Comparative Studies in Nursery Rhymes
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The tasks that are here imposed on the man are set also in the form of a boast in a nursery song, in which they have so entirely lost their meaning as to represent a string of impossibilities.
My father left me three acres of land,Sing sing, sing sing,My father left me three acres of land,Sing holly, go whistle and sing.I ploughed it with a ram's horn,And sowed it with one pepper corn.I harrowed it with a bramble bush,And reaped it with a little pen knife.I got the mice to carry it to the mill,And thrashed it with a goose's quill.I got the cat to carry it to the mill,The miller swore he would have her paw,And the cat she swore she would scratch his face.(N. & Q., VII. 8.)Another nursery piece is recorded by Halliwell which, in simple form relates concerning Billy my son the sequence of events which underlies the famous romantic ballad of Lord Randal.27 The story is current also in Scotland relating to The Croodin Doo (1870, p. 51); it was told also some eighty years ago in Lincolnshire, of King Henry my son (N. & Q., 8, VI, 427). The romantic ballad in five verses, as told of Lairde Rowlande, relates how he came from the woods weary with hunting and expecting death. He had been at his true love's, where he ate of the food which poisoned his warden and his dogs. In the nursery version the tragedy is told in the following simple form: —
Where have you been to-day, Billy my son?Where have you been to-day, my only man? —I've been a wooing, mother; make my bed soon,For I'm sick at heart, and fain would lie down.What have you ate to-day, Billy my son?What have you ate to-day, my only man? —I've eat eel pie, mother; make my bed soon,For I am sick at heart, and shall die before noon.(1849, p. 259.)Other nursery pieces deal with Tommy Linn, the Tam Linn of romance, who is the hero of many famous romantic ballads. The name of Tam Linn goes some way back in history. For the Tayl of young Tamlene, according to Vedderburn's Complaint of Scotland, of 1549, was told among a company of shepherds, and the name appears also as that of a dance, A Ballett of Thomalyn, as far back as 1558.28
According to the romantic ballads, Tam Linn fell under the influence of the fairies through sleeping under an apple tree, and they threatened to take him back as their own on Hallowe'en, when they rode abroad once in seven years and had the right to claim their due. Tam Linn told the woman who loved him that she must hold him fast, whatever shape he assumed owing to the enchantment of the witches, and that she must cast him into water as soon as he assumed the shape of a gled. He would then be restored to human form.
Tam Linn of romance figures in nursery lore as Tommy Linn. His exploits were printed by Halliwell in one of the numerous versions that are current in the north. In these pieces Tommy Linn has only this in common with Tam Linn of romance, that he too is ready with a suggestion whatever mishap befalls.
Tommy Linn is a Scotchman born,His head is bald and his beard is shorn;He has a cap made of a hare skin,An alderman is Tommy Linn.Tommy Linn has no boots to put on,But two calves' skins and the hair it was on.They are open at the side and the water goes in,Unwholesome boots, says Tommy Linn.Tommy Linn had no bridle to put on,But two mouse's tails that he put on.Tommy Linn had no saddle to put on,But two urchins' skins and them he put on.Tommy Linn's daughter sat on the stair,O dear father, gin I be not fair?The stairs they broke and she fell in,You're fair enough now, says Tommy Linn.Tommy Linn had no watch to put on,So he scooped out a turnip to make himself one;He caught a cricket and put it within,It's my own ticker, says Tommy Linn.Tommy Linn, his wife, and wife's mother,They all fell into the fire together;Oh, said the topmost, I've got a hot skin,It's hotter below, says Tommy Linn.(1849, p. 271.)Several short nursery rhymes are taken from this, or other versions of this poem. Among the pieces printed by Chambers we read —
Tam o' the Lin and his bairns,Fell i' the fire in others' arms!Oh, quo' the bunemost, I ha'e a hot skin!!It's hotter below, quo' Tam o' the Lin!!!(1870, p. 33.)Sir Walter Scott in Redgauntlet cites a catch on Sir Thom o' Lyne.
In some nursery collections the adventures of Tommy Lin, the Scotchman, are appropriated to Bryan O'Lin, the Irishman.
