DID YOU EVER SEE A LASSIE?

10 to 60 or more players.

Playground; gymnasium.

This is a game for very little children, and with a little suggestion as to the exercises or movements to be illustrated by the “lassie,” may be the source of some very good exercise as well as a pleasing game.

All of the players but one form a circle, clasping hands. They circle around, singing the first two lines of the verse. While they are doing this, the odd player stands in the center and illustrates some movement which he chooses for the others to imitate. During the last two lines of the verse the players stand in place, drop hands, and imitate the movements of the center player, which he continues in unison with them.

Did you ever see a lassie, a lassie, a lassie,
Did you ever see a lassie do this way and that?
Do this way and that way, and this way and that way;
Did you ever see a lassie do this way and that?

When a boy is in the center, the word “lassie” should be changed to “laddie.”

The player may imitate any activity, such as mowing grass, raking hay, prancing like a horse, or turning a hand organ; may use dancing steps or movements such as bowing, courtesying, skipping, whirling in dance steps with the hands over the head, etc.; or may take any gymnastic movements, such as hopping, jumping, arm, head, trunk, or leg exercises, etc.

DRAW A BUCKET OF WATER

4 to 60 or more players.

Indoors; out of doors.

This game is played in groups of four, generally by girls. Two players face each other, clasping hands at full arm’s length. The other two face each other in the same way, with their arms crossing those of the first couple at right angles. Bracing the feet, the couples sway backward and forward, singing the following rhyme: ;

Draw a bucket of water,
For my lady’s daughter.
One in a rush,
Two in a rush,
Please little girl, bob under the bush.

As the last line is said, the players all raise their arms without unclasping the hands and place them around their companions, who stoop to step inside. They will then be standing in a circle with arms around each other’s waists. The game finishes by dancing in this position around in a ring, repeating the verse once more.

The illustration shows in the left-hand group the pulling backward and forward; in the rear (center) group the lifting of hands and stooping under; and in the right-hand group the position for dancing around while repeating the verse.

I saw a ship a-sailing, a-sailing on the sea;
And oh, it was laden with pretty things for me.
There were comfits in the cabin, and apples in the hold;
The sails were made of silk, and the masts were made of gold.

Four and twenty sailors that sat upon the deck
Were four and twenty white mice with chains about their necks.
The captain was a duck with a packet on his back,
And when the ship began to move the captain cried quack! quack!

The players hold hands and circle rapidly while singing. After the last verse one of the players breaks the circle and with his next neighbor raises his hand high to form an arch, calling “Bid, bid, bid!” which is the call for ducks. The player on the opposite side of the break in the circle proceeds to pass under this arch, the entire circle following, all holding hands and answering “Quack! quack! quack!”

When all have passed through, the two players at the opposite end of the line raise their hands and cry, “Bid, bid, bid!” while the two who first made the arch pass through, drawing the line after them, and calling “Quack! quack! quack!” This passing of the ducks under the gateway is continued during one or two repetitions of the music. The players should repeat “Bid, bid, bid!” and “Quack, quack, quack!” in rhythm during all of this latter part of the play.

FARMER IN THE DELL

10 to 30 or more players.

Indoors; out of doors.

The farmer in the dell,
The farmer in the dell,
Heigh-o! the cherry-oh!
The farmer in the dell.

The farmer takes a wife,
The farmer takes a wife,
Heigh-o! the cherry-oh!
The farmer takes a wife.

The wife takes a child,
The wife takes a child,
Heigh-o! the cherry-oh,
The wife takes a child.

The succeeding verses vary only in the choice in each, and follow in this order: ;

The child takes a nurse, etc.
The nurse takes a cat, etc.
The cat takes a rat, etc.,
The rat takes the cheese, etc.

The players stand in a circle with one of their number in the center, who represents the farmer in the dell. At the singing of the second verse, where the farmer takes a wife, the center player beckons to another, who goes in and stands by her. The circle keeps moving while each verse is sung, and each time the player last called in beckons to another; that is, the wife beckons one into the circle as the child, the child beckons one for the nurse, etc., until six are standing in the circle. But when the lines, “The rat takes the cheese,” are sung, the players inside the circle and those forming it jump up and down and clap their hands in a grand confusion, and the game breaks up.

HUNTING

10 to 60 or more players.

Indoors; out of doors.

This game is especially enjoyed by little boys, for whom there
is a comparatively small number of appropriate singing games.

