THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES INDIANA HISTORICAL COLLECTIONS THE act of the Indiana General Assembly signed by Governor Ralston on March 8, 1915, creating the Indiana Historical Commission, assigned to that body as one of its duties to collect and publish documentary and other materials on the history of Indiana. The law provides that these volumes should be printed and bound at the expense of the State, and be made avail- able to the public. Copies are offered at practically the cost of printing the volumes, the proceeds to go into the State treasury for the use of the His- torical Commission in producing other volumes. One copy is to be furnished at the expense of the Commission to each public library, college and normal school in the State. Two hundred copies are to be furnished to the Indiana State Library and two hundred copies to the Historical Survey of Indiana University, for purposes of exchange with other states for similar publications. Of the $25,000 appropriated to the Commission for Centennial purposes, $5,000 were permitted to be used for historical publications. INDIANA HISTORICAL COMMISSION. SAMUEL M. RALSTON, PRESIDENT FRANK B. WYNN, VICE-PRESIDENT HARLOW LINDLEY, SECRETARY JAMES A. WOODBURN CHARLES W. MOORES SAMUEL M. FOSTER JOHN CAVANAUGH CHARITY DYE LEW M. O'BANNON PUBLICATION COMMITTEE JAMES A. WOODBURN CHARLES W. MOORED HARLOW LINDLEY INDIANA HISTORICAL COLLECTIONS THE PLAY-PARTY IN INDIANA A Collection of Folk-Songs and Games with Descriptive Introduction, and Correlating Notes BY LEAH JACKSON WOLFORD, M. A. PUBLISHED BY THE INDIANA HISTORICAL COMMISSION INDIANAPOLIS 1916 College Library GV 122.5" Copyright Nineteen Hundred and Sixteen by the Indiana Historical Commission 1284617 ACKNOWLEDGMENT. I have attempted to give credit throughout this book to the individuals who have sung to me these traditional songs and de- scribed the accompanying games. Yet there are several other persons who have assisted greatly in reducing this material to the printed page. To Miss Mable K. Pearse, private teacher of the Bentham rhythm work in Chicago, I express my gratitude for assistance in writing the description of a number of the games. Mrs. Edward F. White has read through the manuscript and made a number of improvements in the form of it. Finally, especial mention is due to Professor A. H. Tolman, of the University of Chicago, whose enthusiasm for ballad and epic poetry interested me in this study, and whose criticisms on this work have been invaluable. LEAH JACKSON WOLFORD. CONTENTS PART I PAGE The Play-Party and its Environment 11 The Play-Party in Indiana a Generation Ago 11 The Play-Party in Indiana at Present 15 PART II Play-Party Songs and Games Introductory Note 19 Glossary to Part II 19 List of Games All Chaw Hay on the Corner 21 All Go Down to Rowser's 22 Billy Boy 24 Black the Boots 25 Captain Jinks 27 Chase the Buffalo 29 Chase the Squirrel 30 Cincinnati Girls 32 Coffee Grows in a White Oak Tree 33 Cuckoo Waltz 36 Dem Golden Slippers 38 Down in Jay Bird Town 39 Down the River 40 Down to New Orleans 41 Farmer in the Well 42 Getting Married 43 Getting Upstairs 44 The Girl I Left Behind Me 46 Go in and out the Windows 47 Go to Boston 49 Green-Leaf 49 Hay-o-my-Lucy-o 51 Here Come Four Dukes A-Riding 52 Here Comes A Queen from Dover 55 Here We Go Round the Mulberry Bush 56 I'm a Poor Old Chimney Sweeper 58 Itiskit 59 Jersey Boy 61 Kilamakrankie 61 King William Was King Jamie's Son 62 London Bridge 64 Marching to Quebec 65 Melven Vine 66 (9) 10 CONTENTS PAGE Miller Boy 67 Molly Brooks 71 Needle's Eye 72 No Sir 73 Nora Darling 75 Old Brass Wagon 76 Old Dan Tucker 78 Old Sister Phoebe 80 Pig in the Parlor 81 Polly Put the Kettle On 83 Pop Goes the Weasel . 83 Sailor 85 Sally Walker 86 Six Little Girls A-Sliding Went 88 Skip-to-My-Lou 89 Star Promenade. , 91 There Goes Topsy Through the Window 92 There Was an Old Woman in Ireland 93 Thus the Farmer Sows his Seed 94 Tideo 96 Uncle Johnie's Sick A-Bed 97 Wait for the Wagon _ 1 98 Walk Along, John 100 Way Down in the Pawpaw Patch 101 Weevily Wheat 102 Traces of British Influence in Play-Party Melodies 106 PART III Classification of Play-Party Games On the Basis of Age of Players 110 On the Basis of Dramatic Features Ill Oy the Basis of Dance Formation 1 12 On the Basis of Geographical Location 1 14 Bi bliography Periodicals 116 Books.. . 118 THE PLAY-PARTY IN INDIANA PART I. THE PLAY-PARTY AND ITS ENVIRONMENT. The play-party is a distinct kind of social entertainment, just as is the card-party or the dance. Yet it is unlike these amusements in extent, for it flourishes only in a certain environment. The conditions in Indiana have recently grown unfavorable and it is only in a few remote districts that the play-party has not been lost and even forgotten. I shall first give a brief description of the country and settlers of Ripley County, as this is a typical locality in which it survives; next, consider the social significance of this sort of party; then, try to picture it as my parents have known it, an.d finally as I, myself, have seen it. The southern half of this county is cut up by swiftly-flowing creeks and high hills, which have served to isolate the different communities and to disconnect the whole district from the outside world. For many years after the opening of the state, settlers did not come to this county in large numbers. The only induce- ment to laborers was agriculture, and much of the land was rocky and heavily forested, while the clay soil would not produce good crops without careful cultivation. Almost every road led over rocky hills, and for long distances followed the rough, lime- stone creek-bed, while those on the levels were appropriately called "mud roads." It is easy to see that the dwellers among these hills would be dependent upon their own resources for amusements. Towns of any size were far apart. In fact, there is, at present, in the south- ern half of the county, no town of more than seven hundred in- habitants and there are localities here eighteen miles from the nearest railroad line. Although most of the people came from Ohio, Pennsylvania, Virginia and Kentucky, yet they brought with them, into this new country, the peculiar traditions and customs of the old world; (ID 12 THE PLAY-PARTY IN INDIANA. some of these we recognize as Scotch, many as Irish, others German, but most of them as English. Old people, whose memo- ries reach back to the earliest days of these settlements, tell us that the play-party has always been the country amusement. We have reason to suspect that its origin was not in America, and from the nationalities of the people, we get a suggestion as to the probable sources. But for the history of these play-party games, religion was almost as important as nationality. These people were Quakers, Disciples, Methodists, Baptists or Presbyterians as to creed, but they were one in opposing the dance as a wicked sport. Most of these scrupulous consciences did not, however, detect anything wrong in the traditional "playing games" of the young people. If these were follies they were time-honored. Parents and grand- parents had enjoyed them, and with this for recommendation they were usually free from the suspicion of evil. Yet there was another reason for the importance of the play- party and the absence of the dance. Musical instruments, even the famous old "fiddle" were usually lacking. Parlor organs were almost unknown and were highly discredited, "because", in the words of my grandfather, "a music-box 1 would spile the gals, and a stuck-up sissy wud make no man a good hep-mate." Fortunately for the play-party, it had no need of instrumental music. The importance of these social gatherings can scarcely be over- rated, because the occasions for the coming together of the people were so few. There was "meeting" at the country church, and here a girl might very properly go, every second Sunday night, with a neighbor boy, provided always that her brother rode on horse- back behind them. There were, of course, the husking-bees, the apple-cuttings, the carpet-tackings, in their seasons, and the county fair for two days every August; but the play-party was the one rural merry-making which did not have a financial side to recommend it. The old-time play-party began at sun-down. From ten miles around the people would come, whole families bumping along in the big jolt-wagon, young men on horseback, several of them having their fair partners for the game seated securely behind them; and finally came the near neighbors picking their ways through the cornfields. 1. Organ. THE PLAY-PARTY IN INDIANA. 13 But preparations had also been going on at the farm house. In the "spare-room" the rag carpet had been lifted, not because it was too smooth for the games, but because the rough boots and coarse shoes of the players wore it out. Around this same room, heavy blocks of wood held up long boards, which made a bench for the lookers-on. In the kitchen a roaring fire was kept in the fireplace; here the parents and children were to stay. Usually there were fewer old people than young; yet there were enough men to discuss the prospective crops, the coming election, the slavery question and predestination; and plenty of women there were to pop the corn over the coals, crack the walnuts, wash the winesaps, cut the cakes, and watch the babies. About dusk the first players arrive. The girls at once retire to the bedroom to slip off their long black calico riding skirts and to leave their heavy wraps. The boys' overcoats and c&ps, too, are piled on the bed and now all are ready to play. There is no need to wait for ceremony. Thaddeus knows Josie, and Josie knows Hiram. Receiving line and formal introductions are far from the spirit of the play-party. The first four players are not slow in starting the games with the old drinking song, "All Go Down to Rowser's." Others arrive, and in spite of the dim candle-light and the increasing confusion, each boy can easily pick out the favorite girl, in the fairest muslin dress, to be his partner for the next set. A few rounds of "Old Dan Tucker" are immediately succeeded by "Needle's Eye", "Skip-to-My- Lou" and "We're Marching Down to Old Quebec." Several couples silently drop out when "Weevily Wheat" is named as the next, for it is played like the dance Virginia Reel, and offends the more scrupulous consciences. A stanza from a Texas version echoes this feeling, Take a lady by her hand, Lead her like a pigeon, Make her dance the Weevily Wheat, She loses her religion. 