Bryan O'Lin had no watch to put on,So he scooped out a turnip to make himself one:He caught a cricket and put it within,And called it a ticker, did Bryan O'Lin.Bryan O'Lin had no breeches to wear,So he got a sheepskin to make him a pair:With the skinny side out and the woolly side in,Oh! how nice and warm, cried Bryan O'Lin.(1842, p. 212.)Many nursery rhymes which dwell on cats are formed on the model of these verses. A rhyme that comes from America is as follows: —
Kit and Kitterit and Kitterit's mother,All went over the bridge together.The bridge broke down, they all fell in,"Good luck to you," says Tom Bolin.A modern collection of rhymes (1873, p. 136) gives this as follows: —
The two grey cats and the grey kits' mother,All went over the bridge together;The bridge broke down, they all fell in,May the rats go with you, sings Tom Bowlin.The association of cats with Tommy Linn reappears in the rhyme in which Tommy, who in the romantic ballad begged immersion for himself, practised immersion on a cat. Perhaps the cat was figured as a witch, who, being suspected, was cast into the water in order to prove her witchcraft.
Ding dong bell, poor pussy has fall'n i' th' well,Who threw her in? Little Tom O' Linne,What a naughty boy was thatTo drown poor pussy cat,That never did any harm,But catch'd a mouse i' th' barn.(1797, cited by Rimbault.)Other variations of this rhyme mention Johnny Green (c. 1783, p. 23) and Tommy Quin (Rusher), which, considering the relative antiquity of Tommy Linn, are obvious degradations of this name.
The rhyme in some collections is quoted in an enlarged form: —
Who put her in? Little Tommy Lin,Who pulled her out? Little Tommy [or Dickey] Stout.I have heard also: —
Who put her in? Little Tommy Thin.Who pulled her out? Little Tommy Stout.Stout is perhaps a traditional name. For it occurs in the nursery piece on the old woman who went to sleep out of doors and forgot her identity. I know no earlier version of this piece in English than the one recorded by Rimbault which begins:
There was a little woman as I've heard tell,Who went to market her eggs for to sell.It further relates how she went to sleep out of doors, how the man Stout "cut her petticoats round about," and how on waking she did not know herself, and decided to go home and find out if her dog knew her (1864, p. 6). But the story is an old one, for we come across it in Grimm's Fairy Tales, where it forms a sequel to "Kluge Else," (No. 35). In this the part of Stout is taken by the woman's husband, who hung her skirt about with bells, and it is further stated that the woman fell asleep when she was cutting corn. The same story in a more interesting form was recovered in Norway. Here we read that the woman fell asleep while she was cutting hemp, which explains why her mind failed her. For hemp newly cut has strongly narcotic properties. It was probably the herb which the witches smoked in their diminutive clay-pipes in pre-Christian times. Presumably on account of these narcotic properties sowing and cutting of hemp were associated all over Europe with peculiar dances, such as Enfille aiguille, our Thread-the-Needle. Its connection with heathen rites of divination is suggested by the well-known rhyme: —
Hemp-seed I set, hemp-seed I sow,The young man whom I love,Come after me and mow.(1890, p. 414.)In this form the rhyme is also cited in Mother Bunch's Closet newly broke open, as a charm to secure the vision of one's future husband.
CHAPTER VI
RHYMES AND COUNTRY DANCES
MANY true nursery rhymes go back to traditional dancing and singing games which are now relegated to the playground, but which were danced by rustics within the memory of man, and which are heirs to the choral dances of our heathen forefathers. For dancing in its origin was no idle and unmeaning pastime. Dances were undertaken for serious purposes, such as warding off evil and promoting agricultural growth, conceptions which hang closely together. These dances formed part of festivities that took place at certain times of the year. They were accompanied by expressive words, and by actions which were suited to the words, and which gave the dance a dramatic character. Our carol is related to the caraula that was prohibited among heathen customs by Bishop Eligius of Noyon (d. 659), in the north of France in the seventh century, and has the same origin as the Choreia of the Greeks, the reihe or reigen of Germany, the karol of Brittany, and the caraula of eastern Switzerland. In course of time the religious significance of the choral dance was lost and its practice survived as a sport. At a later stage still, it became a pastime of children and a diversion of the ballroom.
Among the dances that can be traced back through several stages, is the one which in its latest survival is known as the Cotillon. This is mentioned in England as far back as the year 1766. Burns in Tam o' Shanter speaks of it as "brand new from France." The peculiar features of the Cotillon as it is danced nowadays, include free choice of partners, the women being at liberty in one figure to choose the men, the drawing into the dance of the assembled company, and the presence of a cushion which is put to a variety of uses. The Cotillon usually concludes the ball.