The players all stand in two lines facing each other. They clap their hands in time with the song, and sing the first verse: ;

Oh, have you seen the Shah?
Oh, have you seen the Shah?
He lights his pipe on a starlight night.
Oh, have you seen the Shah?

For a-hunting we will go,
A-hunting we will go.
We’ll catch a fox and put him in a box.
A-hunting we will go.

While the last verse is being sung, the two players at the top of the lines run forward, join hands, and run down between the lines to the foot, turn around, join the other hands, and return between the lines. When they have reached the head again, they unclasp hands and run down the outside of the lines, each on his own side, and take their places at the foot of the lines. By this time the verse should be finished, and it is then sung again, the two players who are now standing at the head running down through the middle, etc. This is repeated until all the players have run, when the two lines join hands in a ring and all dance around, repeating the verse for the last time.

For a large number of players several may run instead of two. The first two then represent foxes, the next four, prancing or galloping horses (all in time to the music), and four others for riders or hunters.

ITISKIT, ITASKET

10 to 30 or more players.

Indoors; out of doors.

This is a form of Drop the Handkerchief, differing somewhat in play, and also in that a verse is sung with the game.

All of the players but one stand in a circle with clasped hands; the odd player, carrying a handkerchief, runs around on the outside of the circle, singing the following verse: ;

Itiskit, Itasket,
A green and yellow basket;
I wrote a letter to my love
And on the way I dropped it.
Some one of you has picked it up
And put it in your pocket;
It isn’t you ;it isn’t you ;

This last phrase is repeated until the player reaches one behind whom he wishes to drop the handkerchief, when he says, “It is you!” and immediately starts on a quick run around the circle.

The one behind whom the handkerchief was dropped picks it up and at once starts around the circle in the opposite direction, the object being to see which of the two shall first reach the vacant place. The one who is left out takes the handkerchief for the next round.

Should a circle player fail to discover that the handkerchief has been dropped behind him until the one who has dropped it has walked or run entirely around the circle, he must yield his place in the circle to the handkerchief man, changing places with him.

KEEP MOVING

5 to 60 players.

Indoors; out of doors; schoolroom.

One player is chosen as leader. He repeats or sings the following formula, at the same time going through the motions indicated. The other players must repeat the formula and the motions with him. They may be either seated or standing. The rhythm should be very rapid: ;

One finger one thumb keep moving,
One finger one thumb keep moving,
One finger one thumb keep moving.

Tra-la! la-la! la-la!

(The thumb and index finger of one hand are separated and brought together, as when a bird’s beak is being imitated with the fingers.)

Two fingers two thumbs keep moving,
Two fingers two thumbs keep moving,
Two fingers two thumbs keep moving.

Tra-la! la-la! la-la!

(The thumb and index finger of both hands are moved in similar manner.)

Four fingers two thumbs keep moving,
Four ;
Four ;

Tra-la! ;

(The thumb, index, and middle fingers on each hand.)

Six fingers two thumbs keep moving,
Six ;
Six ;

Tra-la! ;

(Add the ring finger.)

Eight fingers two thumbs keep moving,
Eight ;, etc.

(All the fingers.)

Eight fingers two thumbs one hand keep moving,
Eight fingers two thumbs one hand keep moving,
Eight fingers two thumbs one hand keep moving.

Tra-la! la-la! la-la!

(The finger motion is continued, and to it is added an up-and-down shaking of one hand.)

Eight fingers two thumbs two hands keep moving,
Eight ;
Eight ;

Tra-la! ;

(A similar movement of the other hand is added.)

Eight fingers two thumbs two hands one arm keep moving, etc.

(One arm is moved up and down with the shoulder, elbow, and wrist all active, while the movement of the fingers and of the opposite hand continues.)

Eight fingers two thumbs two hands two arms keep moving, etc.

(Add similar movement of the other arm.)

Eight fingers two thumbs two hands two arms one foot keep moving, etc.

(The toes of one foot are lifted (bending the ankle) and tapped on the floor as in beating time.)

Eight fingers two thumbs two hands two arms two feet keep moving, etc.

(Add similar movement of other foot.)

Eight fingers two thumbs two hands two arms two feet one leg
keep moving, etc.

(Lift one leg with bent knee and replace the foot on the floor in rhythmic time, while all of the other parts mentioned are kept in motion as previously.)

Eight fingers two thumbs two hands two arms two feet two legs
keep moving, etc.

(Add similar movement of the other leg.)

Eight fingers two thumbs two hands two arms two feet two legs
one head keep moving, etc.