2 The hours go quickly and there is always reluctance to stop, for the next game may bring as partner the best player in the crowd, another set may mean a kiss from the girl who is secretly most admired. There is a fascination in the singing, in the rhythmic movement of the dance and in the significant acting, which has no exact parallel in other amusements. 2. This is described below under the game, "Weevily Wheat." 14 THE PLAY-PARTY IN INDIANA. A teacher of the new dance steps would never have called the movement dancing, nor could the critical magazine editor have been surprised into calling the words poetry. There was a rhythm to the whole thing, a certain keeping time to the music, but this rhythm was almost as much of the arms, head and body as of the feet. The players bowed, they knelt, they kissed, they promenaded, they swung, each keeping time to the singing in whatever way his innate sense of dance directed. The walking, the running, the skipping and the promenade steps could all be recognized, but the players did not all use the same. The impres- sion which a visitor would get from the dance was that of a jumble of old dance steps, all in time, yet related in no other way. In the promenade a few couples two-stepped, but they were pointed out as doubtful characters, and probably had attended real "hoe-downs." 3 What did they sing? Oh, that was of the least importance. Whence the words had come, no one knew, and certainly no one cared to question. They were the stanzas which belonged to the game, and those which had given it its name. They were queer, not always intelligible, and little more than directions for the dance in many instances. Yet they were always gay. Many of these songs had been taught to members of this group by individuals from other communities. The only requirement was that the words indicate, or at least conform to the movements of the dance. Since the refrain alone usually accomplished this, the singers were at liberty to use the traditional stanzas or .to im- provise others to suit the occasion. It was customary to have all of the verses conform to a simple rhyme-scheme, but even this was not obligatory. 4 Tired by the strenuous movement of the games, a couple might retire to the kitchen or to the bench for on-lookers, and "sit out one set"; especially was this the practice when the two were engaged and disliked to "play" with other partners. Yet this plan had to be used with discretion, for a frequent resort to it laid them open to the suspicion of being "sweethearts", and so to the taunts of all of the others. About midnight the plentiful yet inexpensive refreshments were passed around and enjoyed. Soon after this the parents gathered together their sleeping children, gave the usual series of 3. The local name for the '"dance." 4. e. g. All Oo Down to Bowser's. THE PLAY-PARTY IN INDIANA. 15 invitations, and in a short time the big wagons were rumbling on their way homeward. But in the spare-room the dancers continued their games until the boys without "girls" had each summoned enough courage to ask his partner if he might "see her home safe", or until the head of the house, in a rough voice called out the hour. Hasty departure was a relief in that awkward moment. While the boys fetched the horses, the girls slipped on their riding skirts. In an incredibly short time each girl was mounted sidewise behind her partner, and all were riding away, some talking about the party, others singing old time ballads, and several couples enjoying a lively horse-race. The same play-party lives still in this and a few other com- munities of Indiana. When the neighborhood contains a lively crowd of young people between the ages of thirteen and twenty- two, this form of amusement flourishes. In the summer of 1915, before the August camp-meetings began, there were about two parties a week, until practically every family had entertained the crowd. The changed environment has given to the play-party some- thing of a new aspect. Instead of sending a messenger on horse- back to each house, announcing the party, as was done a half century ago, today one need only give the general ring on the farmers' line telephone, and at once the neighbors are listening. Practically all the inviting is done by phone. The hay-wagon in summer and the bob-sled in the winter, when sleighing is good, are prominent features of the play-party today. The big wagon is no longer a means of conveyance, and only occasionally is a horseback rider to be seen. In place of these, there is the rubber-tired buggy or carriage, drawn by spirited driving horses, and it is not unusual to see two or three large touring cars full of young people and those of middle age unload in front of the house where the play-party is given. In the summer the entertainers like to set the date by the alma- nac so they will have a moon-light night. Often, Japanese lanterns light the smooth, grassy lawn and make it impossible for a stranger- guest to mistake the place. A pretty picture it makes, the girls in their starched white dresses and gay ribbons, the boys in their Sunday suits and with ties in the latest fashion. These players are not less eager to begin the games than their grandparents were. So the lively crowd of from four to fifty dancers repeat the "Old Dan Tucker" and the "Weevily Wheat", 16 THE PLAY-PARTY IN INDIANA. which they have inherited, and give to these song-dances a ring of melody and an unaffected gracefulness of physical movement, which in no way discredit the games of sixty years ago. To the old songs, many new ones have been added, perhaps a number of the earlier ones lost, several have been turned over to the children: but of this we shall have occasion to speak more fully later. If there is a large crowd, other-games beside the regular play- party dance are often started. One group will form a ring of its own and play without music the old favorite, "Drop the Hand- kerchief" or "Three Deep." On the other hand, it is not un- usual for a select eight of the best players to leave the big ring and dance the progressional, "All Go Down to Rowser's", with its rather difficult figures. The kind of refreshments depends entirely upon the hostess. Perhaps the most common is a generous supply of watermelons. Ice-cream and cake are often served in the yard and then nuts and candies passed later. There is one family of well-to-do farmers, however, which gives a play-party every year, inviting the guests from three towns, besides including a selected crowd of country people from ten miles away. The regular practice at this home is to serve a hot dinner, though the number they entertain is over one hundred. Nor is this a fashionable, light luncheon. There are two or three kinds of roast meat, several vegetables in season, often four kinds of jelly and preserves, pickles of several sorts, and always a generous supply of ice-cream and cake at the last. From such a party the boys seldom reach home before three or four o'clock. Yet the lateness of the hour is not allowed to inter- fere with work the next day. The husky country lad oftentimes merely changes from his Sunday clothes to overalls and goes out to do the feeding, ignoring till the next night his loss of sleep. Yet, in spite of the fact that the people enjoy it, many things are tending to break down the play-party. One of the most im- portant of these is that it must compete now with other amuse- ments. To be sure, these are few compared with the city. Only in the last year has a moving picture show been established at the county seat, Versailles, and there is no other to the south for twenty-five miles, to the north for five, to the east for seven and to the west for eighteen. Though this comes only two nights a week, yet it draws large crowds, and these are the very people who have given the play-parties. The pool table, too, has recently attracted a few of these country boys. THE PLAY-PARTY IN INDIANA. 17 The camp-meetings of the "Holiness Church" continue for about six weeks in the late summer and draw their crowds from twenty miles around. The religious revival meeting in the woods furnishes a picnic place and becomes the real social center for the young people. While it lasts no play-parties are planned. The macadamized roads, which connect all of the towns of any importance, have in the last few years afforded easy access to neighboring communities. The former isolation exists no longer, and the great number of automobiles, owned by the farmers, tends to convert the country districts into suburbs of the nearest large town. The amusements of the town, then, can easily be those of the young people of rural communities. The sanction of the play-party by most of the early settlers we have mentioned. While certain of these games were regarded somewhat critically by parents two generations ago, many of the fathers and mothers now favor them as being a check to the grow- ing popularity of what they call the "vulgar modern dance." The young people, however, do not wish to see the distinction. The attitude which the players have toward these games, is criticized by the ministers, who, with few exceptions, preach that both the play-party and the dance are on the same plane with card- playing, and must not be countenanced by church members. What the outcome will be cannot be foretold, but the immediate effect, in this one community, has been to revive the play-party. Around the towns of Versailles, Holton and Dillsboro, it has been popular during the last five years. The high-school training, which the young people must get from the town, does not seem to have lessened their enjoyment of this rural amusement. In fact, many of those who play the games and give the parties are college people. This particular kind of dance-game is not, however, limited to the play-party proper. The rugged hills and beautiful valleys are very inviting and give a special attraction to all out-of-door sports. On moon-light summer evenings, the young people of Versailles, each with a few ears of sugar-corn, a sack of eggs, or a chicken, climb down the steep hill to the creek and there kindle a bonfire and have what is called a "roast." An out-of-town guest is usually the occasion of this kind of merrymaking. But the roasting of corn, eggs and chickens is not the only, nor even the principal amusement. No matter of what social rank the visitor may be, he is always delighted with the Indian war dances around the great bonfire, and most of all, with the play-party games as 18 THE PLAY-PARTY IN INDIANA. they are danced on the blue grass meadow. In name only does this differ from the country party. In practically every public school of central and southern Ripley County, and especially in the town schools where then- are many young people, one of the most difficult problems of the teacher is that of solving skillfully the question of the play- party game. Instead of teaching dance-games and folk-dances as is done in so many of the city schools, the effort is made to keep them out entirely. The disapproval of a few of the parents and the hostile attitude of the minister toward these games, brings to bear such a pressure upon the school-board that it cannot afford to hire a teacher who allows dancing and play-party games on the school ground. So it comes about that pupils from the sixth grade and on to the twelfth, steal away at recesses and noons to play in a secluded part of the school-yard, or in a hall-way, where the teacher is least likely to find them. The play-parties given by the older students of the Holton High School last winter and also during this last school year (1914-1915) testify to the con- tinuous popularity of this old time, yet modern form of amusement. 