In an earlier form the Cotillon is represented by the dance which was known in the seventeenth century as Joan Saunderson or the Cushion Dance. The way of dancing Joan Saunderson is described in The Dauncing Master, a collection of dances with tunes for young people, published by H. Playford. Of this the first volume was issued in 1650, which was enlarged in subsequent editions, when further volumes were added. The Dauncing Master of Playford shows how traditional country dances were appropriated to the ballroom, for many of these dance tunes, such as Mulberry Bush, and Green Sleeves, correspond with the names of traditional dancing and singing games.
In Joan Saunderson or the Cushion Dance as described by Playford,29 a cushion and a drinking-horn were brought in by two dancers to the sound of a fiddle. The cushion-bearer locked the door and pocketed the key, and danced round the room alone. Then he exchanged words with the fiddler as to the need of finding a maid and pressing her into the dance. The name Joan Saunderson being proposed, the cushion-bearer placed the cushion before the woman of his choice, and knelt upon it. She did the same, and drank from the horn. They kissed and danced together. The same ceremony was then gone through by the girl, who, when the name John Saunderson was proposed, approached the man of her choice bearing the cushion, the first dancer accompanying her. The ceremony was repeated again and again, alternately by man and woman, and as each dancer chose a partner, the number of those following the cushion-bearer increased. Finally the whole assembled company were drawn into the ring.
A scene in Joan Saunderson is said to be represented in a Dutch engraving of the year 1624 (1876, p. 254). Joan Saunderson is still danced in different parts of the country under the same or some similar name. In Derbyshire it is known as the Cushion Dance, and those who are drawn into the ring are addressed as John Sanders and Jane Sanders. In the Lowlands the dance is known as Babbity Bowster, bowster standing for bolster; in the north it is the Whishin Dance, whishin standing for cushion (1894, I, pp. 9, 87). The Cushion Dance was the last dance that was danced at a wedding,30 and at Northampton it came at the conclusion of the May-Day festival (1876, p. 253).
In the Cotillon of the ballroom, the ring finally breaks up and the company dances in couples; the Cushion Dance leads up to the withdrawal of the married pair, and concludes with a romp. A later edition of The Dauncing Master (1698, p. 7), perhaps with a view to forestalling this, adds a sequel to the dance, according to which the game, after it had been wound, was unwound, that is, each dancer in turn bade farewell to his partner, and after doing so left the room.
The points of likeness between the Cotillon and the Cushion Dance are such as to favour the belief that they are connected. The free choice of partners, the presence of the cushion, the drawing in of the whole assembled company, and the fact that the dance terminates the ball, are peculiar to them both. The Cushion Dance being the older sport, preserves the association with weddings and with the May-Day festival, which at one time was the occasion for mating and marriage.
The associations with mating and marriage are preserved also in a traditional game that is still played throughout the greater part of England, which is generally known as Sally Waters. The verses recited in playing it render it probable that the Cushion Dance is a later development of the game known as Sally Waters.
In playing Sally Waters the players stand in a ring, a boy and a girl alternately choose a partner and seal the bond by joining hands, or by kneeling, or by a kiss. The verses recited in playing the game were first recorded by Halliwell (1849, p. 133). Forty-nine further variations, used in different parts of the kingdom in playing the game, have been printed by Mrs. Gomme, who classed this among marriage games, (1894, II, 461). In the book of Playford the Cushion Dance is called also Joan Saunderson, and those who are pressed into the dance are designated as Joan Saunderson and John Saunderson, or as Jane Sanders and John Sanders. In playing the game of Sally Waters similar names are used. Thus the children in Penzance stand in a ring and sing the following verse: —
Little Sally Sander sitting in the Sander,Weeping and crying for her young man.(1894, No. 26.)In playing the game in Liverpool they begin: —
Little Polly Sanders sits on the sand, etc.(Ibid., No. 42.)The verses used in Yorkshire begin: —
Little Alice Sander sat upon a cinder, etc.(Ibid., No. 31.)These names Sally Sander, Polly Sanders, etc., must be derived from the same source as Saunderson and Sanders of the Cushion Dance. A host of other rhymes current in the nursery deal with the same theme, and are formed on the same model. There is one step only from little Sally Sander of Penzance, little Polly Sanders of Liverpool, and little Alice Sander who sat upon a cinder, to the following rhymes which are included in different nursery collections. All these rhymes describe a person sitting and waiting, and most of them dwell on the idea of a seat or a cushion, while the allusion to matters matrimonial, being unsuitable to children, is altogether dropped.
