| -- | | 23.| -- | |[8.]| -- | | 24.|You shall have a nice | | |young man. | | 25.| -- | | 26.| -- | | 27.| -- | | 28.|Born for your sake. | | 29.
This question of colours for the dead is a very important one. The dressing of the dead body of a maiden in white by her girl companions, and the carrying of the body by them to the grave, are known village customs, the whole village being invited to the funeral. The rising of the dead lover, and the belief that excessive mourning over a loved one disturbs his or her rest in the grave, thus causing the dead to rise and speak, are shown in old ballads; the belief that spirits of the dead haunt churchyards and places of their former abode may also be adduced in illustration of the ghost incident. (_d_) The methods of playing, and the incidents revealed by the verses sung, show that this is perhaps the most realistic of all the singing games, the daily occupation, the illness, death, and burial being portrayed, first, in the words of the rhymes, and secondly, by the accompanying action. The Scottish versions make the opening incident that of a lover coming to the house of the loved one, then proceed to the domestic occupation, and finally to the death incident; while the English versions give the idea of village friends calling upon a favourite companion, and subsequently attending her funeral. That the former is the older of the two versions is confirmed by the great probability of the name Jenny Jones being a degraded form of Janet jo. There is some evidence for this. The Sporle version gives it as Jenny Joe, which is clearly a misunderstood rendering of Jenny jo. The corruption of this into Jenny Jones is exactly what might be expected from modern English ignorance of the pretty meaning of the word jo, dear; and to what lengths this corruption may proceed under such influences may be seen by versions from Earls Heaton, where we have Jingy Jog; Leeds, where we get Jilly Jog; and the Edinburgh version, where we have Georgina. This would be an argument for the Scottish home of the rhymes, and for the direct borrowing of the name from Scotland by the English villagers.
CHESHIRE { Darlington s, Holland s, Leigh s, and { Wilbraham s _Glossaries_. Congleton Miss A. E. Twemlow. CORNWALL { _Folk-lore Journal_, v., Courtney s { _Glossary_. Penzance Miss Courtney, Mrs. Mabbott. CUMBERLAND Dickinson s _Glossary_. DERBYSHIRE { _Folk-lore Journal_, vol.
) There can be little question of the entire unsoundness of all these movements. Red was at a disadvantage, he had failed to capture the farm, and his business now was manifestly to save his men as much as possible, make a defensive fight of it, inflict as much damage as possible with his leftmost gun on Blue s advance, get the remnants of his right across to the church--the cottage in the centre and their own gun would have given them a certain amount of cover--and build up a new position about that building as a pivot. With two guns right and left of the church he might conceivably have saved the rest of the fight. That, however, is theory; let us return to fact. Figure 8 gives the disastrous consequences of Red s last move. Blue has moved, his guns have slaughtered ten of Red s wretched foot, and a rush of nine Blue cavalry and infantry mingles with Red s six surviving infantry about the disputed gun. These infantry by the definition are isolated; there are not three other Reds within a move of them. The view in this photograph also is an extensive one, and the reader will note, as a painful accessory, the sad spectacle of three Red prisoners receding to the right. The melee about Red s lost gun works out, of course, at three dead on each side, and three more Red prisoners. Henceforth the battle moves swiftly to complete the disaster of Red.
A little chaffing generally goes on against Foolie. The Namer says, Come chise me oot, come chise me in, tae so and so, naming one by the assumed fancy name. Foolie makes choice of one. If the choice falls right, the one so chosen steps from the line and stands beside Foolie. If the choice falls wrong, the one named remains in the line. All the players names are called out in this way. If any stand unchosen by Foolie, the Namer then goes up to each and asks if he wants, _e.g._, an aipple, an orange, a kirk, a cottage, &c. Each one whispers what he wants.
London Bridge is broken down, _Dance over the Lady Lea_; London Bridge is broken down, _With a gay lady_ [_la-dee_]. Then we must build it up again. What shall we build it up withal? Build it up with iron and steel, Iron and steel will bend and break. Build it up with wood and stone, Wood and stone will fall away. Build it up with silver and gold, Silver and gold will be stolen away. Then we must set a man to watch, Suppose the man should fall asleep? Then we must put a pipe in his mouth, Suppose the pipe should fall and break? Then we must set a dog to watch, Suppose the dog should run away? Then we must chain him to a post. The two lines in _italic_ are all regularly repeated after each line.--M. Green. Another correspondent to this magazine, in the same volume, p.