5 These games, from all that we can see, are in this locality as at- tractive to the young people of the highest social standing as they have ever been. It is even more interesting to note that this is a revival of interest, and has followed a period of the lapse of popularity. Mr. Newell says that "these amusements came into existence because they were adapted to the conditions of early life; they pass away because those conditions are altered. The taste of other days sustained them." 6 Doubtless this is true to the conditions in most places, but the young people of Ripley County, Indiana, enjoy so thoroughly the traditional play-party, with its queer words, its romping dance and dramatic action, that they are not satisfied with any of the modern substitutes. 5. The play-party season of the summer of 1915 began with a lawn party in the country two miles from Versailles on May 1 . 6. Games and songs, p. 12. PART II. PLAY-PARTY SONGS AND GAMES. INTRODUCTORY NOTE. The following is a collection of all of the games which I have been able to find in Ripley County, Indiana. In many instances, the words, the melodies, or the directions for playing have been published before, but I think that in every case, there is some variation, sufficient to justify this re-statement. Many of the play-party songs of this locality are very similar to others which are widely known. In every instance I have attempted to cite all of the variants which are available, and to establish their inter- relations whenever the line of development is at all evident. Moreover, all of the 'songs, excepting "Marching to Quebec," are well known in the county and with six exceptions they are all played or danced there at the present time. "Billy Boy", "Nora Darling", and "No Sir" do not, in the strict sense of the term, come under the head of play-party games, but they are included because, as dramatic dialogue-songs they seem to be related to the song game, from the ballad side. GLOSSARY TO PART II. In these games, the words are so often indicative of the figures, and are, to the players, so much more important than the counts in the music, that it has seemed best to give the directions with reference to the words. Swing. Partners take ball-room position, (i. e., boy's right hand at his partner's waist, his left hand holding his partner's right hand, and the girl's left hand on his right arm) and turn on spot, usually taking eight steps. Promenade. The position for this is the same as for "swing" except that both face toward the right, the inside shoulders (i. e., gentleman's right and lady's left) almost touching, and the joined hands still hanging loosely in front. While promenading, partners skip to the right around the circle. (19) 20 THE PLAY-PARTY IN INDIANA. Long-ways Dance. One in which the first position is as follows: two parallel lines are formed, (usually girls being in one line and boys in the other) and with partners facing. The lines are four steps apart. To cast off is to turn outwards and proceed without one or other of the lines of the dancers; to cast up or cast down is to dance up or down inside the general set. 1 Courtesy. Step backward on the right foot; bend the right knee, straighten left leg and incline the body slightly forward. At the same time the skirts may be grasped at either side and spread sideways. Kneel. Bend the left knee and place the right knee on the floor. To pass by the right is to pass right shoulder to right shoul- der; by the left, left shoulder to left shoulder. To lead is to move forward. To make a half turn is to turn through half a circle and face in the opposite direction. 2 To make a whole turn means that the dancer revolves on his right foot as an axis through a complete circle. 3 If two players are directed to take or give right or left hands they are to join right with right, or left with left. In dances or figures in which two couples only are engaged, the terms contrary girl and contrary boy are used to denote the girl or boy other than the partner. 4 The normal country dance step is a springy walking step (the ball of the foot taking the ground before the heel), two to each bar,' executed by women with a natural, unaffected grace, and on the part of men with a complacent bearing and certain jauntiness of manner which is very difficult to describe, and which must, per- haps, be seen to be appreciated. 5 1. C. J. Sharp. Country Dance Book, Part I, p. 27. 2. Ibid. Part II, p. 32. 3. Ibid. Part II, p. 32. 4. Ibid. Part III, p. 10. 5. Ibid. Part I II. p. 27. THE PLAY-PARTY IN INDIANA. 21 All Chaw Hay on the Corner Miss Kena Bushing, Johnson Twp. First young lady all around in the center, all around in ihe center,all around in the center, First young lady all around in the center, And bal - ance to your part ner Swing your partner and we 11 ji ' 1] run away, We'll all run away, and we'll .ill run avvay Jl J U P p p Swing your partner and well all run awav. And all chaw hay on ihe cornt-i 1 . First young lady all around in the center, All around in the center, all around in the center, First young lady all around in the center, 2. And balance to your partner. Refrain 3. Swing your partner and we'll all run away, We'll all run away, and we'll all run away. Swing your partner and we'll all run away, 4. And all chaw hay on the corner. b. The young people form a circle, with each girl at the right of her partner and all facing the center. One of the girls leaves the circle and dances around in the center during the singing of of 1. At 2, she swings her partner. While singing 3, all partners swing and all promenade in a circle to the right (i. e., skip around in a circle, couple following couple) and all return to their original places, with the exception of the first girl. During the promenade she is at the left of her partner, and in the final formation of the circle she is also at his left. 6 To facilitate reference to the following games the discussion has been organized after this plan : a. Music ana words. b. Directions for playing the games. c. Age of the game and the time of its popularity. d. Citations to printed variants, and an interpretation of the historical or mythological significance of the game, 22 THE PLAY-PARTY IN INDIANA. Repeat from the beginning with the next girl at the right ot the one just mentioned, in the center, and continue repeating until every girl has been "around in the center," and has taken her place at the left of her partner. The words change to agree. Stanza 2 is, "Second young lady all around in the center" and so on. Repeat all from the beginning with the first boy in the center. He, at the end of this game, is back in his original position with his partner at his right. The words are, accordingly, "First young gent all around in the center," "Second young gent," etc. This second half of the game brings all of the players back to their original positions. c. This was a very popular game in 1909 and continues to be a favorite. d. The words, "we'll all run away" or "run away all" are not peculiar to this game. See Miss Hamilton's version of "Old Brass Wagon," Jour. Am. Folk-lore, VOL. XXVII, p. 293. All Go Down to Rowser's ^ 3HM j j'j j J. J J'l m =fr *= ^g We'll all go down to Row-ser's, to Row-ser's,to Row-ser's, We'll .hJ. J|J J'UJir r all go down to Row-ser's/Toget some la-ger beer, Sweet la-ger beer, J'H+ J'|J J- U J'J sour la-ger beer, Court'sy to your part-ner, Swing a-roundyour J'J .hJ. r p I J a. Ia-dy, Go back and get your part-ner,And swing a-round a - gain. 1. We'll all go down to Rowser's, to Rowser's, to Rowsers We'll all go down to Rowser's, to get some lager beer. 7 2. Sweet lager beer, 3 sour lager beer, 4. Court'sy to your partner, 5 swing around your lady, 6. Go back and get your partner, And swing around again. 7 If a second stanza is desired the last four lines remain the same, but the flrst two are changed to read as follows: O never mind the old folks, O never mind the old folks. O never mind the old folks. They're in bed asleep. Miss Ethel Ballman, Versailles, Ind, THE PLAY-PARTY IN INDIANA. 23 b. Two couples play this. They join hands to form a circle, the partners facing each other. At 1, they circle around to the left. At 2, partners cross their right hands making a "star." 8 Repeat, forming the "star" with the left hands. At 4, the boys bow, the girls courtesy. At 5, each boy swings the girl- next to him, and then 6 swings his own partner. This is also a game for eight, and as such it is danced with rather complex figures. This, like the dance of "Weevily Wheat," is not considered proper for church members. c. This was well known by children fifteen years ago. The basement of the school house at Versailles was always crowded with players as soon as the teachers left at noon, and also at recesses when there was least danger of discovery. At the same time it was well known as a play-party game and as such it continues to be popular today. d. G. M. Miller (University Studies of the University of Cin- cinnati, vol. 1, p. 31) speaks of this game in connection with others which we shall give in detail later. "Some of the songs used in Indiana were very old, while others were comparatively recent in origin. The song for the Virginia reel was probably as old in parts as the original of the dance itself, the old Sir Roger de Coverly contra dance. Others going pretty far back were Weevily Wheat and Pop Goes the Weasel, while Captain Jinks and We're Marching Down to Rauser's (evidently a German saloon-keeper who kept 'good beer') were more recent." e. Other variants are published in Cur. Lit. vol. 30, pp. 350-51 (Robinson, Folk Music), and in Jour. Am. Folk-lore, vol. XXIV, p. 298 (Mrs. Ames, Missouri Play-party). The melody known in Ripley County is practically the same as that given by Mrs. Ames. The words are quite different, for her version has five stanzas and something of a ballad situation. She gives also the words to the song, "My Father and Mother Were Irish," which are the same as those of the play-party game in Indiana, and likewise the music to this game is the same as in "All Go Down to Rowser's." Miss Hamilton's variant in Jour. Am. Folk-lore, vol. XXVII, p. 290, corresponds most closely to the one given above. 