(d) This game points to that period of tribal society, when the youths of one tribe sought to obtain their wives from the maidens of another tribe according to the laws of exogamy, but a definite person is here selected for the wife, and it is to the relatives or persons having authority (as in “[Three Knights]”) that the demand for the bride is made, and not to the girl personally, as in “[Three Dukes].”
The game, while not so interesting a one to us as “[Three Dukes],” and “[Three Knights],” has its particular or peculiar features. It is probably later, and shows more clearly that position and wealth were of importance to a man in the obtaining of a wife. Individually he has not (apparently) courted the girl before, but he comes for that purpose now. He may be announcing himself under the various ranks or professions mentioned, before stating his real position; or, this may show that the girl having many suitors, and those of all degrees, the “mother” or relatives are actuated by purely mercenary motives, and wish to select the best and richest suitor for her. We must remember that it was accounted great honour to a girl to have many suitors and amongst these men distinguished by the performance of brave deeds, which had gained them renown and pre-eminence, or wealth. The fact that the rejection or acceptance of the suitors is made known to the girl by the “mother,” or person having authority, shows that “sanction” or permission is necessary, and that “rejection” or “acceptance” is signified to the suitors in the words, you “may not,” or, you “may” have a lodging here, signifies admission into the family. This is a most interesting feature. The girl is to “wake up,” that would be to rouse up, be merry, dress in bridal array and prepare for the coming festival. She is also given to the suitors with “in her pocket one hundred pounds,” and “on her finger a gay gold ring.” This, it will be seen, is given her by her “mother” or person having authority, and probably refers to the property the girl brings with her to her new abode for her proper maintenance there; the ring shows likewise her station and degree in her former abode, and is the token that she is fit bride for a king, and must be treated accordingly. Curious, too, is “Here’s my daughter safe and sound,” which looks like a warrant or guarantee of the girl’s fitness to be a bride. The expression “walk with,” meaning “to marry,” again occurs in this game as in “[Three Dukes].” The line occurring in two versions, “And down by the door they bend their knee,” is suggestive of courtesy shown to the bride and her family at the threshold of the house.
The incident of the three kings becoming robbers is not easily understood. Robbery was common of course, particularly when money and valuables were known to be carried on the person; but I do not think this is sufficient in itself to account for the incident. It may be a reflection of the later fact that a man always took possession of his wife’s personal property after marriage, and considered it his own to do as he pleased with. When this idea became codified in written law, the idea might readily get reflected in the game, when kings would not be understood as apparently taking things that did not belong to them, unless they were bandits in disguise. This last verse and the robbery may be a later addition to the game, when robbery was of everyday occurrence. There may have been (although there is nothing now in any version to warrant the idea) some similar action on the part of the kings, such as a further arraying of the bride, and presenting her to their party or house, which has been misunderstood. Mr. Newell suggests that children having forgotten the original happy finish, and not understanding the “haggling” over the suitors, turned the kings into bandits. Children think it such a natural thing to wish to marry kings, princes, and princesses, and are so sincere in thinking it a matter of course to refuse a sailor or soldier for a king, when it is only a question of marriage, and not of choosing the one you like the best, that this reason does not to me seem to apply to a game of this kind.
Through the Needle Eye, Boys
Two leaders each choose a name such as “Golden Apple” and “Golden Pear.” The remaining children all hold each other’s waists in a long string, the “Golden Apple” and “Golden Pear” holding hands aloft like an arch. The string of children then runs under the arch. The last child that passes under is detained by the “Golden Apple” and “Golden Pear” (they having dropped hands previously). The detained child is asked in a whisper which she prefers, “Golden Apple,” “Golden Pear;” she chooses, and then stands at the back of the “Golden Apple” or “Golden Pear.” When all the children have passed through, the “Golden Apple” and “Golden Pear” hold each other’s hands and stand with the others behind them and pull like a “Tug of War.” There should be a line drawn between the “Golden Apple” and the “Golden Pear,” and whichever side pulls the other over the line, wins the game.—Northumberland (from a lady friend of Hon. J. Abercromby).
The formula sung in Fraserburgh when the players are running under the raised arms is—
Clink, clink, through the needle ee, boys,
One, two, three,
If you want a bonnie lassie,
Just tak me.
After the tug of war the victors call out “Rotten eggs, rotten eggs” (Rev. W. Gregor).
The words used in Galloway are—