(Add a nodding movement of the head, forward and backward.)

This is a Scotch game and is full of sport, but will depend largely for its success upon the familiarity of the leader with the order of the movements, and, like most Scotch games, upon the rapid and sustained time in which it is kept going. It is especially good for the schoolroom, as it affords some excellent exercise without the players leaving their seats.

KING OF FRANCE (THE)

10 to 60 players.

Playground; gymnasium; schoolroom.

The King of France with forty thousand men
Marched up the hill and then marched down again.

The players stand in two rows or groups facing each other. Each group has a leader who stands in the center and represents a king leading his army.

The game or play is a simple one of imitation; in which the players perform in unison some action first indicated by one of the leaders.

The leaders of the two groups take turns in singing the verse, at the same time marching forward during the first line of the verse, and back again to their places during the second line, illustrating the action that is then to be taken by all. The verse is then sung by both groups while advancing toward each other and retreating, performing the movements indicated by the leaders. The movements illustrated by the leaders may be anything suitable to an army of men, the words describing the movement being substituted for the line, “Marched up the hill.” Thus: ;

The King of France with forty thousand men
Waved his flag and then marched down again.

The following variations are suggested, each of which indicates the movements to go with it.

Gave a salute, etc.
Beat his drum.
Blew his horn.
Drew his sword.
Aimed his gun.
Fired his gun.
Shouldered arms.
Pranced on his horse.

It is scarcely necessary to say that a real flag and drum add much to the martial spirit of the game, and if each soldier can have a stick or wand over his shoulder for a gun, the esprit de corps will be proportionately enhanced.

KITTY WHITE

10 to 30 or more players.

Indoors; out of doors.

This is an admirable game for very little children. Their dramatic tendency should be given full rein in impersonating the soft movements of the kitty and mousie before the chase begins.

Kitty White so slyly comes,
To catch the Mousie Gray;
But mousie hears her softly creep;
And quickly runs away.

Run, run, run, little mouse,
Run all around the house;
For Kitty White is coming near,
And she will catch the mouse, I fear.

One player is chosen for the mouse and stands in the center, and another for Kitty White, who stands outside of the circle. The other players join hands in a ring and move around, while singing the first four lines. Meanwhile Kitty White is creeping around outside of the circle, peeping in at little Mousie Gray. When the fourth line is reached, “And quickly runs away,” the circle stops moving and drops hands while the mouse runs out and in through the circle, chased by Kitty White. For the last four lines, while the chase is going on, the players in the circle stand in place and clap their hands while singing “Run, run,” etc.

When the mousie is caught, both return to the circle, and another mouse and kitty are chosen.

LEAVES ARE GREEN

4 to 60 players.

Indoors; out of doors.

This is a game for small children. The players join hands and form a ring. They dance around in a circle in time to the music, singing to the air of “Mulberry bush": ;

The leaves are green, the nuts are brown;
They hang so high they will not come down;
Leave them alone till frosty weather;
Then they will all come down together.

As the last words are sung, the children all stoop suddenly to the ground, to represent the falling nuts. This is more interesting if the time be rapid and if the players jump before stooping, which may lead to their tumbling over as the nuts do when they fall from the trees.

LET THE FEET GO TRAMP

10 to 60 players.

Playground; gymnasium; schoolroom.

Let the feet go tramp! tramp! tramp!
Let the hands go clap! clap! clap!
Let the finger beckon thee.
Come, dear friend, and skip with me.
La, la la la, la la la, etc.

Let the Feet Go Tramp

The players form a circle with from one to five in the center, according to the number of players. All of the players, both circle and center, sing the verse, suiting the action to the words with stamping of the feet for “Tramp, tramp, tramp!” and clapping of the hands for “Clap, clap, clap!” As the last line, “Come dear friend and skip with me,” is sung, each child in the center beckons to one in the circle, who steps in and joins hands with the little partner as they stand facing each other. These partners in the center then dance around in time to the chorus “La, la,” and the circle players may also join hands and dance in a circle.

LONDON BRIDGE

6 to 30 or more players.

Indoors; out of doors.

London Bridge is falling down,
Falling down, falling down.
London Bridge is falling down,
My fair lady!

Build it up with iron bars,
Iron bars, iron bars.
Build it up with iron bars,
My fair lady!

Iron bars will bend and break,
Bend and break, bend and break,
Iron bars will bend and break,
My fair lady!

Build it up with gold and silver, etc.
Gold and silver will be stolen away, etc.