8 Each boy raises his partner's hand to his lips as if it were the beer glass. 24 A. B. J. THE PLAY-PARTY IN INDIANA. Billy Boy Mrs. Allie B. Jackson, Versailles, Ind. J J' J ''Oh where haveyou been, Bil - ly Boy, Bil-Iy Boy, Oh J where have you been, charm-ing Bil - ly?" "I have J J.' .H I J ' > J been lo see my wife, She's the dar-ling of my life, She's a Ji Jllj! J. j' j' young thing and can not leave her mom-my-" a. "Oh where have you been, Billy Boy, Billy Boy, Oh where have you been, charming Billy?" "I have been to see my wife, she's the darling of my life, She's a young thing and can not leave her mommy." "How old is she, Billy Boy, Billy Boy, How old is she, charming Billy?" "Twice six, twice seven, twice forty and eleven, She's a young thing and can not leave her mommy." "Can she bake a cherry pie, Billy Boy, Billy Boy, Can she bake a cherry pie, charming Billy?" "She can bake a cherry pie quick as cat can wink its eye, She's a young thing and can not leave her mommy." "Can she make a feather bed, Billy Boy, Billy Boy, Can she make a feather bed, charming Billy?" "She can make a feather bed, with the pillows at the head, She's a young thing and can not leave her mommy." "Did you ask her to wed, Billy Boy, Billy Boy, Did you ask her to wed, charming Billy?" "I did ask her to wed, and this is what she said, 'I'm a young thing and can not leave my mommy!' b. This is merely sung as a dialogue, the woman or girl question- ing and the boy answering the questions. It has no dance, so far as I can find. It is, however, a traditional folk-song and is dramatic. THE PLAY-PARTY IN INDIANA. d. Miss Louise Pound writes of it as follows: "Especially well known is the vivacious piece, in dialog form, in which 'Billy Boy' responds to the questions as to his courting. He is asked whether she can make a cherry-pie, a feather bed, a loaf of bread, can milk a 'muly cow,' and so forth and gives humorous replies." (Jour. Am. Folk-lore, vol. XXVI, pp. 356-7.) "I have been to see my wife," in the variant given above is certainly a corruption of "I have been for a wife." Halliwell. Nursery Rhymes. 6th edition, pp. 226-27. Rimbault. A Collection of Old Nursery Rhymes, pp. 34-35. Halliwell. Popular Rhymes and Nursery Tales, 1849. pp. 259-60. Baring-Gould and Sheppard. A Garland of Country Song, 1895, p. 83. Baring-Gould. A Book of Nursery Songs and Rhymes. 1895, pp. 36-39. Ideal Home Music Library, vol. X, p. 213. I have heard this same song from persons who learned it in Texas, Illinois and Kentucky. Black the Boots Miss Rena Bushing Mrs. Leslie Beall, Versailles, Ind Black the boots and make 'em shine, A Goodby, A Goodby, Black the boots and make 'em shine, AGoodbyLi-za Jane. O, how I love her, 'Aint that a a. shame? O, how I love her, A Goodby Li - za Jane. 1 . Black the boots and make 'em shine, (A) Goodby, a Goodby, Black the boots and make 'em shine, (A) Goodby Liza Jane. 26 THE PLAY-PARTY IN INDIANA. Refrain 2. O, how I love her, 'Aint that a shame? 3. O, how I love her, 4. (A) Goodby Liza Jane. b. Circle dance for two couples. Join hands to form a circle, partners facing each other, and circle left during 1. At 2, partners cross their right hands to form a "star." At 3, each boy swings the girl at his right. At 4, partners swing. c. The words were given by Miss Rena Bushing of Johnson Tp. Mrs. Frank Brinson, Correct, Ind. gives the variation, "Black your boots" for the first line. d. The play-party song given by Miss Hamilton (Jour. Am. Folk- lore, vol. XXIV, p. 296) as "So Goodby Susan Jane," resembles this, but it has three stanzas and a chorus. The ballad, "Liza Jane," from North Carolina (Jour. Am. Folk-lore, vol. VI, pp. 133-34) is long and resembles this game in name only. The play-party game which Mrs. Ames calls "Shiloh" (Jour. Am. Folk-lore, vol. XXIV, p. 317) has the same refrain as this and the music is of the same rhythm though with different intervals in the melody. I am told by a girl from Louisiana that this is a children's game there, and by another informant that it is a well known ballad in Dallas, Texas. THE PLAY-PARTY IN INDIANA. Captain Jinks. 27 Mrs. Leslie Beall, Ver*ailles, Ind. J J.' k S i^*^^l-^ Cap - lain Jinks came home last night, Gentle-man pass - es jj to the right, Swing your Ja - dy very po - lite, J that's the style in the arm - y Go to your part-ner and $L}> ji J |j) prom - e -nade, prom- e -nade, prom-e -nade, Go to yourpartnerand * J) J[~ft~~^ I J> ^) J .M I J ^^ nrom - e - nade, For that's ti.~ style in the arm - y. The following is the refrain as I knew it in 1905. Join hands and circle to the left, circle to the left, circle to the left, 3=F= jj|i.h J' Ji J> } IJ J- Join hands and circle to the left, For that's the style in the arm - y. a. Captain Jinks came home last night, Gentleman passes to the right, Swing your lady very polite, For that's the style in the army. Go to your partner and promenade, promenade, promenade, Go to your partner and promenade, for that's the style in the army. As I played the game at school ten years ago, it had the stanza of the preceding and the chorus of the following variant. 1 . Captain Jinks came home last night, 2. Pass the lady to the right. 3. Promenade with all your might, For that's the style in the army. 4. :A11 join hands and circle to the left : Three times : For that's the style in the army. Miss Fannie Stewart, Shelby Tp. 28 THE PLAY-PARTY IN INDIANA. Another variant is that of Miss Alice Delay, Brown Tp. Captain Jinks came home last night; He clapped his hands with all his might, Brings his lady to the right, For that's the style in the army. Refrain :Join hands and circle left : 3 times For that's the style in the army. Captain Jinks came home last night, The gentleman passes to the right, And swings his lady once around, For that's the style in the army. b. The manner of playing necessarily varies with the words. Circle dance for any number of couples above two. All join hands and form a circle, each girl being two places to the right of her partner. At 1, circle left. At 2, all drop hands; the boys face to the right, girls to the left. Each boy with his left hand takes the left hand of the girl at his right, passes her, and at 3, reaches his partner with whom he promenades. At 4, all return to original positions. The figure below represents the position at the end of 3 (x-boys, o-girls). In order to recover the original position each boy moves back to the left of the girl behind him, as lines x to x show. c. G. M. Miller (Univ. Stud, of Univ. of Cincinnati, vol. 1, p. 31) refers to this as being more recent than "Weevily Wheat" and "Pop Goes the Weasel." d. Mrs. Ames' variant (Missouri Play-Party, Jour. Am. Folk- lore, vol. XXIV, p. 308) is longer, and is evidently more complex in figure. The words resemble those which were known in a New THE PLAY-PARTY IN INDIANA. 29 England ballad of this name, during the early seventies. It seems probable that this game had its origin in a Civil War rhyme. Mr. Edwin F. Piper (Some Play-Party Games of the Middle West. Jour. Am. Folk-lore, vol. XXVIII, p. 285) gives another variant. An interesting variant is this ballad which Miss Bessie E. Harvey learned in Pennsylvania. When I was young Mamma she cried, Mamma she cried, Mamma she cried, When I was young Mamma she cried, "You're not brought up for the army." But I'm Captain Jinks of the horse marines, I feed my horse on corn and beans, I know it is beyond my means, But I'm Captain Jinks of the army. The melody is the same as that given above. A longer ballad version is given in the Ideal Home Music Library, vol. X, p. 127, and still another in Heart Songs, p. 54. Chase the Buffalo. a. Come to me, my dearest dear, And present to me your hand, And we'll march around together, :To the far and better land : 3 times And we'll march around together, To the far and better land. And we'll chase the buffalo, And we'll chase the buffalo, And we'll march around together, To the far and better land. Mr. R. H. Stone, Jay Co., Ind. Of this variant my informant, Miss Alice Delay (Brown Tp.) says, "I think this is about the same as 'Chase the Buffalo.' ' Rise ye up, my dearest dear, And present to me your hand, For I meet you, and I greet you, In a far and better land, Where the hawk caught the buzzard, And the buzzard stubbed his toe, We will rally through the corn, Break and shoot the buffalo, 30 THE PLAY-PARTY IN INDIANA. Break and shoot the buffalo, We will rally through the corn, Break 9 and shoot the buffalo. The following variant comes from Miss Fannie Stewart of Shelby Township. She says, ''This is another of the old favorites." Come to me, my dearest dear, And present to me your hand. We'll travel in pursuit, . Of some far and better land. The boys will plow and mow, And the girls will knit and sew, We'll travel through the corn-brake, And shoot the buffalo. 10 d. Miss Delay's variant resembles that of Mrs. Ames (Missouri Play-Party, Jour. Am. Folk-lore, vol. XXIV, p. 301) but does not describe the hunt so completely. Miss Goldy M. Hamilton (Play-Party of Northeastern Mis- souri, Jour. Am. Folk-lore, vol. XXVII, p. 300) gives another variant. J. A. Perrow (Jour. Am. Folk-lore, vol. XXVI, p. 137) prints another variant. Chase the Squirrel. Mrs. William Robinson, Versailles, Ind. j.uUL j Now's the time to chase the squirrel,Now's the time to chase thesquirreJ ' p P p pip p p .hj j i Now'sthetime to chase the squirrel, Q n a cold and frosl-y morn-ing. a. 1 . Now's the time to chase the squirrel, Now's the time to chase the squirrel, 2. Now's the time to chase the squirrel, This cold and frosty morning. 3. Up and down the centre we go, Up and down the centre we go, Up and down the centre we go, 9 Corn-brake is a very unusual term in this locality and this probably accounts for this queer interpretation of the word. 10 See "Hunt the Buffalo." THE PLAY-PARTY IN INDIANA. 31 This cold and frosty morning. 