subsequent eating together, are clearly analogies to the bridal-cake ceremony. In Wales, the custom known as “bundling” allowed the betrothing parties to go to bed in their clothes (Brand, ii. 98). In Yorkshire, the bridal cake was always made by the bride. The rudeness of the dialogue seems to be remarkably noticeable in this game.

See “[Mary mixed a Pudding up],” “[Oliver, Oliver, follow the King].”[Addendum] [Addendum]

[1] Miss Chase says, “I think the order of verses is right; the children hesitated a little.”

[2] Mr. Hardy says, “This was sung to me by a girl at Earls Heaton or Soothill Nether. Another version commences with the last verse, continues with the first, and concludes with the second. The last two lines inserted here belong to that version.”

All the Fishes in the Sea

A Suffolk game, not described.—Moor’s Suffolk Glossary. See “[Fool, fool, come to School],” “[Little Dog, I call you].”

All the Soldiers in the Town

[Play [version 1], [version 2]]

All the soldiers in the town,
They all bop down.

—Sporle, Norfolk (Miss Matthews).

The children form into a ring and sing the above words. They “bop down” at the close of the verse. To “bop” means in the Suffolk dialect “to stoop or bow the head.”—Moor.

Allicomgreenzie

A little amusing game played by young girls at country schools. The same as “[Drop Handkerchief],” except that the penalty for not following exactly the course of the child pursued is to “stand in the circle, face out, all the game afterwards; if she succeed in catching the one, the one caught must so stand, and the other take up the cap and go round as before” (Mactaggart’s Gallovidian Encyclopædia). No explanation is given of the name of this game.

See “[Drop Handkerchief].”

Alligoshee

I.

Betsy Blue came all in black,
Silver buttons down her back.
Every button cost a crown,
Every lady turn around.
Alligoshi, alligoshee,
Turn the bridle over my knee.

—Middleton (Burne’s Shropshire Folk-lore, p. 523).

II.

Barbara, Barbara, dressed in black,
Silver buttons all up your back.
Allee-go-shee, allee-go-shee,
Turn the bridle over me.

—Shepscombe, Gloucestershire (Miss Mendham).

III.

All-i-go-shee, alligoshee,
Turn the bridle over my knee.
My little man is gone to sea,
When he comes back he’ll marry me.

—Warwickshire (Northall’s Folk Rhymes, p. 394).

IV.

Darby’s son was dressed in black,
With silver buttons down his back.
Knee by knee, and foot by foot,
Turn about lady under the bush.

—Hersham, Surrey (Folk-lore Record, v. 87).

V.

Darby and Joan were dressed in black,
Sword and buckle behind their back.
Foot for foot, and knee for knee,
Turn about Darby’s company.

—Halliwell’s Nursery Rhymes, p. 121.

(b) The children form pairs, one pair following the other, with their arms linked behind. While the first four lines are repeated by all, they skip forward, and then skip back again. At the end of the last line they turn themselves about without loosing hands.

(c) Miss Burne includes this among obscure and archaic games, and Halliwell-Phillips mentions it as a marching game. The three first versions have something of the nature of an incantation, while the fourth and fifth versions may probably belong to another game altogether. It is not clear from the great variation in the verses to which class the game belongs.

Almonds and Reasons

An old English game undescribed.—Useful Transactions in Philosophy, 1709, p. 43.

Angel and Devil

One child is called the “Angel,” another child the “Devil,” and a third child the “Minder.” The children are given the names of colours by the Minder. Then the Angel comes over and knocks, when the following dialogue takes place.

Minder: “Who’s there?”

Answer: “Angel.”

Minder: “What do you want?”

Angel: “Ribbons.”

Minder: “What colour?”

Angel: “Red.”

Minder retorts, if no child is so named, “Go and learn your A B C.” If the guess is right the child is led away. The Devil then knocks, and the dialogue and action are repeated.—Deptford, Kent (Miss Chase).

See “[Fool, fool, come to School].”

Auntieloomie

The children join hands, and dance in a circle, “with a front step, a back step, and a side step, round an invisible May-pole,” singing—

Can you dance the Auntieloomie?
Yes, I can; yes, I can.

Then follows kissing.—Brigg, Lincolnshire (Miss Peacock).

