The one carrying the cushion locked the door, putting the key in his pocket. Both gentlemen then went to the fiddler s corner, and after the cushion-bearer had put a coin in the vessel carried by the other, the fiddler struck up a lively tune, to which the young men began to dance round the room, singing or reciting to the music:-- Frinkum, frankum is a fine song, An we will dance it all along; All along and round about, Till we find the pretty maid out. After making the circuit of the room, they halted on reaching the fiddler s corner, and the cushion-bearer, still to the music of the fiddle, sang or recited:-- Our song it will no further go! The Fiddler: Pray, kind sir, why say you so? The Cushion-bearer: Because Jane Sandars won t come to. The Fiddler: She must come to, she shall come to, An I ll make her whether she will or no. The cushion-bearer and vessel-holder then proceeded with the dance, going as before round the room, singing Frinkum, frankum, &c., till the cushion-bearer came to the lady of his choice, before whom he paused, placed the cushion on the floor at her feet, and knelt upon it. The vessel-bearer then offered the cup to the lady, who put money in it and knelt on the cushion in front of the kneeling gentleman. The pair kissed, arose, and the gentleman, first giving the cushion to the lady with a bow, placed himself behind her, taking hold of some portion of her dress. The cup-bearer fell in also, and they danced on to the fiddler s corner, and the ceremony was again gone through as at first, with the substitution of the name of John for Jane, thus:-- The Lady: Our song it will no further go! The Fiddler: Pray, kind miss, why say you so? The Lady: Because John Sandars won t come to. The Fiddler: He must come to, he shall come to, An I ll make him whether he will or no! The dancing then proceeded, and the lady, on reaching her choice (a gentleman, of necessity), placed the cushion at his feet.
This was evidently the same game, but it would appear that the verses have also been used as a song, and it would be interesting to find out which is the more ancient of the two--the song or the game; and to do this it is necessary that we should know something of the history of the song. A correspondent of _Notes and Queries_ (ii. 338) speaks of it as a lullaby song well known in the southern part of Kent and in Lincolnshire. In the _Gentleman s Magazine_ (1823, Part II. p. 232) appeared the following interesting note:-- The projected demolition of London Bridge recalls to my mind the introductory lines of an old ballad which more than seventy years ago I heard plaintively warbled by a lady who was born in the reign of Charles II., and who lived till nearly the end of that of George II. I now transcribe the lines, not as possessing any great intrinsic merit, but in the hope of learning from some intelligent correspondent the name of the author and the story which gave rise to the ballad, for it probably originated in some accident that happened to the old bridge. The Lady Lea evidently refers to the river of that name, the favourite haunt of Isaac Walton, which, after fertilising the counties of Hertford, Essex, and Middlesex, glides into the Thames. London Bridge is broken down, _Dance over the Lady Lea_; London Bridge is broken down, _With a gay lady_ [_la-dee_].
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That should have cut out the last distraction. But no, I could see one more bimbo working her way through the laughing, drink-flushed crowd toward me. She had hair-colored hair, which was sort of out of character for a barroom hustler. I put plenty of TK on the heel of her right slipper, and she stepped right out of it. It might as well have been nailed to the floor. Nothing was going to discourage this one, I saw. I let her pick it off the floor, squeeze it back on her skinny foot, and come toward me. This new babe leaned over toward me and stuck her nose up against mine. It was long, thin, and not a little red. Billy Joe! she said, and sniffled loudly.
The cards drawn from the stock must never be taken into the hand. Let us suppose the pone holds these cards:--♡ J 7 6 4; ♠ 5 3 2; ♢ K 7 5; and that the ♡ 5 is the first card he draws. He can use this card in three ways: By making a run of three with the ♡ 4 and ♡ 6; or a run with the ♡ 6 and ♡ 7; or a triplet with the two other 5’s. In this case he would probably lay out the 6 and 7, and make the run of three. If he should draw the ♡ Q later on, he could use it by continuing the sequence with his Jack; or if the ♡ 3 appeared, he could use it with his ♡ 4. _=Passing.=_ If he cannot use the card drawn, or does not wish to, he draws it from its position on the top of the stock and places it between himself and the dealer, still face up. The dealer then decides whether or not he wants it, and if he does not he “passes” it by turning it face down, and pushing it to his right. Cards once passed in this manner cannot again be seen by either player. The player who passes the card turns up the next one on the stock.
Take the stool. The leg s broke. Take the chair. Chair s gone to be mended. I suppose I must come myself? The Mother here wrings her hands out of the water in the washing-tub and comes in. She looks about and misses Monday. Where s Monday? Oh, please, Mother, please, I couldn t help it; but some one came to beg a light for her pipe, and when I went for it she took Monday off. Why, that s the witch! The Mother pretends to beat the eldest daughter, tells her to be more careful another time, and to be sure and not let the pot boil over. The eldest daughter cries, and promises to be more careful, and the Mother goes again to the wash-tub. The same thing occurs again.