[441]. “Præcentor, Laulaja ... adjungit sibi alium socium sive adjutorem, Puoltaja sive Saistaja dictum.”
[442]. “Quod facile jam ex sensu ipso, atque metri lege, reliquum pedem conjectando definire licet.”
[443]. “Rarissimi stantes canunt; et si contingit aliquando, ut musarum quodam afflatu moti stantes carmen ordiantur, mox tamen, conjunctis dextris sessum eunt, et ritu solito cantandi continuant operam.” They observe the rules of the game. Porthan, to be sure, notes the absence of dancing as a national and pervasive affair; but the statement must not go unchallenged. Long before this, Olaus Magnus (Hist. de gentibus Septentrion., Romæ, 1555, Cap. VIII. lib. IV. 141) said of the Lappland and other northern folk that they were often moved to dance,—“excitentur ad saltum, quem vehementius citharoedo sonante ducentes, veterumque heroum ac gigantum præclara gesta patrio rhytmate et carmine canentes, in gemitus et alta suspiria, hinc luctus et ululatum resoluti, dimisso ordine in terram ruunt,” a parlous state. Scheffer, to be sure, discredits this statement of the archbishop (Lapponia, 1673, p. 292); but Donner, Lieder der Lappen, p. 38, believes it, and says it is confirmed by the report of a recent Russian traveller.
[444]. Castrén, quoted by Comparetti, Kalewala, p. 66, note.
[445]. Talvj, Charakteristik, p. 87; Steenstrup, pp. 85 f.
[446]. Ibid., pp. 23 f.
[447]. Child, Ballads, I. 21.
[448]. See “Hans Michel,” and the notes to it in Reifferscheid, Westjälische Volkslieder, pp. 47, 175. The song “Drüben auf grüner Haid,” pp. 51, 176, is used in the spinning-room, old home of communal minstrelsy, to stir the women to their work. Further, see Coussemaker, Chants Pop. des Flamands de France, p. 129, for a pious chanson: One is one, One is God alone, One is God alone, And that we believe. Two is two, Two Testaments, One God Alone ..., etc. Three is three, Three Patriarchs, Two Testaments ... and so on, up to the Twelve Apostles. Ibid., pp. 333, 336 ff., 353, are comic songs of the kind; and these are highly important, for they are songs of the dance, and still in vogue for communal processions. Their main features are repetition—and the refrain.
[449]. See Halliwell, Nursery Rhymes, p. 197:—
John Ball shot them all.