Babbity Bowster

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—Biggar (Wm. Ballantyne).

Wha learned you to dance,
You to dance, you to dance?
Wha learned you to dance
Babbity Bowster brawly?

My minnie learned me to dance,
Me to dance, me to dance;
My minnie learned me to dance
Babbity Bowster brawly.

Wha ga’e you the keys to keep,
Keys to keep, keys to keep?
Wha ga’e you the keys to keep,
Babbity Bowster brawly?

My minnie ga’e me the keys to keep,
Keys to keep, keys to keep;
My minnie ga’e me the keys to keep,
Babbity Bowster brawly.

One, twa, three, B, ba, Babbity,
Babbity Bowster neatly;
Kneel down, kiss the ground,
An’ kiss your bonnie lassie [or laddie].

—Biggar (W. H. Ballantyne).

(b) Mr. Ballantyne describes the dance as taking place at the end of a country ball. The lads all sat on one side and the girls on the other. It began with a boy taking a handkerchief and dancing before the girls, singing the first verse ([fig. 1]). Selecting one of the girls, he threw the handkerchief into her lap, or put it round her neck, holding both ends himself. Some spread the handkerchief on the floor at the feet of the girl. The object in either case was to secure a kiss, which, however, was not given without a struggle, the girls cheering their companion at every unsuccessful attempt which the boy made ([fig. 2]). A girl then took the handkerchief, singing the next verse ([fig. 3]), and having thrown the handkerchief to one of the boys, she went off to her own side among the girls, and was pursued by the chosen boy ([fig. 4]). When all were thus paired, they formed into line, facing each other, and danced somewhat like the country dance of Sir Roger.

(c) Chambers’ Popular Rhymes, p. 36, gives a slightly different version of the verses, and says they were sung by children at their sports in Glasgow. Mactaggart alludes to this game as “‘Bumpkin Brawly,’ an old dance, the dance which always ends balls; the same with the ‘Cushion’ almost.”

Wha learned you to dance,
You to dance, you to dance,
Wha learned you to dance
A country bumpkin brawly?

My mither learned me when I was young,
When I was young, when I was young,
My mither learned me when I was young,
The country bumpkin brawly.

The tune of this song is always played to the dance, says Mactaggart, but he does not record the tune. To bab, in Lowland Scottish, is defined by Jamieson to mean “to play backward and forward loosely; to dance.” Hence he adds, “Bab at the bowster, or Bab wi’ the bowster, a very old Scottish dance, now almost out of use; formerly the last dance at weddings and merry-makings.” Mr. Ballantyne says that a bolster or pillow was at one time always used. One correspondent of N. and Q., ii. 518, says it is now (1850) danced with a handkerchief instead of a cushion as formerly, and no words are used, but later correspondents contradict this. See also N. and Q., iii. 282.

(d) Two important suggestions occur as to this game. First, that the dance was originally the indication at a marriage ceremony for the bride and bridegroom to retire with “the bowster” to the nuptial couch. Secondly, that it has degenerated in Southern Britain to the ordinary “[Drop Handkerchief]” games of [kiss in the ring]. The preservation of this “Bab at the Bowster” example gives the clue both to the origin of the present game in an obsolete marriage custom, and to the descent of the game to its latest form. See “[Cushion Dance].”

Bad

A rude kind of “Cricket,” played with a bat and a ball, usually with wall toppings for wickets. “Bad” seems to be the pronunciation or variation of “Bat.” Halliwell says it was a rude game, formerly common in Yorkshire, and probably resembling the game of “Cat.” There is such a game played now, but it is called “Pig.”—Easther’s Almondbury Glossary.

Baddin

The game of “[Hockey]” in Cheshire.—Holland’s Glossary.

Badger the Bear

A rough game, sometimes seen in the country. The boy who personates the Bear performs his part on his hands and knees, and is prevented from getting away by a string. It is the part of another boy, his Keeper, to defend him from the attacks of the others.—Halliwell’s Dictionary.