Little Polly Flinders sat among the cinders,Warming her pretty toes;Her mother came and caught her, and scolded her little daughter,For spoiling her nice new clothes.(1846, p. 212.)Little Miss Muffet sat on a tuffet,Eating of curds and whey,There came a great spider and sat down beside herAnd frightened Miss Muffet away.31Little Mary Ester sat upon a testerEating of curds and whey;There came a little spider and sat down beside her,And frightened Mary Ester away.(1842, p. 61.)Tuffet and tester are words for a footstool.
Little Miss Mopsey sat in the shopsey,Eating of curds and whey;There came a great spider who sat down beside herAnd frightened Miss Mopsey away.(1842, p. 37.)Little Tom Tacket sits upon his cracket,Half a yard of cloth will make him a jacket,Make him a jacket and breeches to the knee,And if you will not have him, you may let him be.(1842, p. 199.)Little Tom Tucker sings for his supper,What shall he eat, but white bread and butter;How will he cut it, without e're a knifeAnd how will he be married without e're a wife.(1744, p. 10; c. 1783, p. 56.)Little Jack Horner sat in the corner,Eating a [of] Christmas pie;He put in his thumb, and he took [pulled] out a plum,And said [cried] "What a good boy am I!"Chorus: And what a good boy am I!(c. 1783, p. 55.)These verses as they here stand arranged, show an increasing deviation from the words used in playing the game of Sally Waters.
Tom Tucker and Jack Horner are names that go some way back in history. For Brand states that at the revels kept at St. John's College, 1 November, 1607, a Christmas Lord of the Revels was chosen as Thomas Tucker.32 A dance tune of the Dauncing Master was called Tom Tucker also.33
The name of Jacky Horner was familiar to Carey about the year 1720, as mentioned above. Little Jack Horner was a well-known tune, and there is a direction in the Grub Street opera that the chorus shall be sung to this melody.34 A chapbook of the latter half of the eighteenth century bears the title, The Pleasant History of Jack Horner, containing his Witty Tricks, etc. It cites the familiar rhyme, and further describes the pranks that the hero played upon women. This association and the name recall the expressions hornified, that is a cuckold;35 horning, a mock serenade "without which no wedding would be complete"; and Horn Fair, a time of unusual licence, kept up in Kent: "all was fair at Horn Fair" (1876, p. 387).
CHAPTER VII
THE GAME OF SALLY WATERS
THE game of Sally Waters calls for further comment. In this game, as already mentioned, the players stand in a circle, boy and girl alternately choose a partner, while the friends stand around and chant the verses. In these lies the interest of the game. For these words in the fifty variations collected by Mrs. Gomme, all give expression to the same sequence of ideas. There is the call to Sally to go through the ceremony of sprinkling the pan or watering the can. This is followed by a chorus that urges that a choice be made. When this is made and sealed by joining hands, or by kneeling, or by a kiss, the chorus utters wishes for a prosperous union. Similar traits appear in the games known as Pretty Little Girl of Mine, The Lady of the Mountain, and Kiss in the Ring, which, in a less pronounced form, give expression to the same ideas.
The verses used in playing Sally Waters in Dorsetshire are among the most meaningful, and stand as follows: —
Sally, Sally Waters, sprinkle in the pan,Rise, Sally; rise, Sally, and choose a young man;Choose [or bow] to the east, choose [or bow] to the west[Or choose for the best one, choose for the worst one],Choose the pretty girl [or young man] that you love best.And now you're married, I wish you joy,First a girl and then a boy;Seven years after son and daughter,And now young people, jump over the water.(1894, Nr. 1.)These verses and the fact that Sally Waters is related to the Cushion Dance that is danced at weddings, render it probable that Sally Waters originated in a marriage celebration of heathen times. The formula in the Dorsetshire version of the game concludes with a direction to the young couple to "jump over the water." In the Somersetshire version the direction is "kiss each other and come out of the water" (1894, No. 3); in the Shropshire variation, "kiss and shake hands and come out" (1894, No. 14); in the London variation, "kiss before you go out of the water." (Appendix.)
