In this game, then, I think we have a distinct survival of or remembrance of the tribal marriage—marriage at a period when it was the custom for the men of a clan or village to seek wives from the girls of another clan—both belonging to one tribe. The game is a marriage game of the most matter-of-fact kind. Young men arrive from a place at some distance for the purpose of seeking wives. The maidens are apparently ready and expecting their arrival. They are as willing to become wives as the men are to become husbands. It is not marriage by force or capture, though the triumphant carrying off of a wife appears. It is exogamous marriage custom. The suggested depreciation of the girls, and their saucy rejoinders, are so much good-humoured chaff and banter exchanged to enhance each other’s value. There is no mention of “love” in the game, nor courtship between the boy and girl. The marriage formula does not appear, nor is there any sign that a “ceremony” or “sanction” to marry is necessary, nor does “kissing” occur. Another interesting point about this game is the refrain, “With a rancy, tancy, tee,” which refrain, or something similar, accompanies all verses of all versions, and separates this game from others akin to it. This refrain is doubtless a survival of an old tribal war-cry.
The game of “[The Three Knights from Spain]” (ii. pp. 257-279), played in the same way as “[Three Dukes],” may appear at first to be a variant of the “[Three Dukes]”; but it is significant that the form of marriage custom is different, though it is still marriage under primitive conditions of society. The personal element, entirely absent from the “[Three Dukes],” is here one of the principal characteristics. The marriage is still one without previous courtship or love between two individuals, but the parental element is present here, or, at any rate, if not parental, there is that of some authority, and a sanction to marry is given, although there is no trace of any actual ceremony. The young men apparently desire some particular person in marriage, and a demand is made for her. The suitors here are, I think, making a demand on the part of another rather than for themselves. They may be the ambassadors or friends of the would-be bridegroom, and are soliciting for a marriage in which purchase-money or dowry is to be paid. The mention of “gold” and “silver” and the line, “She must be sold,” and the offering of presents by the “Knights,” are important. These indications of purchase refer to a time when the custom of offering gold, money, and other valuables for a bride was in vogue. While, therefore, the game has traces of capturing or carrying off the bride, this carrying off is in strict accord with the conditions prevalent when marriage by purchase had succeeded to marriage by capture. There is evidence in this game of a mercantile spirit, which suggests that women and girls were too valuable to be parted with by their own tribe or family without something deemed an equivalent in return.
In another line game, “[Here comes Three Sailors]” (ii. pp. 282-289), there is still more evidence of the mercantile or bargaining spirit. Here the representative of the parental element or other authority selects the richest and highest in rank of the suitors, and a sum of money is given with the bride. The suitors are supposed to have performed some actions which have gained them renown and entitled them to a wife. The suitors are accepted or rejected by a person having authority, and this authority introduces an interesting and suggestive feature. The suitors are invited to stay or lodge in the house if accepted, probably meaning admission into the family. The girl is to “wake up,” and not sleep, that is, to rouse up, be merry, dress in bridal array, and prepare for the coming festival. She is given to the suitors with “in her pocket one hundred pounds,” and “on her finger a gay gold ring.” This is given by the “mother” or those having authority, and refers, I believe, to the property the girl takes with her to her new abode for her proper maintenance there; the ring shows her station and degree, and is a token that she is a fit bride for a “king.” Curious, too, is the “Here’s my daughter safe and sound,” which looks like a warrant or guarantee of the girl’s fitness to be a bride, and the robbery of the bride may also have originally related to the removal of the bride’s wedding-dress or ornaments before she enters on her wifely duties.
Following these definite marriage games in line form, in which previous love or courtship does not appear, we have several games formerly played at weddings, practically as a part of the necessary amusement to be gone through after a marriage ceremony by the company present, amusements in which are the traces of earlier custom.