Get a man to watch all night, etc.
Suppose the man should fall asleep? etc.

Put a pipe into his mouth, etc.
Suppose the pipe should fall and break? etc.

Get a dog to bark all night, etc.
Suppose the dog should meet a bone? etc.

Get a cock to crow all night, etc.
Here’s a prisoner I have got, etc.

What’s the prisoner done to you? etc.
Stole my hat and lost my keys, etc.

A hundred pounds will set him free, etc.
A hundred pounds he has not got, etc.

Off to prison he must go, etc.

Two of the tallest players represent a bridge by facing each other, clasping hands, and holding them high for the others to pass under. The other players, in a long line, holding each other by the hand or dress, pass under the arch while the verses are sung alternately by the players representing the bridge and those passing under, those forming the arch singing the first and alternate verses and the last “Off to prison.” As the words, ;

“Here’s a prisoner I have got”

are sung, the players representing the bridge drop their arms around the one who happens to be passing under at the time. The succeeding verses are then sung to “Off to prison he must go.” During this last one the prisoner is led off to one side to a place supposed to be a prison, and is there asked in a whisper or low voice to choose between two valuable objects, represented by the two bridge players who have previously agreed which each shall represent, such as a “diamond necklace” or a “gold piano.” The prisoner belongs to the side which he thus chooses. When all have been caught, the prisoners line up behind their respective leaders (who have up to this time been the holders of the bridge), clasp each other around the waist, and a tug of war takes place, the side winning which succeeds in pulling its opponent across a given line.

Where a large number of players are taking part, say over ten, the action may be made much more rapid and interesting by forming several spans or arches to the bridge instead of only one, and by having the players run instead of walk under. There is thus much more activity for each player, and the prisoners are all caught much sooner.

This is a very ancient game, supposed to have originated in the custom of making a foundation sacrifice at the building of a bridge. The tug of war is thought by Mr. Newell possibly to signify a contest between powers of good and evil for the soul of the victim sacrificed.

LOOBY LOO

5 to 60 or more players.

Indoors; out of doors.

Here we dance, looby, looby, looby.
Here we dance, looby, looby, light.
Here we dance, looby, looby, looby, loo,
Every Saturday night.

Put your right hand in
Put your right hand out
Give your right hand a shake, shake, shake,
Hinkumbooby round-about.

Here we dance, looby, looby, looby, etc.

Put your left hand in, etc.

Here we dance, looby, looby, looby, etc.

Put your two hands in, etc.
Put your right foot in, etc.
Put your left foot in, etc.
Put your two feet in, etc.
Put your right elbow in, etc.
Put your left elbow in, etc.
Put your two elbows in, etc.
Put your right ear in, etc.
Put your left ear in, etc.
Put your head way in (bend deeply from the waist).

The players stand in a ring, clasping hands. For the first two lines of the chorus, ;

Here we dance, looby, looby, looby,
Here we dance, looby, looby, light,

the players sway from one foot to the other, throwing the free foot across the other in sort of a balance movement in rhythm to the music. On the last two lines of this verse, ;

Here we dance, looby, looby, looby, loo,
Every Saturday night,

the circle gallops halfway around to the left for the first line, and reverses the action, returning to place on the last line.

For the alternate verses which describe action the movements are suited to the words; for instance, when the left hand is called for, the players lean far forward and stretch the left hand into the ring while singing the first line, turn around, and stretch the left hand outward for the second line, shake the hand hard on the third line, and on the last line jump or spin completely around.

This is a very ancient game, supposed to have originated in a choral dance, probably in celebration of the rites of some deity, in which animal postures were assumed or animal rites were an object. Later, it was an old court dance, stately and decorous as the minuet.

MUFFIN MAN

6 to 30 or more players.

Indoors; out of doors.

The players stand in a circle, with one or more in the center. The circle dances around and sings the first two lines of the following verse. They then stand still while the player or players in the center choose each a partner who enters the circle with him; they clasp hands and dance around, singing the last two lines: ;

Oh, have you seen the muffin man, the muffin man, the muffin man?
Oh, have you seen the muffin man that lives in Drury Lane, O!
Oh, yes, I’ve seen the muffin man, the muffin man, the muffin man,
Oh, yes, I’ve seen the muffin man that lives in Drury Lane, O!

Miss Newton has a very good adaptation of this game for the schoolroom or parlor, in which four or five players stand in corners. Each of these chooses a partner at the end of the second line, and these groups of two dance in a circle.

MULBERRY BUSH

6 to 60 players or more.

