Fouquières cites a passage from Martial about youths rolling hoops on frozen streams. Another play with wheels consists of whirling a small one on a string passed through its axis, a practice both ancient and modern; and, too, there is the beautiful sport of rolling blazing wheels downhill at night, as is the custom with many mountaineers. Here, of course, the element of pursuit is wanting.
Single discs, such as coins, are used for the spinning of which we have already spoken. Sometimes it was spun horizontally on a peg fixed at its axis, forming the toy called by the Greeks στρόβιλος, and by the Romans turben. But much more important is the conical top, whose dance can be indefinitely prolonged by skilful whipping. There are few plays which foster the illusion of our having a living thing at our pleasure as effectually as this does. H. Wagner tells of a small boy who liked to keep several tops spinning together. “Each had its name, and he talked to them all. The one which spun longest was his favourite, and he tested them by setting them all in violent motion and leaving them while he ran down in the yard. When he came back he rejoiced over those that were still spinning.”[245] This is a good deal like a little girl’s behaviour to her dolls, though the boy’s relation to his toys is rather that of a teacher than parent. This difference comes out strongly when the children play with a puppy: the girl wants to wash and pet it, while the boy will teach it tricks. The widespread popularity of the top is an indication of its importance, and its variety of names among the ancients witnesses to its high favour with them (βέμβηξ, βέβιξ, ῥόμβος, στρόμβος, etc.). It was found in the third city in the Trojan excavations. Boys threw their tops in the courts and streets by a leather string, and accompanied with a monotonous cry τὴν κατὰ σαυτὸν ἔλα, or στρέφου, μὴ ἴστασαι.[246] Tibullus likens his lovesick heart to a top “which a restless child spins on smooth ground with a jerk of the cord.”[247] Its German names are even more numerous than are the antique (Ganzknopf, Topf, Topsch, Triesel, Drudelmadam, Habergais, Krüselding, Schnurrprusel, etc.). In early writings a top humming on ice was used as a figure of rapid motion, and such comparisons are quite frequent with old German poets. This one, which incidentally proves that top cords were used at the time, is particularly striking:
“Ez gewan ine topfe
Vor geiseln solhen umbeswanc,
Als sî mich âne minen danc
Mit slegen umb und umle treip.”[248]
In the Indian archipelago many stone[249] as well as wooden tops are used. Ten Kate gives illustrations of massive yellow painted wooden ones from there. The conical shape is about the same as with our own tops, but it lacks the horizontal grooves.[250] We have Andrée’s authority for the statement that children in Egypt, China, Siam, and Burmah are fond of spinning tops,[251] some Indians having top cords with three thongs.[252]
Skipping stones on ice, as all boys love to do, is dignified in Bavaria and Austria into a game called “Eisschiessen,” in which heavy and carefully polished stone discs with a handle on top are slid over the frozen surface. Gutsmuths says:[253] “This game is played zealously in town and village, and the sturdy sportsmen allow no stress of weather, no untoward circumstance, to interfere with this their winter’s fun. Even the boys have their ice sticks to beguile the way to school. High and low take part in the healthful sport; and as in the Tyrol the village pastor must not fail in archery, so here he enters the lists as a matador of the icy course.” The Scotch use for the same purpose semispherical curling stones from twenty to thirty kilogrammes in weight, and provided with an iron or wooden handle.[254]
Skipping and bouncing, which again call forth the impression of life depending on our own exertions, are prominent in the two very popular and primitive games in which the ball and disc show us another side of their Protean adaptability. One consists of throwing the ball to the floor with such force that it rebounds, and meeting it with a blow as it comes up so that it is struck back again, and the process is repeated indefinitely. Swiss girls sing a little verse in time with the strokes:
“Bälleli ufe, Bällile abe