This is a boys’ game, and is called “Buffet the Bear.” It may be taken part in by any number. One boy—the Bear—goes down on all fours, and lowers his head towards his breast as much as possible. Into his hand is placed one end of a piece of cord, and another boy, called the Keeper, takes hold of the other end in one hand, while he has in the other his cap. The other boys stand round, some with their caps in hand, and others with their neckties or pocket-handkerchiefs, and on a given signal they rush on the Bear and pelt him, trying specially to buffet him about the ears and face, whilst the Keeper does his best to protect his charge. If he happens to strike a boy, that boy becomes the Bear, and the former Bear becomes the Keeper, and so on the game goes.—Keith, Banffshire (Rev. W. Gregor).

I saw this game played on Barnes Green, Surrey, on 25th August 1892. The boys, instead of using their hats, had pieces of leather tied to a string, with which they struck the Bear on the back. They could only begin when the Keeper cried, “My Bear is free.” If they struck at any other time, the striker became the Bear. It is called “Baste the Bear.”—A. B. Gomme.

Chambers (Popular Rhymes, p. 128) describes this game under the title of “The Craw.” It was played precisely in the same way as the Barnes game. The boy who holds the end of the long strap has also a hard twisted handkerchief, called the cout; with this cout he defends the Craw against the attacks of the other boys, who also have similar couts. Before beginning, the Guard of the Craw must call out—

Ane, twa, three, my Craw’s free.

The first one he strikes becomes the Craw. When the Guard wants a respite, he calls out—

Ane, twa, three, my Craw’s no free.

(b) Jamieson defines “Badger-reeshil” as a severe blow; borrowed, it is supposed, from the hunting of the badger, or from the old game of “Beating the Badger.”

Then but he ran wi’ hasty breishell,
And laid on Hab a badger-reishill.

—MS. Poem.

Mr. Emslie says he knows it under the name of “Baste the Bear” in London, and Patterson (Antrim and Down Glossary) mentions a game similarly named. It is played at Marlborough under the name of “Tom Tuff.”—H. S. May.

See “[Doncaster Cherries].”

Bag o’ Malt

A bag o’ malt, a bag o’ salt,
Ten tens a hundred.

—Northall’s English Folk Rhymes, p. 394.

Two children stand back to back, linked near the armpits, and weigh each other as they repeat these lines.

See “[Weigh the Butter].”

Ball

I.

Stottie ba’, hinnie ba, tell to me
How mony bairns am I to hae?
Ane to live, and ane to dee,
And ane to sit on the nurse’s knee!

—Chambers’ Pop. Rhymes of Scotland, p. 115.

II.

Toss-a-ball, toss-a-ball, tell me true,
How many years I’ve got to go through!

—Burne’s Shropshire Folk-lore, p. 530.

(b) Children throw a ball in the air, repeating the rhyme, and divine the length of their lives by the number of times they can catch it again. In some places this game is played with a cowslip ball, thence called a “tissy-ball.”

(c) I have heard other rhymes added to this, to determine whether the players shall marry or not, the future husband’s calling, dress to be worn, method of going to church, &c. (A. B. Gomme). Strutt describes a handball game played during the Easter holidays for Tansy cakes (Sports, p. 94). Halliwell gives rhymes for ball divination (Popular Rhymes, p. 298) to determine the number of years before marriage will arrive. Miss Baker (Northamptonshire Glossary) says, “The May garland is suspended by ropes from the school-house to an opposite tree, and the Mayers amuse themselves by throwing balls over it. A native of Fotheringay, Mr. C. W. Peach,” says Miss Baker, “has supplied me with the reminiscences of his own youth. He says the May garland was hung in the centre of the street, on a rope stretched from house to house. Then was made the trial of skill in tossing balls (small white leather ones) through the framework of the garland, to effect which was a triumph.”

See “[Cuck Ball],” “[Keppy Ball],” “[Monday].”

Ball and Bonnets

This is a boys’ game. The players may be of any number. They place their caps or bonnets in a row. One of the boys takes a ball, and from a fixed point, at a few yards’ distance from the bonnets, tries to throw it into one of the caps ([fig. 1]). If the ball falls into the cap, all the boys, except the one into whose cap the ball has fallen, run off. The boy into whose cap the ball has been thrown goes up to it, lifts the ball from it, and calls out “Stop!” The other boys stop. The boy with the ball tries to strike one of the other boys ([fig. 2]). If he does so, a small stone is put into the cap of the boy struck. If he misses, a stone is put into his own cap. If the boy who is to pitch the ball into the cap misses, a stone is put into his own cap, and he makes another trial. The game goes on till six stones are put into one cap. The boy in whose cap are the six stones has to place his hand against a wall, when he receives a certain number of blows with the ball thrown with force by one of the players. The blows go by the name of “buns.” The game may go on in the same way till each player gets his “buns.”—Nairn (Rev. W. Gregor).