11 4. Catch her and hug her if you can, 12 Catch her and hug her if you can, Catch her and hug her if you can, This cold and frosty morning. Mrs. William Robinson, Versailles, Ind. b. Longways dance for any number of couples over three. The boys stand in a long line facing that of the girls, partners being opposite each other. At 1, the top boy and the top girl take promenade position and walk down through the center to the foot of the lines. At 2, they drop arms, he passes behind her, casts off to the right and walks back to position. At the same time she passes in front of him, casts off to the left and walks back to position. At 3, irrespective of the time of the music, she runs down through the center with him in pursuit of her. She must continue running down the center and casting off to the left until he catches her. At 4, he kisses her and they promenade down the center to position at the foot of their respective lines. Repeat from the beginning with the second couple. Continue repeating until all the players are in their original relative positions. Game. Mrs. Peter Geiling, Laurel, Ind. c.-d. Mr. Newell gives an American children's game of this name, but without any song-. (Games and Songs, pp. 168-9.) This play-party game is perhaps traceable to the morris dance described by Sharp and Macilwaine in The Morris Book (vol. II, pp. 18-19). Miss Hamilton (in Jour. Am. Folk-lore, vol. XXVII, p. 299) gives another variant with a similar melody. Mr. Edwin F. Piper gives practically the same words to this song but the music is different. (Jour, of Amer. Folk-lore, vol. XXVIII, p. 266.) 11 If the runner has not been caught during the singing of this stanza, repeat it, and continue repeating until he (or she) is caught. 12 "Catch her and kiss her if you can," is the older form for this stanza. 32 THE PLAY-PARTY IN INDIANA. Cincinnati Girls, a. This is sung to the tune of "All Chaw Hay on the Corner." Cincinnati girls are coming out tonight, Coming out tonight, coming out tonight. Cincinnati girls are coming out tonight, To dance by the light of the moon. Dance all night, till broad daylight, Broad daylight, broad daylight, Dance all night till broad daylight, And we won't go home till morning. Miss Ruth Flick, Holton, Ind. c. Stanza 1 of this is almost identical with the "Michigan Girls," which Mr. Piper (Jour. Am. Folk-lore, vol. XXVIII, p. 283) calls a Virginia Reel. The words of this game agree closely with the chorus to a ballad, "Buffalo Gals," given in "Heart Songs," p. 366. The melodies show little resemblance. This is probably a local game of recent origin for it seems to be known only in a very few neighborhoods. I say local, because of the fact that Cincinnati is only about fifty miles away, and is also the largest city which is known to most of the people of Ripley County. Though the tune connects this game with "All Chaw Hay on the Corner," the words, "We won't go home till morning," 13 have perhaps been suggested by those of "All Go Down to Rowser's." d. "Buffalo Girls" of Miss Hamilton's collection (Jour. Am. Folk- lore, vol. XXVII, p. 313) is quite similar. 13 Tune, "We Won't Go Home Till Morning." C. J. Sharp. Country Dance Book. THE PLAY-PARTY IN INDIANA. 33 Coffee Grows in a White Oak Tree. Mrs. Leslie Beall, Versailles, lud. Cof - fee grows in a white oak tree, The riv - er flows sweet i- J 1 bran-dy-o. Go forth and choose the one that you Love best,to Ji roam with you. Two in the cen - ter and you > ji Ji better get a - bout, Two in the cen - ter and you bet - ter get a - bout, Two in the cen - ter and you =_h J I h Ji J) ' h I i i a. bet - ter get a -bout, Swing those la -dies round you 1. Coffee grows in a white oak tree, The river flows sweet brandy-o, Go forth and choose the one that you Love best, to roam with you. 2. Two in the center and you better get about, Two in the center and you better get about, Two in the center and you better get about, Swing those ladies round you. 3. Four in the center and you better get about, etc. 4. Six in the center and you better get about, etc. 5. Eight in the center and you better get about, etc. 6. Ten in the center and you better get about, etc. 7. Eight in the center and two step out, etc. 8. Six in the center and two stp out, etc. 9. Four in the center and two step out, etc. 10. Two in the center and two step out, etc. Miss Rena Bushing, Johnson Tp. 34 THE PLAY-PARTY IN INDIANA. Miss Agnes Taylor of Herne, Texas, has given us an interesting variant, especially if taken in connection with that of Mr. Newell. Several of the play-party games, or at least certain stanzas of them, seem, like this, to have been invented for the purpose of relieving the embarrassment at the end of the evening. Coffee grows on the white oak top, The river flows with brandy, Choose the one to go home with you, And feed 'em on 'lasses candy. b. All of the young people stand around the outside of the room, but not in a circle. During 1, one boy skips to the right, making a complete circle, in the center of the room. At 2, he chooses a partner and together they promenade making a complete circle to the right. At 3, this couple chooses a new couple to enter the center with them, and the four make a figure 8 in this way. Boy 1 is in the center facing down and girl 1 is in the center facing up. Boy 1 takes his partner's right hand and passes her by the right. He proceeds to trace the lower half of the figure 8 while she traces the upper half of it. (The walking step is used.) At the start boy 2 is at the top following boy 1, and girl 2 is at the bottom following girl 1. All simultaneously make a complete figure 8, boy following boy, and girl following girl, the boys and the girls going in opposite directions. Partners always meet at the center, and there the boy takes the right hand of the girl and passes her by the right. When he meets the "opposite" girl he takes her left hand and passes her by the left. THE PLAY-PARTY IN INDIANA. 35 At 4, all are in the same position as at the beginning of the figure. The couple which entered the center last chooses from the crowd a third couple. The initial position now is this: Repeat the figure with six. Each boy regards the girls who are not partners to him as ''contrary" girls. At 5, another couple is chosen. Repeat the figure with eight, the initial position being: At 6, repeat with ten. At 7, the first couple drop out of the center and return to their original places in the crowd. Repeat the figure with eight. Likewise at 8 repeat with six players, at 9 with four. Finally, at 10, the last two promenade in a circle to the right and take their original places. 36 THE PLAY-PARTY IN INDIANA. Cuckoo Waltz. Mrs. Leslie Beall, Versailles. Ind. Pif * *-+* ) JI _) I Three times round the cuckoo waltz, Three times round the cuck-oo waltz , Three times round the cuck-oo waltz, Love- ly Su - sie Brown. J) , Fare thee well, my charming girl, Fare thee well, I'm gone. J; Ji Fare thee\vell,my charming girl,With gold -en slip -pers on. a. 1 . Choose your pard as we go round, Choose your pard as we go round, Choose your pard as we go round, 2. We'll all take Susie Brown. 3. Fare thee well, my charming girl, 4. Fare thee well, I'm gone, Fare thee well, my charming girl, With golden slippers on." The following variant, from Miss E. F. Laud of the southern part of the county, shows how unfamiliar words are replaced by modern popular ones. :Choose you a pard as we go round: 3 times And I'll take Susie Brown. :Three times around a goo-goo waltz: 3 times And I'll take Susie Brown. Fare-a-well, my darling girl, Fare-a-well, I'm gone, Farewell, my darling girl, With the golden slippers on. 16 b. Circle dance for any number of players, above nine. 14 Directions for the game are given in the order indicated at the left but this order is not essential. 15 The last stanza of this is played as a game in itself by the young people near Versailles. THE PLAY-PARTY IN INDIANA. 37 A boy and girl stand in the center. All of the others (irre- spective of partners) circle to the left around them, during 1. At 2, the girl chooses a boy, the boy a girl, and all four stand in the center. At 3, the two couples in the center form a circle, each boy opposite his partner. Partners cross hands forming a "star" and circle left. Repeat with left hands and circle right. At 4, each of the boys in the center swings the contrary girl, then waltzes 16 with his partner, while that stanza is repeated. c. This game like most of the games which belong exclusively to the young peoole, is of American origin, so far as we can find. 16 This may seem to discredit the time of the melody but I think it is not a serious inconsistency. The music might easily be turned into 3-4 time for the last stanza and this is not so unusual. By accenting the first and third counts of the measure as it stands and by pausing on these, the change is practically accomplished. Another informant says that the two couples in the center two-step. Both statements, I think are probably true to the game as it is played in each particular locality. 38 THE PLAY-PAUTY IN INDIANA. Dem Golden Slippers. Mr Mort. McCoy, Sharpsvillc, I ml. iJ J Ah, Good-by,chil-dren, I have for to go Where the J J Ji > U J rain don't fall, nor the wind don't blow, So your J J J- J |J J J ul - ster coat you will not need, When you p ride up to the char - iot in the morn - ing . J> ;. ij. O dcm gold- en slip - pers, O dem gold- en slip - pers, Ji . Gold - en slippers I'se a-gwine to wear, Be - cause they look so neat, Hal - le - lu - jah, O dem gold - en slip - pers, O dem gold - eff slip - pers, Gold - en slippers, I'se '= | a. gwine for to wear, To wear on the gold - en street. Ah, Goodby, children, I have for to go, Where the rain don't fall nor the wind don't blow, So your ulster coat you will not need, When you ride up to the chariot in the mornin'. But your golden slippers must be nice and clean, And your age musj be just sweet sixteen, Your white kid gloves you will not need. When you ride up to the chariot in the mornin'. THE PLAY-PARTY IN INDIANA. 39 Chorus O, dem golden slippers, O, dem golden slippers, Golden slippers I'se a-gwine to wear, Because they look so neat, Hallelujah, O, dem golden slippers, O, dem golden slippers, Golden slippers I'se gwine for to wear, To wear on the golden street. l7 b. Longways dance for any number of couples above three. The figures are identical with those of "Weevily Wheat." The order in which these are taken is varied at pleasure. It will be noticed that in each division of this song there are seven strong accents, the same as in "Weevily Wheat." The entire stanza, together with the chorus are equivalent in this game to three stanzas of "Weevily Wheat." Down in Jay Bird Town. Blue bird, blue bird, flew in the win - dow, J 1 J) J 1 Blue bird,blue bird, flew in the win-dow, Blue bird,bluebird, flew in the win - dow, Down in Jay Bird town. a. Blue bird, blue bird, flew in the window, Blue bird, blue bird, flew in the window, Blue bird, blue bird, flew in the window, Down in Jay Bird town. I knew it was her by the jingle of the window, I knew it was her by the jingle of the window, I knew it was her by the jingle o? the window, Down in Jay Bird town. b. The game is the same as that of "Skip-to- My-Lou." 17 Stair is a common substitute for the word street. 