“[Babbity Bowster]” (i. pp. 9-11) is an old Scottish dance or game which used to be played as the last dance at weddings and merrymakings. It was danced by two lines of players, lads on one side, girls on the other. A lad took a handkerchief—in earlier times a bolster or pillow—and danced out in front of the girls, singing. He then selected a girl, threw the handkerchief into her lap or round her neck, holding both ends himself, and placed the handkerchief at her feet on the floor. His object was to obtain a kiss. This was not given without a struggle, and the line of girls cheered their companion at every unsuccessful attempt the boy made. When a girl took the handkerchief she threw it to a boy, who had to run after and catch her and then attempt to take a kiss. When all had done thus they danced in line form. This dance took place at the time when bride and bridegroom retired to the nuptial chamber. It is probable the bride and bridegroom would first go through the dance, and after the bridegroom had caught his bride and they had retired the dance would be continued in sport. The chasing of the bride in sport by her new-made husband at the close of the marriage festivities is mentioned in old ballads.
In the “[Cushion Dance]” (i. pp. 87-94) we have an instance of another similar old English game sang and danced at weddings. The “[Cushion Dance],” though not played in line form, has two other elements of “[Babbity Bowster].” The description is so interesting, I will repeat it shortly here. The company were all seated. Two young men left the room, and returned carrying, one a square cushion, the other a drinking horn or silver tankard. The young man carrying the cushion locked the door, taking the key. The young men then danced round the room to a lively tune played by a fiddler, and sang the words of the dance. There is a short dialogue with the fiddler, in which it is announced that “Jane Sandars won’t come to.” The fiddler says “She must come, whether she will or no.” The young men then dance round again and choose a young woman, before whom they place the cushion and offer the horn or cup. The girl and the young man kneel on the cushion and kiss. Here there is no capturing or chasing of the girl, but her reluctance to be brought to the cushion is stated by another person, and the locking of the door is evidently done to prevent escape of the girls.
Other line games contain the element of courting, some versions of “[Green Grass],” for instance (i. pp. 161-62), show boys on one line, girls on the other, inviting girls to come and dance, and promising them gifts. After the boys have selected a girl, she is asked if she will come. She replies first No! then Yes! “[Pray, Pretty Miss],” is similar to these (vol. ii. pp. 65-67).
The remaining line form of marriage games are probably degenerate versions of “[Three Dukes],” “[Three Knights],” except “[Here Comes a Lusty Wooer]” (i. 202) and “[Jolly Hooper]” (i. 287-88). Ritson records the first of these two in “Gammer Gurton’s Garland,” 1783; the second is probably a degenerate version of the first or similar version. They are both demands for a bride.
The other important line games are “[Jenny Jones]” (i. 260-283), “[Lady of the Land],” and “[Queen Anne].” I refer here to the Scotch version of “Jenny Jones,” quoted from Chambers, given in vol. i. p. 281, where “Janet Jo” is a dramatic entertainment amongst young rustics. Two of the party represent a goodman and a goodwife, the rest a family of daughters. One of the lads, the best singer, enters, demands to court Janet Jo. He is asked by the goodwife what he will give for Janet Jo. His offers of a peck o’ siller, a peck of gold, are refused; he offers more and is accepted, and told to sit beside his chosen one. He then has a scramble with her for kisses. Versions of this game which indicate funeral customs will be treated under that head; but love and courtship appear in the game, and the courting appears to be that of a young man or young men, to whom objection is made, pretended or real; the suitors are evidently objects of suspicion to the parental authority, and their sincerity is tested by the offers they make.
In “[Queen Anne],” vol. ii. pp. 90-102, I have attempted a conjectural rendering of what the game might have been, by putting together the words of different versions. If this conjectural restoration be accepted as something near the original form, it would suggest that this game originated from one of the not uncommon customs practised at weddings and betrothals, where the suitor has to discriminate between several girls all dressed exactly alike, and to distinguish his bride by some token. This incident of actual primitive custom also obtains in folk-tales, showing its strong hold on popular tradition. Many a lost bride in the folk-tales proves her identity by having possession of some article previously given as a token, and this idea may account for the “ball” incident in this game. (See also “[King William].”)