See “[Hats in Holes].”

Ball in the Decker

A row of boys’ caps is set by a wall. One boy throws a ball into one of the caps. The owner of the cap runs away, and is chased by all the others till caught. He then throws the ball.—Dublin (Mrs. Lincoln).

Ball of Primrose

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We’ll wear yellow ribbons, yellow ribbons, yellow ribbons,
We’ll wear yellow ribbons at the Ball of Primrose;
We’ll all go a-waltzing, a-waltzing, a-waltzing,
We’ll all go a-waltzing at the Ball of Primrose.

—Epworth, Doncaster; and Lossiemouth, Yorkshire (Charles C. Bell).

(b) The children form a ring, joining hands, and dance round singing the two first lines. Then loosing hands, they waltz in couples, singing as a refrain the last line. The game is continued, different coloured ribbons being named each time.

(c) This game was played in 1869, so cannot have arisen from the political movement.

Baloon

A game played with an inflated ball of strong leather, the ball being struck by the arm, which was defended by a bracer of wood.—Brand’s Pop. Antiq., ii. 394.

(b) It is spelt “balloo” in Ben Jonson, iii. 216, and “baloome” in Randolph’s Poems, 1643, p. 105. It is also mentioned in Middleton’s Works, iv. 342, and by Donne.

“’Tis ten a clock and past; all whom the mues,
Baloun, tennis, diet, or the stews
Had all the morning held.”

—Donne’s Poems, p. 133.

Toone (Etymological Dict.) says it is a game rather for exercise than contention; it was well known and practised in England in the fourteenth century, and is mentioned as one of the sports of Prince Henry, son of James I., in 1610. Strutt (Sports and Pastimes, p. 96) gives two illustrations of what he considers to be baloon ball play, from fourteenth century MSS.

Bandy-ball

A game played with sticks called “bandies,” bent and round at one end, and a small wooden ball, which each party endeavours to drive to opposite fixed points. Northbrooke in 1577 mentions it as a favourite game in Devonshire (Halliwell’s Dict. of Provincialisms). Strutt says the bat-stick was called a “bandy” on account of its being bent, and gives a drawing from a fourteenth century MS. book of prayers belonging to Mr. Francis Douce (Sports, p. 102). The bats in this drawing are nearly identical with modern golf-sticks, and “Golf” seems to be derived from this game. Peacock mentions it in his Glossary of Manley and Corringham Words. Forby has an interesting note in his Vocabulary of East Anglia, i. 14. He says, “The bandy was made of very tough wood, or shod with metal, or with the point of the horn or the hoof of some animal. The ball is a knob or gnarl from the trunk of a tree, carefully formed into a globular shape. The adverse parties strive to beat it with their bandies through one or other of the goals.”

Bandy Cad or Gad

A game played with a nurr and crooked stick, also called “[Shinty],” and much the same as the “[Hockey]” of the South of England. “Cad” is the same as “cat” in the game of “[Tip-cat];” it simply means a cut piece of wood.—Nodal and Milner’s Lancashire Glossary.

Bandy-hoshoe

A game at ball common in Norfolk, and played in a similar manner to “[Bandy]” (Halliwell’s Dictionary). Toone (Etymological Dictionary) says it is also played in Suffolk, and in West Sussex is called “[Hawky].”

Bandy-wicket

The game of “[Cricket],” played with a bandy instead of a bat (Halliwell’s Dictionary). Toone mentions it as played in Norfolk (Dict.), and Moor as played in Suffolk with bricks usually, or, in their absence, with bats in place of bails or stumps (Suffolk Words).

Banger

Each boy provides himself with a button. One of the boys lays his button on the ground, near a wall. The other boys snap their buttons in turn against the wall. If the button drops within one span or hand-reach of the button laid down, it counts two ([fig. 2]); if within two spans, it counts one. When it hits the button and bounces within one span, it counts four ([fig. 1]); within two spans, three; and above three spans, one. Each player snaps in turn for an agreed number; the first to score this number wins the game.—Deptford, Kent, and generally in London streets (Miss Chase).