40 THE PLAY-PARTY IN INDIANA. The following melody was very popular as a ''fiddler's tune" twenty years ago, but it differs very little from that of the play- party game. Down the River. A. W. Mason, Columbus, Ind. \\ >i J The riv-er is up and the channel is deep, And the waves go steady and strong, Aswe go 'long, as we go 'long, As we gomarchinga 1 1> J J 1 i J N S J i 1 \ h. ' \ ' \ 1 fn J - J 3- [ ) J J long Down the river,oh down the riv-er, Down the river we =3 go. Down the river, oh down the riv-er, Down the O -hi - o . a. The river is up and the channel is deep, Goodby, a goodby, The river is up and the channel is deep, Goodby Liza Jane. This may be merely a stanza from "Black the Boots", but it has a game of its own. The following variant comes from Jay County, Indiana, and was contributed by Mr. R. W. Stone. It is also a play-party song. The river is up, and the channel is deep, And the waves go steady and strong, As we go 'long, as we go 'long, As we go marching along. Down the river, oh down the river, Down the river we go, Down the river, oh down the river, Down the Ohio. THE PLAY-PARTY IN INDIANA. 41 b. Longways dance for three or more couples. All form in two lines, boys in one and girls in the other, with partners facing. The first boy and the last girl walk to the center, swing, retire and then each swings the player next on his partner's left. Repeat until the first boy has swung all of the girls and the last girl a 1 ! of the boys. Both return to their original positions. The first couple meet and promenade down the center, taking position at the bottom of their respective lines. Repeat from the beginning and continue repeating until all of the players are in their original relative positions. Words and game. Mr. John Underwood, Brown Tp. d. Edwin F. Piper: Some Play-Party Games of the Middle West. Jour. Am. Folk-lore, vol. XXVIII, p. 267. Down to New Orleans. a. I went down to New Orleans (Orlenz), But I did'nt go there to stay. I stuck my head in a feather bed, And could'nt get away. Fare ye well, my dearest dear, Fare ye well my darling, Fare ye well, my dearest dear, With the golden slippers on. Mr. R. W. Stone, Jay Co., Ind. c. The refrain to this will be recognized as being practically the same as that to "Cuckoo Waltz," supra. This song is probably related to the first stanza of the comic ballad, "Polly wolly doodle wolly day." This is well known in Ripley County but seems to be a local rendition. I'm going away to New Orleans, Goodby, my lover, goodby, Goodby my lover, goodby. 18 FARE THEE WELL. This game has only a fragment of the stanzas to "Cuckoo Waltz." 18 Ideal Home Music Library, X: 142. 42 THE PLAY-PARTY IN INDIANA. Farmer in the Well. J. The far-mer in (he well, The far-mer in the well, r p p High-o, mer- ry - o, The far- mer in the well. It is only for the sake of completeness that I include this game. Miss Hofer (Children's Singing Games, page 20) gives the same melody. Newell (Games and Songs of American Children, p. 129) gives practically the same tune and words as belonging to the New York game. That of Hornby (Joyous Book of Singing Games, p. 64) is nearly the same. Mrs. Gomme (Trad. Games, vol. II, p. 420) prints a similar game, "The Farmer in His Den," from Auchencairn, N. B. a. 1 . The farmer in the well, The farmer in the well, High-o merry o, The farmer in the well. 2. The farmer takes a wife, etc. 3. The wife takes a child, etc. 4. The child takes a nurse, etc. 5. The nurse takes a dog, etc. 6. The dog takes a cat, etc. 7. The cat takes a rat, etc. 8. The rat takes the cheese, etc. 9. The cheese stands alone, etc. b. All the players except one, join hands to form a circle, anil circle left, during stanza 1. One stands in the center. At 2, the dancing and singing stop while the person in the center (the farmer) chooses from the circle, one who is to play the part of wife. The person chosen enters the center. Repeat the figure from the THE PLAY-PARTY IN INDIANA. 43 beginning and at the end of this second stanza, the person, who has entered the center last, chooses the one who is next to enter. Continue repeating the figure of the game with each new stanza, c. The refrain in Texas is "High-o-cherry-o," and in Louisiana, "High-o-Maderio," instead of "High-o-merry-o." "The Farmer in the Dell," is popular as a school-ground game for little children in Ripley County now, but as I knew it, it was "The Farmer in the Well." This is printed as a song game in "Graded Games and Rhyth- mic Exercises" by Marion B. Newton, p. 9. Getting Married. 1 . Here stands a young couple Joined heart and hand. It's he wants a wife And it's she wants a man. So married they will be If they can agree, 2. And march down this aisle In peace and harmony. 3. Now they are married, Since it is so, Away to the war He must go. 4. Here conies my true love, And "How do you do And how have you been Since I last saw you?" 5. The war is o'er And peace upon the land. We will give them welcome By the raising of our hand. Mrs. Peter Geiling, Laurel, Ind. b. Longways dance for any number of couples over three. Boys stand in line opposite that of the girls, each boy facing his partner. At 1, the top couple take promenade position and during the singing of 2, promenade down through the center. At 3, she casts off to the left, he to the right and they walk slowly and mournfully back to position. At 4, they meet at the top of the lines, shake hands and kiss. At 5, each couple (excepting couple 1) advance a step, join hands and raise them high to form 44 THE PLAY-PARTY IN INDIANA. an arch. The first boy and girl then promenade down through the center under the arch and take pos : tion at the foot of their re- spective lines. Repeat from the beginning with the second couple and continue repeating until all of the players are in their original relative positions. d. Other variants are to be found in W. W. NewelPs Games and Songs of American Children, No. 10, and in Jour, of Amer. Folk- lore, vol. XXVIII, p. 275. Getting UpStairs. Mrs. Leslie Beall, Versailles, Ind. First younggent with the right hand round .Back to the left and swing clear a-roundwinghertothecen-ter and we'll all join hands]Such a get-ting up-stairs.l never did see. Such a getting up-slairs.it don't suit nu a. 1 . First young gent with the right hand around, 2. Back to the left, and swing clear around. 3. Swing her to the center and we'll all join hands. 4. Such a getting upstairs, I never did see, Such a getting upstairs, it don't suit me. 5. The lady swings out, the gent swings in, All hands up and going again. 6. Such a getting upstairs, I never did see, Such a getting upstairs, it don't suit me. 7. Balance all, swing, oh swing, Swing your partner and we'll all run away. 8. Such a getting upstairs, I never did see, Such a getting upstairs, it don't suit me. Miss Rena Bushing, Johnson Tp. Variants in this county are similar, but as the movements indicated are particularly interesting, in this game, I give them in full. THE PLAY-PARTY IN INDIANA. 45 First young gent lead out to the right, Right hand lady with left hand swing, Partner in center and seven hands ring, Lady swing out and gent swing in, Seven hands up and gone again, Such a getting upstairs, I never did see, Such a getting upstairs, it don't suit me. Miss Alice Delay, Brown Tp. First gent swing by the right hand round, Back by the left and swing clear around, And swing her to the center and all hands around. Such a getting upstairs, I never did see, Such a getting upstairs don't suit me. The lady swing out, the gent swing in, All hands up and go again. Such a getting upstairs, I never did see, Such a getting upstairs, it don't suit me. Balance all, swing oh swing, All hands up and in a ring, Such a getting upstairs, I never did see. Such a getting upstairs, it don't suit me. Miss E. F. Laud, Southern part of county. b. All have partners and form a circle. One couple enters the center. They join right hands and swing to the left, while singing 1. At 2, the couple join left hands and swing around to the right. At 3, the girl stands still in the center while the boy joins hands with those in the circle, and with them circles to the left while singing 4. At 5, the girl swings out of the center into the circle, and the boy swings into the center. At 6, he joins the circle and all are in their original positions. All join hands above their heads and circle around to the left. At 7, partners swing. At 8, all promenade. Repeat from the beginning with the next couple at the right and continue repeating until each couple has been in the center, d. It is interesting to find "Hunt the Squirrel" and "Getting Upstairs" as morris dances in "The Morris Book" of Sharp and Macilwaine (ii, pp. 18-19). We have also the game, "Hunt the Squirrel" (Newell, pp. 168-69), but it has no music. This play-party game, "Getting Upstairs," may be connected with the English dance of that name. The movements are not very different. The unusual complexity of this in comparison with most of the other games also suggests that a relationship exists. THE PLAY-PARTY IN INDIANA. , The Girl I Left Behind Me. Miss Ethel Mailman, Versailles, Ind. Jl Ji if On to the next, and bal - ance four, And bow to them so kind - ly, Oh swing that girl, that pret-ty lit - tie girl, Oh the girl I left be P^ hind me, She's pretty in the face, and Jl J> Jl f slim a -round the waist, Oh the girl I left be - hind me. On to the next, and balance four, And bow to them so kindly, Oh swing that girl, that pretty little girl, Oh the girl I left behind me. She's pretty in the face, and slim around the waist, Oh the girl I left behind me. 1 . First gent swing his opposite lady, Swing her by the right hand, 2. Swing your partner by the left, And promenade the girl behind you. 3. Oh the girl, the girl, the pretty little girl, The girl I left behind me. She stole my heart and away she ran, Away down in South Carolina. b. Circle dance for any odd number of couples above two. All join hands to form a circle, each boy being at his partner's left At 1, one boy skips across and swings the girl opposite him (i. e., he takes her right hand with his right and each traces a complete circle by taking four steps and circling right). He then skips back across the circle to his partner. At 2, each boy swings his partner by the left hand, circling to the left. During 3, THE PLAY-PARTY IN INDIANA. 