What the meaning of this word is it may be impossible to ascertain, though probably Mr. Newell may be correct in his suggestion that it represents the old English word “adist,” the opposite of “ayont,” meaning “this way,” “come hither” (Games of American Children, p. 51). But the point really is, that the version which contains the oldest word-forms would probably be the purest in other respects. The analysis of the whole game confirms this view, as the Scottish and Yorkshire versions are nearly parallel, while the discrepancies begin to creep in with the Shropshire version, reaching their last stage in the versions recorded by Halliwell and from Congleton. Following this line of argument, “dik-ma-day” becomes first “duke, my dear,” and then “duck, my dear.” Turning next to the import of the rhymes, apart from special words used, it is curious to note that “dis” is only converted into “dusty,” and hence into “dusty day,” in two versions out of the fourteen. The Lincolnshire version agrees with Halliwell’s version in making some curious offers for a pretty lass, but these rhymes are probably an innovation. In the same way the incidents numbered 39-40, occurring in the Sussex version, and 43-46 occurring in the London and Hants versions, are borrowings from other games, and not original portions of this. The Congleton version is evidently incomplete.

(e) Henderson, in describing the curious rites accompanying the saining or blessing of a corpse in the Scottish Lowlands, states that empty dishes are arranged on the hearth as near as possible to the fire, and after certain ceremonies in connection therewith have been performed, the company join hands and dance round the dishes, singing this burden:—

—Folk-lore of Northern Counties, p. 54.

This rhyme is, it will be seen, the same as the first two lines of the game, the word “griss” in the burial-rhyme becoming “grass” in the game-rhyme, “grisse” being the old form for “grass” or herb (Halliwell, Provincial Glossary, quotes a MS. authority for this). This identification of the game-rhyme would suggest that the game originally was a child’s dramatic imitation of an old burial ceremony, and it remains to be seen whether the signification of the words would carry out this idea.

In the first place, the idea of death is a prominent incident in the game, appearing in seven out of the fourteen versions. In all these cases the death is followed by the clapping of hands and bell-ringing, and in five cases by the singing of birds. Clapping of hands occurs in two other cases, and bell-ringing in one other case, not accompanied by the death incident. Now it is singular that the burial-rite which has just been quoted is called Dish-a-loof; and a reference to the game of “Dish-a-loof” [under that title], will show that it derives its name from the clapping of hands. In the ceremony, as described by Henderson, although songs and games are part of the burial-ceremony, there is no specific mention of hand-clapping; but it is conceivable that the action at one time formed part of the ceremony, and hence the name “Dish-a-loof.” This would not account for the promise of a duck, drake, &c., as in incidents Nos. 12 and 20; nor for the promise of a young prince or young man; but these incidents might very well be variants of some earlier forms which are not now discoverable, especially as love-games were played at funerals, and as the tendency, in the less complete forms of the game as they have come down to us, is in the direction of transposing the game into a complete love-game. The use of rushes in the Lanarkshire game might indicate the funeral garland (Aubrey’s Remaines, pp. 109, 139). For clapping of hands to indicate bell-tolling or bell-ringing at times of death see Napier’s Folklore, p. 66. Henderson (p. 63) says the “passing bell” was supposed in former times to serve two purposes: it called on all good Christians within hearing to pray for the departing spirit, and it scared away the evil spirits who were watching to seize it, or at least to scare and terrify it.

On the whole evidence from the rhymes, therefore, I should be disposed to class this game as originally belonging to burial, and not love, rites.[Addendum]

Green Gravel

[Play]

[Play]

[Play]

[Play]

[Play]

[Play]

I.

II.

III.

—Derbyshire and Worcestershire (Mrs. Harley).

IV.

V.

VI.

—Redhill, Surrey (Miss G. Hope); Lancashire (Mrs. Harley).

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

—Sheffield (S. O. Addy).

XVI.

XVII.

—Wakefield (Miss Fowler).

(c) The more general way of playing this game is to form a ring of children simply. The children walk round singing the verse as in the Belfast version, and when the last line is sung, the child whose name is mentioned turns round, facing the outside of the ring and having her back to the centre. She continues to hold hands with the others, and dances round with them in that position. This is repeated until all the children have “turned” their backs to the inside of the ring. Here the game ends in many cases, but another verse is sung in the Lincoln, Winterton, and Wakefield versions from Miss Peacock, and this was sung also in the London version. The second verse thus terminates the game, with the players one by one reversing their position and facing the centre of ring as at first. In the Forest of Dean and Wakefield versions the action of the game is somewhat different. A child stands in the centre of the ring of children, without apparently taking much part in the game, except to name the children in turn. In the Wakefield version, however (Miss Fowler, No. xvii.), a little boy stands in the middle of a circle of girls who sing the first verse. At “We’ll all cou’ don’ together,” all crouch down, as if in profound respect, then rising slowly, sing the next verse. After “My pitcher and my can,” each child mentions her own name. At “Isn’t —— as nice as her?” each mentions her sweetheart’s name, and the child thus chosen goes into the circle. At the end of the fourth verse they all clap hands, and the one that is sweetheart to him in the middle kisses him. The “crouching down” is also done in the Forest of Dean version when singing the fourth line. The last one to stoop has to name her sweetheart. When this is done, the children all dance round and sing the other lines.

(d) The analysis of the game-rhymes is on pp. 178-181. The most constant formulæ of this game-rhyme are shown by this analysis to be Nos. 1, 6, 7, 13, 15, 18, 23, and the variants, though important, are not sufficient to detract from the significance of the normal version. It is evidently a funeral game. The green gravel and the green grass indicate the locality of the scene; “green,” as applied to gravel, may mean freshly disturbed, just as green grave means a freshly made grave. The tenant of the new grave is the well-loved lady of a disconsolate lover, and probably the incidents of washing and dressing the corpse, and putting an inscription on the place where it is laid, are indicated by Nos. 13 and 15. The dirge, or singing to the dead, is indicated by Nos. 18, 23, and 26, and the beauty of the first line is in complete accord with the mournful music. That No. 26 occurs in only two variants, Derbyshire and the Isle of Man, is curious, as the pathos of this appeal is very apparent in the movement of the game. The communion with the dead which is indicated by No. 23 is by no means considered impossible by the peasantry. In confirmation of this being a representation of an old funeral ceremony, it may be pointed out that the action of turning backwards during the singing of the dirge is also represented in the curious funeral ceremony called “Dish-a-loof,” which is described in Henderson’s Folk-lore of the Northern Counties, p. 53. Henderson’s words are: “All the attendants, going out of the room, return into it backwards, repeating this rhyme of ’saining.’” The additional ceremony of marriage in four of the games is clearly an interpolation, which may have arisen from the custom of playing love and marriage games at funerals and during the watching with the corpse, or may be a mere transition to the more pleasant task of love-making as the basis of a game. The Derbyshire incident (No. 24) may indicate indeed that the funeral is that of a young bride, and in that case the tendency to make the game wholly a marriage game is accounted for. The decay which has set in is apparent by the evident attempt to alter from “green gravel” to “green grover” and “yellow gravel” (Nos. 4 and 5), and to introduce pen and black ink (No. 17). The addition of the incongruous elements from other games (Nos. 27-31) is a frequent occurrence in modern games, and is the natural result of decadence in the original form of the game. Altogether this game-rhyme affords a very good example of the condition of traditional games among the present generation of children.

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