Indoors; out of doors.

Here we go round the mulberry bush,
The mulberry bush, the mulberry bush,
Here we go round the mulberry bush,
So early in the morning!

This is the way we wash our clothes,
We wash our clothes, we wash our clothes,
This is the way we wash our clothes,
So early Monday morning.

This is the way we iron our clothes,
We iron our clothes, we iron our clothes,
This is the way we iron our clothes,
So early Tuesday morning.

This is the way we scrub the floor,
We scrub the floor, we scrub the floor,
This the way we scrub the floor,
So early Wednesday morning.

This is the way we mend our clothes,
We mend our clothes, we mend our clothes,
This the way we mend our clothes,
So early Thursday morning.

This is the way we sweep the house,
We sweep the house, we sweep the house,
This is the way we sweep the house,
So early Friday morning.

Thus we play when our work is done,
Our work is done, our work is done,
Thus we play when our work is done,
So early Saturday morning.

The players stand in a circle clasping hands, and circle around, singing the first verse. In the second and alternate verses the action indicated by the lines is given in pantomime. In all verses the players spin around rapidly, each in her own place, on the repetition of the refrain, “So early in the morning.”

This is one of the oldest traditional games, and probably one of the most widely known. It is considered to have originated as a marriage dance around a sacred tree or bush, our mistletoe custom having come from the same source.

NUTS IN MAY

6 to 60 or more players.

Indoors; out of doors.

(Sung to the air of “Mulberry Bush”)

Here we come gathering nuts in May,
Nuts in May, nuts in May.
Here we come gathering nuts in May,
On a cold and frosty morning.

Whom will you have for nuts in May,
Nuts in May, nuts in May?
Whom will you have for nuts in May
On a cold and frosty morning?

We’ll have (Mary) for nuts in May,
Nuts in May, nuts in May,
We’ll have (Mary) for nuts in May,
On a cold and frosty morning.

Whom will you send to fetch her away,
To fetch her away, to fetch her away?
Whom will you send to fetch her away,
On a cold and frosty morning?

We’ll send (Alice) to fetch her away,
To fetch her away, to fetch her away.
We’ll send (Alice) to fetch her away,
On a cold and frosty morning.

The players stand in two lines facing each other and holding hands, with a wide space between which will admit of advancing toward each other and retreating. The first line sings the first verse, advancing toward its opponents and retreating. The second line then advances and retreats and sings the second verse. The first line again advances and retreats, singing the third verse, naming some player who stands in the opposing line. The second line, unwilling to yield a player so easily, then advances and retires, singing the fourth verse, in which it suggests that some one be sent to take the one who has been selected for “nuts,” and the first line then advances and retires, singing the last verse, in which it names some player from its own side whom it considers a good match for the player whom it has called from the opposite side.

The lines then stand still while these two players advance to the center, draw a mark on the ground, or throw a handkerchief down to serve the purpose, take hold of right hands across the line, and have a tug of war. The player who is pulled across the line becomes the captured “nut” and joins the side of her captors. The game is then repeated, with the change that the lines of players sing the verses that were sung by their opponents the previous time, the second line of players starting with the first verse. This should be continued until all of the players have taken part in the tug of war. The line wins which gets the most “nuts.”

For large numbers of players, instead of a tug of war between two players only, the two lines may advance, each player joining hands with the one opposite, and all taking part in the tug of war. Still another method is to have the two players who are named, join hands, with the players of their respective sides all lined up behind them for a tug of war, as in London Bridge.

OATS, PEAS, BEANS

6 to 60 players.

Indoors; out of doors.

Oats, peas, beans, and barley grows,
Oats, peas, beans, and barley grows.
Nor you nor I nor nobody knows
How oats, peas, beans, and barley grows.

Thus the farmer sows his seed,
Thus he stands and takes his ease,
Stamps his foot and claps his hands,
And turns around to view his lands.

A-waiting for a partner,
A-waiting for a partner,
So open the ring and choose one in,
Make haste and choose your partner.

Now you’re married, you must obey.
You must be true to all you say.
You must be kind, you must be good,
And keep your wife in kindling wood.

The players form a ring, clasping hands, and circle about one of their number who has been chosen to stand in the center. They all sing the first four lines, when they drop hands, and each player goes through the motions indicated by the words: sowing the seed with a broad sweep of the arm as though scattering seed from the hand; standing erect and folding the arms; stamping the foot; clapping the hands; and at the end of the verse turning entirely around. They then clasp hands again and circle entirely around, singing: ;

Waiting for a partner,
Waiting for a partner,

standing still for the last two lines: ;

So open the ring
And choose one in.