47 each boy takes one step backward and promenades with the girl behind him. Repeat from the beginning with new partners. Continue repeating until all are in their original relative positions. The words change to agree with the dance. Hence, stanza 2: Next gent swing his opposite lady. d. The words of this game correspond rather c'osely to those printed by Miss Goldy Hamilton. (Jour. Am. Folk-lore, vol. XXVII, p. 297). The variant from Nebraska (Jour. Am. Folk-lore, vol. XXVII, p. 281) has more of the suggestion of the ballad. 19 Mr. Edwin F. Piper prints a variant, which is much longer and the reference to the "Lincoln boys," suggests that it was in in some way related to a Civil War ballad. (Jour. Am. Folk-lore, vol. XXVIII, p. 286.) It is interesting historically, to find this title, "The Girl I Left Behind Me" as the name of the traditional air which was the tune to the Kirkby Malzeard Sword dance. It is otherwise known as "Brighton Camp." (C. J. Sharp. Sword Dances, page 40.) Go in and out the Windows. JM* K fe^-S-J 1 J, tf We're marching round the lev-y, We're marching round the lev- y, We're march- ing round the lev - y, For we have gained the day. 1. : We're marching round the levy, : 3 times For we have gained the day. 2. :Go in and out the window, : 3 times For we have gained the day. 3. :Go forth and choose your lover, : 3 times For we have gained the day. 19 The ballad of this name, printed in "Heart Songs," p. 66, is dissimilar to the words and music given above. 48 THE PLAY-PARTY IN INDIANA. 4. :I kneel because I love you, : 3 times For wo have gained the day. 20 5. :I measure my love to show you, : 3 times For we have gained the day. 6. :One kiss before I leave you, : 3 times For we have gained the day. b. 1. All join hands and circle left. One player leaves the ring and winds in and out under the clasped hands of the players. He aims to make a complete circuit by going under every arch of clasped hands (i. e. in and out every window) during the singing of 2. At the same time those in the ring are circling left. At 3, they stand still while the one who has gone under the arches chooses a partner and stands facing her. At 4, he kneels before her. At 5, while still kneeling, he measures with his arms or his fingers the extent of his love. At 6, he kisses his chosen partner and takes the place at her left in the ring. The person whose place he has taken is the next to "go in and out the windows." The game may be repeated indefinitely. c. This game is very widely known among the children, and is also a popular play-party game. d. Variants are found in a number of books and magazine articles. Jour. Am. Folk-lore, vol. XXIV, pp. 306-7. Jour. Am. Folk-lore for 1914, p. 250, The Game "Go in-dang- out de Window" was played by negroes many years ago. Mari Ruef Hofer. Children's Singing Games, p. 16. Notes and Queries. XXVII, pp. 252-5. John Hornby. The Joyous Book of Singing Games, p. 39. Jour. Am. Folk-lore, vol. XXVI, p. 138. 20 The last three stanzas are often sung' by the hoy alone. In that case the last line of each stanza is "For I have gained the day." S. B. THE PLAY-PARTY IN INDIANA. 49 Go to Boston. Mrs. Susan Ballman. Versailles, Ind. Now, boys,) ou may go to Bos-ton, Now,boys,,you may goto Bos-ton, p J No\v,boys,youmay go to Bos-ton, So ear - ly in the morn-ing. a. 1 . Now boys you may go to Boston, Now boys you may go to Boston, 2. Now boys you may go to Boston, So early in the morning. 3. :Now girls you may go to Boston, : 3 times So early in the morning. 4. :A11 together we'll go to Boston, : 3 times So early in the morning. b. Longways dance for any number of couples above two. Boys stand in line facing a corresponding line of girls, partners opposite. During 1, the top couple meet and promenade down the center and at 2 they retrace their steps backward to position. Alternate stanzas 1 and 2. Repeat with couple 2 performing the figure. Continue repeating until the couples in the upper half of the lines have gone through the figure. Continue repeating with the couples from the bottom half of the line, the direction of the promenade being reversed. At 4, all partners promenade in a straight line, trace a rectangle and come back to position. Green-Leaf. Miss Rena Bushing. Mrs. Leslie Beall, Versailles, Ind. On to the next and cir-cle four,Green-leaf so green,Right handcross'd^lw fe^ * ^3 ^^ Hi ' J m *=$= F == ^ =1 left hand back, You knowver-y well what I mean. 50 THE PLAY-PARTY IN INDIANA. a. 1 . On to the next and circle four, Green-leaf so green, 2. Right hand crossed, 3, the left hand back, You know very well what I mean. 4. Swing her by the left, 5, swing her by the right, Green-leaf so green, 6. Balance all and swing her all about, You know very well what I mean. b. The players stand in couples around the room, each girl being at the left of her partner. At 1, two adjacent couples enter center and face each other, the boys being opposite each other. They circle left. At 2, the two girls cross right hands and at 3, the two boys cross left hands. The first couple then falls back to original position and the second couple passes on to the next couple at the right who enter the center. At 4, the two couples face, the boys being opposite each other. Each boy takes the right hand of his partner and swings, then, at 5, the left hand of the contrary girl and swings. At 6, the couples are again facing each other. The girls turn left, the boys right; each boy takes the right hand of his partner and passes her by the right; he then takes the left of the contrary girl whom he passes by the left. The second couple then return to their original places and the figure is repeated with the third and fourth couples. Continue repeating until every couple has been in the center. THE PLAY-PARTY IN INDIANA. Hay-o-My-Lucy-o 51 Miss Ethel Ballman, Versailles, Ind. f !. g r ^-^3 K > . , ffi^* r =ft= j' j =1 Lfc=J 3 Hay - o - my - Lu - cy - o, Bon- nie, bon - nie, I'd give this world and all I know, To change and swing my Lu - cy - o Here we top - sy - tur - vey, Round the room we go. Hay > Change and swing my Lu - cy - o . Boys 1. Hay-o-my-Lucy-o, bonnie, bonnie Lucy-o, sing. I'd give this world and all I know, 2. To change 21 and swing my Lucy-o. All 3. Here we go topsy-turvy, sing. Round the room we go, hay-o-Lucy-o, 4. Change and swing my Lucy-o. Mrs. Harry Danaker, Splashville. b. Eight couples play this. Two lines are formed facing each other. In one line there is a boy, then a girl, then a boy, etc., in the other line a girl, then a boy, then a girl, etc., in such a way that partners are opposite each other. During 1, each boy pre- tends to be very much interested in the girl at his right, but all the time he is slyly winking at the girl opposite him. At 2, he lets go of the arm of the girl at his right and jumps over to the opposite line and swings his partner. During 3, the partners promenade, and at 4, partners swing. 21 It is sometimes sung "To get to swing my Lucy-o." 52 THE PLAY-PARTY IN INDIANA. Miss Ethel Ballman, Versailles, gives the above melody and the following additional stanzas: Hay-o-my-Lucy-o, my Lucy-o, my Lucy-o, Hay-o-my-Lucy-o, my little Irish gal. I went to see my Lucy-o, my Lucy-o, my Lucy-o, I went to see my Lucy-o, my little Irish gal. Here Come Four Dukes A-Riding. Here come four dukes a- rid - ing,' a - rid -ing, a - rid - ing, Here come fourdukes a - rid - ing, Tis a ma tas a ma tee. a. Boys 1. Girls Bovs Girls Boys Girls Here come four 22 dukes a-riding, a-riding, a-riding 2, Here come four dukes a-riding, Tis a ma tas a ma tee. What are you riding here for, here for, here for? What are you riding here for? Tis a ma tas a ma tee. We're riding here to get married, married, married, We're riding here to get married, Tis a ma tas a ma tee. Please take one of us, sir, us sir, us sir, Please take one of us sir, Tis a ma tas a ma tee. You're all too black and dirty, dirty, dirty, You're all too black and dirty, Tis a ma tas a ma tee. 23 We're just as clean as you are, you are, you are, We're just as clean as you are, Tis a ma tas a ma tee. 23 22 Any number may be used but it is ordinarily three or four. 23 Well known variations which are substituted for these two stanzas are: "You're all as stiff as pokers," and the retort, "We can bow as well as you, sirs." THE PLAY-PARTY IN INDIANA. 53 Boys I think then I'll take you miss, you miss, you miss, I think then I'll take you miss, Tis a ma tas a ma tee,. 24 b. The boys form in line and lock arms. The girls do the same, facing the line of the boys but about six steps from them. At 1, the boys advance with prancing gait toward the girls; at 2, they recede and at 3, advance again; at 4, receding to their former position. The girls then advance and recede from the boys keeping the same time. Stanzas 5 and 6 are dramatic in expression. During the second line of the last stanza each boy takes the arm of one of the girls and skips away with her. 25 c.-d. This is very widely known. Mrs. Gomme (Traditional Games, vol. II, pp. 233-48) gives thirty British versions. 26 Mr. Newell (Games and Songs, pp. 47-50) prints three American versions. As an American game it is known in New England, Ohio, Pennsylvania, West Virginia, New York, Illinois, Missouri, Louisiana, Mississippi, California and Indiana, also in eastern Canada and probably elsewhere. Mrs. Gomme calls attention to a number of features of the game which mark it as being very old. She writes as follows: 27 "In this game ... we have, I believe, a distinct survival or remem- brance of the tribal marriage marriage at a period when it was the custom for men of a clan to seek wives from the girls of another clan, both clans belonging to one tribe It will be seen that there is no mention of 'love' in the game, nor is there any individual courtship between boy and girl. The marriage formula does not appear, nor is there any sign that 'ceremony' or 'sanction' to conclude the marriage was necessary, nor does kissing occur in the game." Further, "There is little doubt that this refrain (with a rancy, tancy tay) represents an old tribal war cry, from which 'slogans' or family 'cries' were derived." She points out that the 24 "With a ransy tansee tee," is quite as commonly known as this line. We played the game also with the ending The fairest one that I can see, that I can see, that I can see. The fairest one that I can see, is pretty Miss come walk with me. 25 At this point there are several variations in playing the game and these add much to its attractiveness. In choosing partners, one boy may choose and take his girl back with him in the duke-line then all advance again the second time, when another boy chooses a wife. Finally, all four boys and the three girls advance, at which time the fourth boy chooses the last girl. 26 The Misses Fuller of Shropshire, England, played this at the Little Theatre. Chicago, March 1914, as one of *iie games t.hev had learned when children. 