This game is known in America as “Spans.”—Newell, p. 188.

Bar

To play at “Bar,” a species of game anciently used in Scotland.—Jamieson.

This game had in ancient times in England been simply denominated “Bars,” or, as in an Act of James IV., 1491, edit. 1814, p. 227: “That na induellare within burgh . . . play at bar,” “playing at Bars.”

See “[Prisoner’s Base].”

Barbarie, King of the

I.

O will you surrender, O will you surrender
To the King of the Barbarie?

We won’t surrender, we won’t surrender
To the King of the Barbarie.

I’ll go and complaint, I’ll go and complaint
To the King of the Barbarie.

You can go and complaint, you can go and complaint
To the King of the Barbarie.

Good morning, young Prince, good morning, young Prince,
I have a complaint for you.

What is your complaint?
What is your complaint?

They won’t surrender, they won’t surrender
To the King of the Barbarie.

Take one of my brave soldiers,
Take one of my brave soldiers.

—Deptford, Kent (Miss Chase).

II.

Will you surrender, will you surrender
To the King of the Barbarines?

We won’t surrender, we won’t surrender
To the King of the Barbarines.

We’ll make you surrender, we’ll make you surrender
To the King of the Barbarines.

You can’t make us surrender, you can’t make us surrender
To the King of the Barbarines.

We’ll go to the King, we’ll go to the King,
To the King of the Barbarines.

You can go to the King, you can go to the King,
To the King of the Barbarines.

—Clapham, Surrey (Miss F. D. Richardson).

III.

Will you surrender, will you surrender
The Tower of Barbaree?

We won’t surrender, we won’t surrender
The Tower of Barbaree.

We will go and tell the Queen,
Go and tell the Queen of Barbaree.

Don’t care for the Queen, don’t care for the Queen,
The Queen of Barbaree.

Good morning, young Queen, good morning, young Queen,
I have a complaint to thee.

Pray what is your complaint to me?

They won’t surrender, they won’t surrender
The Tower of Barbaree.

Take one of my brave soldiers.

—Lady Camilla Gurdon’s Suffolk County Folk-lore, p. 63.

IV.

You must surrend’ me, you must surrend’ me
To the Queen of Barbaloo.

No, we’ll not surrend’ you, no, we’ll not surrend’ you
To the Queen of Barbaloo.

We’ll complain, we’ll complain, &c.
[To the Queen of Barbaloo.]

You can complain, you can complain, &c.
[To the Queen of Barbaloo.]

—Penzance (Mrs. Mabbott).

(b) Two children stand together joining hands tightly, to personate a fortress; one child stands at a distance from these to personate the King of Barbarie, with other children standing behind to personate the soldiers ([fig. 1]). Some of the soldiers go to the fortress and surround it, singing the first verse ([fig. 2]). The children in the fortress reply, the four first verses being thus sung alternately. The soldiers then go to the King singing the fifth verse ([fig. 3]), the remaining verses being thus sung alternately. One of the soldiers then goes to the fortress and endeavours by throwing herself on the clasped hands of the children forming the fortress to break down the guard ([fig. 4]). All the soldiers try to do this, one after the other; finally the King comes, who breaks down the guard. The whole troop of soldiers then burst through the parted arms ([fig. 5]).

This is the [Deptford version]. The Clapham version is almost identical; the children take hold of each others’ skirts and make a long line. If the brave soldier is not able to break the clasped hands he goes to the end of the line of soldiers. The soldiers do not surround the fortress. In the [Suffolk version] the soldiers try to break through the girls’ hands. If they do they have the tower. The [Cornwall version] is not so completely an illustration of the capture of a fortress.