Dipping was an accepted ceremonial during heathen times, which recovered or revealed a person's true identity as in the case of Tam Linn, or of the suspected witch who was thrown into the water. Dipping constituted part of definite celebrations. For the ceremonial of "dipping" formed part of the May-Day festival as it was kept in Northampton, while in Cornwall the saying is current: "The first of May is dipping day" (1876, p. 235). May-Day was a great day for contracting matrimonial alliances in the heathen past, and is at present avoided because of its riotous associations.
Judging from the verses used in playing Sally Waters, the union between the parties was contracted conditionally for seven years only. Seven years are definitely mentioned in sixteen out of fifty variations of the game. The same period is mentioned also in fourteen out of the twenty-five variations of the verses used in playing Pretty Little Girl of Mine, and in three out of seven variations of the verses used in playing The Lady on the Mountain.
Mrs. Gomme, in discussing the game of Sally Waters, cites various expressions which show that the marriage vow is still popularly looked upon as binding for a certain period only, sometimes for seven years (1894, II, 177). I find this corroborated by remarks I have gleaned from country-folk. Thus a woman whose husband had gone from her, after seven years felt justified in looking upon him as dead, and had the bell tolled for his funeral.
Time-reckoning by seven years goes far back in history, and is still the rule in many legal arrangements. Seven years of plenty succeeded seven years of famine in Egypt. Once in seven years the fairies rode out to claim their due. Some festivities happened only once in seven years. The curious custom of bumping, that is, of two persons taking up by the arms any persons whom they met, and swinging them to and fro, was observed on Ganging Day (29 September) once in seven years at Bishop's Stortford (1876, p. 380). At Bradford also a septennial festival was kept in honour of Jason and the Golden Fleece and St. Blaize on 3 February (1876, p. 60). Similarly a dance known as the Metzgersprung was danced at Munich once in seven years to keep off the plague (Bo., p. 44).
The mention of seven years in the marriage game may indicate that the marriage was broken off after seven years if the stipulated conditions failed to be fulfilled. These conditions were that the children born of the union should include one of either sex. Mrs. Gomme, in connection with this stipulation, remarks that a marriage is still popularly reckoned incomplete from which there is not male and female offspring. She also points out that the expression "choose for the best, choose for the worst" of the marriage game, is related to the words "for better, for worse" of the vernacular portion of the English marriage service. The expressions "worst and best," or "wisest and best," occur in thirteen out of the fifty versions of words; instead of these, "choose east and choose west" occur in twenty-two out of the fifty versions (1894, II, 168). It is difficult to decide which is the more primitive form of the verse; I fancy the latter.
The ceremony of choosing was led up to by sprinkling the pan, which is mentioned in twenty-one out of fifty variations of the game; watering the can stands in twelve others. The pan was specially associated with women as housekeepers, and, together with the cradle, is mentioned as one of the first essentials in setting up house in the game of Wallflowers.36
Judging from the game of Sally Waters as played in Bucks, a "mother" actually presided at the game, who directed her daughters to sprinkle the pan, and their being included among those from whom a choice was made, depended on their successfully doing so. To the words of the game as played in Bucks, I have added in brackets an indication how the words were probably distributed: —
(Half chorus): Sally, Sally Walker, sprinkled in the pan.
(Other half): What did she sprinkle for?
(Answer): For a young man.
(Mother): Sprinkle, sprinkle daughter, and you shall have a cow.
(Daughter): I cannot sprinkle, mother, because I don't know how.
(Mother): Sprinkle, daughter, sprinkle, and you shall have a man.
(Daughter): I cannot sprinkle, mother, but I'll do the best I can.
(Chorus): Pick and choose, but don't you pick me,Pick the fairest you can see.
(Man): The fairest that I can see is… Come to me!
(1894, No. 23.)This is followed by the usual marriage formula.
A similar dialogue is included amongst the Nursery Rhymes of Halliwell, in which the daughter is directed to whistle, a word which formerly conveyed the idea of uttering imprecations in a low voice, and which was condemned in a woman since it marked her out for a witch. The verse stands as follows: —