The game, “[Hark! the Robbers]” (i. 192-99) may be a portion of “[London Bridge]” made into a separate game by the part of the building being lost, or the children who play both games may have mixed up the method of playing; but as it ends in some places with a contest and in some with a dance, it is difficult to say which is right.
“[Thread the Needle],” played by all players running through an arch and then dancing round, is a game well illustrated by customs obtaining on Shrove Tuesday in different parts of the country. All the children play “[Thread the Needle]” in the streets of Trowbridge, Bradford-on-Avon, South Petherton, Evesham, besides other places, in long lines, whooping and shouting as they run through the arches they make. After this they proceed to the churchyard, and encompassing the church by joining hands, dance all round it three times, and then return to their homes. Here is the undoubted performance of what must have been an old custom, performed at one time by all the people of the town, being continued as an amusement of children. It was played at Evesham only on Easter Monday, and in three other places only on Shrove Tuesday, and another correspondent says played only on a special day. In other places where it is played the game is not connected with a special day or season. The circle dance does not always occur, and in some cases the children merely run under each other’s clasped hands while singing the words. In the places above mentioned we see it as a game, but still connected with custom. It is a pity that the words used by the children on all these occasions should not have been recorded too. “[How many Miles to Babylon]” (vol. i. pp. 231-238) may with good reason be considered a game of the same kind. It represents apparently a gateway of a town, and a parley occurs between the gatekeepers and those wishing to enter or leave the town. Small gateways or entrances to fortified towns were called needle’s eyes, which were difficult to enter. But notwithstanding these apparent identifications with the conditions of a fortified town, I think the practice of going through the arch in this and in the previous game relates to the custom which prevailed at festivals held during certain seasons of the year, when people crept through holed stones or other orifices to propitiate a presiding deity, in order to obtain some particular favour. This would be done by a number of people on the same occasion, and would terminate by a dance round the church or other spot associated with sacred or religious character. “[Long Duck]” is another probably almost forgotten version of this game.
“[Draw a Pail of Water]” (vol. i. pp. 100-108), though not quite in accord with the arch form in its present state, is certainly one of the same group. This game I consider to be a descendant of the custom of “well worship.” In its present form it is generally played by children creeping under the arms of two or four others, who clasp hands and sway backwards and forwards with the other children enclosed in them. The swaying movement represents, I believe, the drawing of water from the well. The incidents of the game are:—
(1) Drawing water from a well.
(2) For a devotee at a well.
(3) Collecting flowers for dressing the well.
(4) Making a cake for presentation.
(5) Gifts to the well (6) Command of silence.
(7) The presence of devotee at the sacred bush.
(8) The reverential attitude (indicated by the bowing and falling on the ground).
I can now add another incident, that of the devotee creeping through a sacred bush or tree (signified by the creeping under or getting enclosed within the arms of the leaders). These are all incidents of primitive well worship.
I have from many different versions pieced together the lines as they might appear in [earlier versions] (i. p. 107).
This restoration, though it is far from complete, shows clearly enough that the incidents belong to a ceremonial of primitive well worship. Dressing holy wells with garlands and flowers is very general; cakes were eaten at Rorrington Well, Shropshire, and offerings of pins, buttons, and portions of the dress, as well as small articles worn on the person, are very general; silence is enforced in many instances, and sacred trees and bushes are to be found at nearly all holy wells. Offerings are sometimes hung in the bushes and trees, sometimes thrown into the well. Miss Burne records in Shropshire Folk-Lore (pp. 414, 433, 434) that at Rorrington Green, in the parish of Chirbury, is a holy well, at which a wake was celebrated on Ascension Day. The well was adorned with green bowers, rushes, and flowers, and a maypole was set up. The people used to walk round the hill with fife, drum, and fiddle, dancing and frolicking as they went. They threw pins into the well for good luck, and to prevent them from being bewitched, and they also drank the water. Cakes were eaten. These were round flat buns, from three to four inches across, sweetened, spiced, and marked with a cross, and were supposed to bring good luck if kept.
Instances of similar practices at holy wells could be multiplied, and they are exhaustively examined in my husband’s book on Ethnology in Folk-Lore. Halliwell records in his nursery rhymes what is perhaps the oldest printed version of the rhyme. He says the children form a long string, hand in hand; one stands in front as leader, two hold up their clasped hands to form an arch, and the children pass under; the last is taken prisoner. Though this way of playing does not appear to be used now—no version, at least, has reached me—it is clear that the game might be played in this way, probably as a commencement of the ceremonial, and then the other positions might follow. Halliwell may not have recorded it minutely or have heard of it as a whole, or the version sent him may have been in degenerate form. It is, however, clear that the arch form here indicates a ceremonial, and not the taking of a prisoner.
“[Oranges and Lemons]” (vol. ii. pp. 25-35) is the best-known game of the arch form, followed by the contest or tug-of-war. In this game two players, sometimes chosen by lot, clasp hands and form an arch. They have each a name, which is secret. One is called “Orange,” the other is “Lemon.” They sing the words of the game-rhyme, and the other players run under the arch in a long line or string. At the close of the verses which ends with the line, “Here comes a chopper to chop off your head,” one of the string of players is caught and is asked which she prefers, orange or lemon. She chooses, and is told to stand behind that leader who took that name. This is repeated until all the players have been separately caught, have chosen their side, and are standing behind the respective leaders, holding on to each other by clasping each other’s waists. A line is then drawn on the ground, and both sides pull; each endeavours to drag the other over the line. The tug is generally continued until one side falls to the ground. Now this is an undoubted contest, but I do not think the contest is quite of the same kind as the line game of contest and fighting. The line form is one of invaders and invaded, and the fight is for territory. In this form it seems to me that the contest is more of a social contest, that is, between people of the same place, perhaps between parishes and wards of parishes, or burghers and apprentices (townspeople) on one side, and the followers of lords or barons (military power) on the other, or of two lords and barons. The leaders are chosen by lot. Each leader has a “cry” or “colour,” which he calls out, and the other players run and place themselves under the banner they choose.