Barley-break

Barley-break, or the Last Couple in Hell, was a game played by six people, three of each sex, who were coupled by lot. A piece of ground was then chosen, and divided into three compartments, of which the middle one was called Hell. It was the object of the couple condemned to this division to catch the others who advanced from the two extremities ([figs. 1], [2]), in which case a change of situation took place, and Hell was filled by the couple who were excluded by pre-occupation from the other place ([fig. 3]). In this catching, however, there was some difficulty, as by the regulations of the game the middle couple were not to separate before they had succeeded, while the others might break hands whenever they found themselves hard pressed. When all had been taken in turn, the last couple was said to be “in Hell,” and the game ended.—Dekker’s Works, iv. 434.

Jamieson calls this “a game generally played by young people in a corn-yard. Hence called barla-bracks about the stacks, S. B.” (i. e., in the North of Scotland). “One stack is fixed on as the dule or goal; and one person is appointed to catch the rest of the company, who run out from the dule. He does not leave it till they are all out of sight. Then he sets off to catch them. Any one who is taken cannot run out again with his former associates, being accounted a prisoner; but is obliged to assist his captor in pursuing the rest. When all are taken the game is finished; and he who was first taken is bound to act as catcher in the next game. This innocent sport seems to be almost entirely forgotten in the South of Scotland. It is also falling into desuetude in the North.”

(b) The following description of Barley-break, written by Sir Philip Sidney, is taken from the song of Lamon, in the first volume of the Arcadia, where he relates the passion of Claius and Strephon for the beautiful Urania:—

She went abroad, thereby,
At barley-brake her sweet, swift foot to try. . . .
Afield they go, where many lookers be.

Then couples three be straight allotted there,
They of both ends, the middle two, do fly;
The two that in mid-place Hell called were
Must strive, with waiting foot and watching eye,
To catch of them, and them to hell to bear,
That they, as well as they, may hell supply;
Like some that seek to salve their blotted name
Will others blot, till all do taste of shame.

There may you see, soon as the middle two
Do, coupled, towards either couple make,
They, false and fearful, do their hands undo;
Brother his brother, friend doth friend forsake,
Heeding himself, cares not how fellow do,
But of a stranger mutual help doth take;
As perjured cowards in adversity,
With sight of fear, from friends to friends do fly.

Sir John Suckling also has given a description of this pastime with allegorical personages, which is quoted by Brand. In Holiday’s play of the Marriages of the Arts, 1618, this sport is introduced, and also by Herrick (Hesperides, p. 44). Barley-break is several times alluded to in Massinger’s plays: see the Dramatic Works of Philip Massinger, 1779, i. 167. “We’ll run at barley-break first, and you shall be in hell” (Dekker’s The Honest Whore). “Hee’s at barli-break, and the last couple are now in hell” (Dekker’s The Virgin Martir). See Gifford’s Massinger, i. 104, edit. 1813. See also Browne’s Britannia’s Pastorals, published in 1614, Book I., Song 3, p. 76.

Randle Holme mentions this game as prevailing in his day in Lancashire. Harland and Wilkinson believe this game to have left its traces in Yorkshire and Lancashire. A couple link hands and sally forth from home, shouting something like

Aggery, ag, ag,
Ag’s gi’en warning,

and trying to tick or touch with the free hand any of the boys running about separately. These latter try to slip behind the couple and throw their weight on the joined hands to separate them without being first touched or ticked; and if they sunder the couple, each of the severed ones has to carry one home on his back. Whoever is touched takes the place of the toucher in the linked couple (Legends of Lancashire, p. 138). The modern name of this game is “Prison Bars” (Ibid., p. 141). There is also a description of the game in a little tract called Barley Breake; or, A Warning for Wantons, 1607. It is mentioned in Wilbraham’s Cheshire Glossary as “an old Cheshire game.” Barnes, in his Dorsetshire Glossary, says he has seen it played with one catcher on hands and knees in the small ring (Hell), and the others dancing round the ring crying “Burn the wold witch, you barley breech.” Holland (Cheshire Glossary) also mentions it as an old Cheshire game.

See “[Boggle about the Stacks],” “[Scots and English].”

Barnes (Mr.)

Mr. Barnes is dead and gone,
And left his widder,
Three poor children in her arms;
What will you give her?

Where did you come from?

—Played about 1850 at Hurstmonceux, Sussex (Miss Chase).

This is probably a forfeit game, imperfectly remembered. See “[Old Soldier].”

Base-ball

An undescribed Suffolk game.—Moor’s Suffolk Words. See “[Rounders].”

Basket

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