We infer, therefore, that the game, apparently so natural an invention, originally represented some form of the world-wide story of the "Sleeping Beauty." If this be so, to explain its history would lead us to write of Northern lay and mediæval legend; we should have to examine the natural symbolism of primitive religions, and the loves of ancient gods. The kissing-romp of a New England village would be connected with the poetry and romance of half the world.
In any case, this interlinking of the New World with all countries and ages, by the golden network of oral tradition, may supply the moral of our collection.
FOOTNOTES:
[127] Die Holländisch' Brück'.
[128] Mrs. R. W. Emerson, of Concord, Mass.
[129] From Prof. G. J. Webb, now of New York, who learned it from his mother, in the Isle of Wight, his birthplace.
[130] As the last verse is sung, the raised arms of the two directors of the game descend, and enclose the child who happens to be passing at the time. The prisoner is then led, still confined by the arms of her captors, to the corner which represents the prison. After this she must choose as described on page [204], and the two sides finally pull against each other. Our informant well remembers how seriously the matter was taken, and how disturbed and disgraced she felt when arrested and imprisoned.
[131] We have obtained a nearly identical, but more fragmentary version from Waterford, Ireland, with a refrain that seems a corruption of that belonging to the ordinary English song; thus—
London Bridge is broken down,
Fair lady!
How shall we build it up again?
Grand says the little dear.