On these words the one in the center chooses one from the circle as a partner. The player who was first in the center then returns to the circle, and the one chosen as partner remains in the center while the game is repeated.

If large numbers are playing, four players may stand in the center instead of one, and in that case, of course, four partners will be chosen. This form of playing the game has traditional sanction, and at the same time adapts itself nicely to the large numbers that often have to be provided for under modern conditions of playing.

This is one of the games that Mr. Newell calls “world-old and world-wide.” It is found in France, Italy, Spain, Germany, etc., was played by Froissart in the fourteenth century, and by Rabelais in the fifteenth. The game is supposed to have had its source in a formula sung at the sowing of grain to propitiate the earth gods and to promote and quicken the growth of crops. Mrs. Gomme notes that the turning around and bowing to the fields and lands, coupled with pantomimic actions of harvest activities, are very general in the history of sympathetic magic among primitive peoples, from which doubtless came the custom of spring and harvest festivals.

Mrs. Gomme also points out that the choosing of the partner
indicates the custom of courtship and marriage at these sowing
and harvest gatherings.

ROUND AND ROUND THE VILLAGE

6 to 30 or more players.

Indoors; out of doors.

Go round and round the village,
Go round and round the village,
Go round and round the village,
Go as we have done before.

Go in and out the windows,
Go in and out the windows,
Go in and out the windows,
Go as we have done before.

Now stand and face your partner,
Now stand and face your partner,
Now stand and face your partner,
And bow before you go.

Now follow me to London,
Now follow me to London,
Now follow me to London,
As we have done before.

The players form a circle, clasping hands, with one player outside. In this game the circle stands still and represents the houses of a village. The player outside sings the first verse dancing around the circle. On the second verse, “In and out the windows,” etc., the players forming the ring raise their clasped hands to represent windows, and the outside player passes in under one arch, out under the next, and so on, winding in and out until the circle has been completed. She tries to get around by the time the verse is finished, and then goes on singing the third verse while she pauses in the circle and chooses a partner. These two then run around the outside of the circle while singing the last verse, “Follow me to London,” etc., returning at the close to the center of the circle, where they bow and part, the first player taking her place in the ring. The game is then repeated, with the second player running around the outside of the village.

Where large numbers are playing, several players may be chosen instead of one, to run around the village and in and out of the windows. In that case several partners will be chosen, and at the close the first players will return to the circle, and the partners whom they have chosen will go on with the game by running around the village and singing the first verse again.

FOR THE SCHOOLROOM. ;In the schoolroom two players may be chosen to run “Round and round the village,” starting from different parts of the room. The remainder of the class sits and sings while these players run up and down through the aisles, each touching two or three pupils, who rise and run after them. When the windows are mentioned, the seated players who still have neighbors sitting across the aisles, stand, and clasp hands with the neighbors to form an arch under which the runners make their way.

Variations. ;A pretty variation in this game, adapting it to the modern city environment, with which many city children are more familiar than they are with village life, is to substitute for the words “Round and round the village” and “In and out the windows” the words, “Round and round the city” (presumably on elevated or subway trains) and “In and out the stations” or “In and out the subway.” While this tampering with a traditional form of the game is questionable, there is no doubt that children much enjoy playing about things related to their own experiences. A gradual and probably unconscious adaptation to environment is one of the manifestations of the folk-lore spirit.

This is one of the very old traditional games, based on village customs. Mrs. Gomme traces it to the periodical village festivals at which marriages took place. In some of these it was customary for the young people to go through the houses in procession.

SNAIL

10 to 60 players.

Indoors; out of doors.

This is a favorite game with very little children. For large numbers each verse may be repeated as needed to complete the winding or unwinding of the line.

Hand in hand you see us well
Creep like a snail into his shell,
Ever nearer, ever nearer,
Ever closer, ever closer,
Very snug indeed you dwell,
Snail, within your tiny shell.

Hand in hand you see us well
Creep like a snail out of his shell.
Ever farther, ever farther,
Ever wider, ever wider.
Who’d have thought this tiny shell
Could have held us all so well.

The players all stand in line holding hands; while singing the first verse they wind up in a spiral, following the leader, who walks in a circle growing ever smaller until all are wound up, still holding hands. The leader then turns and unwinds, until all are again in one long line.

This “winding up” is a very old traditional feature in games, and is supposed to have originated in tree worship.