27 Trad. Games, vol. II, p. 253. 54 THE PLAY-PAUTY IN INDIANA. expression, ''walk with me," or "walk abroad with me," signifies engagement. 28 The numerous variants of the game which are collected in "Traditional Games," give a valuable basis for the study of the changes which time and the numerous singers have made. Mrs. Gomme draws from these the basis for the possible line of de- cadence in the game. If her general outline is correct, then she would explain the additions as "instances of the tacking on of verses from the 'invitation to the dance' or 'May games.' " 29 Of the significance of the line formation we shall have occasion to speak later. Mr. Newell 30 calls this game only a later development of "Three Kings" which is itself a "rude and remarkable variety" of "Knights of Spain." This last is known in a number of forms in Europe "from Latin France, Italy and Spain, to Scandinavian Iceland, from the Finns of the Baltic Coast to the Slavs of Mo- ravia" and was doubtless brought to the United States by the early settlers. 31 Judging from the mercantile negotiations of the courtship, he concludes that "we may be tolerably sure that the first diffusion of the game in Europe dates far back into the Middle Ages." In our game "Here Come Four Dukes," though the mer- cenary character of the courtship is replaced by coquetry, yet the line formation and the distinct separation of the two groups remain. 28 Mrs. Gomme. Trad. Games, vol. II, p. 252. 29 Mrs. Gomme. Trad. Games, vol. II, p. 252. 30 Games and songs, pp. 47 and 46 respectively. 31 Ibid. pp. 38-45. THE PLAY-PARTY IN INDIANA. 55 S. B. Here Comes a Queen from Dover. Mrs. Susan Ballmaii, Versailles, Ind. ^ I J 1 Jl Here comes a Queen from Dov - er, this ver - y night came Dov - er, Shall she be at - tend - ed or )? No be Queen be not of - fend - ed , For ' J- J' * ^ ' , you shall be at-tend-ed, By all the re-spects (hat we owe, we owe, we owe, By all the re spects that we J. j Ij. Ji^iji J J' JMJ 5. Oh, is your bot-tle out, let us see, let us see, Oh, J J is your bot - tie out, let us see, If your ;, j. ;, j bot-tle be not out, We will have an- oth - er bout, So come J' J' J' j, j j, ;, J down and chooseyour las-sie, Let us see who she be, So come J' Jl J, J> Jl J, J, |J j; j down and chooseyour las sie, Let us see who she bo. a. Here comes a Queen from Dover, This very night came Dover, Shall she be attended or no? No be Queen be not offended, For you shall be attended, By all the respects that we owe, We owe, we owe, By all the respects that we owe. Oh, is your bottle out, Let us see, let us see. Oh is your bottle out, Let us see, If your bottle is not out, We will have another bout, So come down and choose your lassie. Let us see who she be, So come down and choose your lassie, Let us see who she be. b. Longways dance. 56 THE PLAY-PARTY IN INDIANA. Here We Go Round the Mulberry Bush. n J .MJ Jr Here we go round the mulberry bush,the mulberry bush, the mulberry bush, 1 1 r --j t- j Here we go round the mul-berry bush, So ear - ly in the morn -ing Here we go round the mulberry bush, The mulberry bush, the mulberry bush, Here we go round the mulberry bush. So early in the morning. 32 The following stanzas are after the same pattern. This is the way we wash our hands, etc. This is the way we wash our clothes, etc. This is the way we go to church, etc. This is the Avay we go to school, etc. A common variation of this has one stanza concerning the work peculiar to each day of the week. In the dance, the children do this work in pantomime. Any new stanzas are usually plcnsing for a time. Here we go round the mulberry bush, etc. This cold and frosty morning. This is the way we wash our clothes, All on a Monday morning. This is the way we iron our clothes, All on a Tuesday morning. This is the way we mend our clothes, All on a Wednesday morning. This is the way we go to call, All on a Thursday morning. This is the way we sweep the house, All on a Friday morning. This is the way we bake our bread, All on a Saturday morning. This is the way we go to church, All on a Sunday morning. 32 Or, "This cold and frosty morning." THE PLAY-PARTY IN INDIANA. 57 b. During the singing of the first stanza the players join hands and circle to the left. While singing the succeeding stanzas each person, in pantomime fashion, shows how the work is done. Any sort of work that can well be illustrated may be the theme of a stanza. c. This is very well known in America. (Newell, Games and Songs, pp. 86-87). d. Mrs. Gomme (Trad. Games, vol. I, p. 404) gives the music. The first and third phrases are identical with ours and the other two are very nearly the same. Other variants are printed in, The Folk-lore Record, vol. IV, p. 174; Halliwell Popular Nursery Rhymes, p. 224; R. Chambers, Popular Rhymes of Scotland, pp. 134-5; Mari Ruef Hofer, Chil- dren's Singing Games, p. 18; Pedersen and Boyd, Folk-Games; Marion B. Newton, Graded Games and Rhythmic Exercises, pp. 2, 22, 64. Mrs. Gomme (Trad. Games, i, p. 407) says: "This game originated, no doubt, as a marriage dance round a sacred 'tree' or 'bush.' . . . Trees were formerly sacred to dancing at the mar- riage festival, as at Polwarth in Berwickshire, where the custom once prevailed." 33 Mr. Newell (Games and Songs, p. 236) sees in this a relic of the May-Day dancing in a circle around the "bush" or "tree." Considering that the tunes to the songs are the same, we may, I think, see a connection between this game and ''Here We Come Gathering Nuts in May, This Cold and Frosty Morning." 34 (Newell. Games and Songs, pp. 236-7.) The refrain, "So early in the morning" is attached to several American games, e. g., Mrs. Ames (Jour. Am. Folk-lore, vol. XXIV, p. 317) and Miss Hamilton (Jour. Am. Folk-lore, vol. XXVII, p. 293) give this refrain to the game, "The Juniper Tree." Miss Hamilton's variant of "Little Brown Jug" (Jour. Am. Folk-lore, vol. XXVII, p. 296) and "Three Old Bums" (ibid, p. 301) have the same. 33 New Statistical Account of Scotland, Polwarth, Berwickshire, vol. II, p. 234. 34 Mari Ruef Hofer. Popular Folk Games, p. 32. Mrs. Gomme. Trad. Games, vol. I, pp. 424-28. Folk-lore Journal, vol. VII, p. 225. Ideal Home Music Library, vol. X, p. 224. 58 THE PLAY-PARTY IN INDIANA. HUNT THE BUFFALO. This title is often given to the game noted supra as "Chase the Buffalo" and "Shoot the Buffalo." I'm A Poor Old Chimney Sweeper. Newton Jackson. I'm a poor JJ kJ E= old chim - ney i 1 ' sweep- er I ^Sr 1' J fl [- ft r py ft J s -P fi r fi have but one daughter and can not keep her Since she has re u solved to mar ry, Go .choose your lover and do not tar ry a. 1. I'm a poor old chimney sweeper, I have but one daughter cannot keep her. 2. Since she has resolved to marry, Go choose your lover and do not tarry. 3. Now you have one of your own choosing, Hasten away, no time for losing. 4. Join your right hands, 5 this broom-stick step over, And kiss the lips of your true lover. Mr. Newton Jackson, Versailles, Ind. b. Circle dance for any number of players. All join hands to form a circle around one boy who stands in the center and sweeps the ground with a large broom. During 1, those in the ring circle left. At 2, the boy in the center circles right inside the ring, scanning the girl players for a partner. He carries the broom in his right arm as if it were a gun, and at 3 places it on the ground between him and the girl chosen. At 4, they join right hands. At 5, each places his right foot over the broomstick and the boy kisses his partner. He steps over the broomstick, taking his partner's former place in the ring. At the same time she steps over the broomstick, picks it up, and takes his place in the center. Repeat from the beginning with the girl inside the ring. c. Miss Hamilton (Jour. Am. Folk-lore, vol. XXVII, pp. 289- 303) gives this as a game in Missouri. That variant uses the third person instead of first but otherwise there is practically no difference. THE PLAY-PARTY IN INDIANA. Itiskit. 59 I sent a let - ter to my love, I tho't I put it =^ in my glove, But on the way I dropped it, I dropped it, I dropped it, But on the way I dropped it. And 1 some of you have picked it up, And put it in your pock-et . a. I sent a letter to my love, I thought I put it in my glove, But on the way I dropped it, I dropped it, I dropped it, But on the way I dropped it. And some of you have picked it up, And put it in your pocket. Itiskit, itaskit, a green and yellow basket, I took a letter to my love, and on the way I lost it, I lost it, I lost it. b. This game is familiar under the name of "Drop the Handker- chief." All form in a circle, excepting one player. While they sing the stanza given above, one person skips around the outside of the ring and drops a handkerchief behind one of the players. The persons in the ring are allowed to look behind them once after each circuit which the 'handkerchief-dropper makes. As soon as the person behind whom the handkerchief has been dropped, discovers it, he picks it up and runs around the circle in pursuit of the one who dropped it. If he succeeds in catching him, the dropper must stand in the center of the ring "the mush pot." The second person then continues skipping around the circle while the stanza is sung again. On the other hand, if the person behind whom the handkerchief is dropped does not discover it until after the dropper has come back to him, he goes in the "mush pot." So the game goes on until all are in the "mush pot" excepting two players. 60 THE PLAY-PARTY IN INDIANA. Often a way is provided for an alert player to get out of the "mush pot." If he can snatch the handkerchief, before the person behind whom it has been dropped, discovers it, he becomes "dropper" and the slow person takes his place in the "mush pot." In a large circle there are usually two "droppers" and they run in opposite ways around the ring. This means that there are four running, much of the time. This adds to the confusion and also to the fun of the game. c. This has recently lost the song and at the play-party it is merely a game of chase. The children may retain the song in Ripley County but I think not, and certainly it is not well known today. d. This is not, strictly speaking, a play-party game. It was played and sung on the school ground in Versailles about ten years ago but today it has become merely a game of chase. Like "Three Deep" 35 it has, however, a connection with the play- party. "Drop the Handkerchief" and "Three Deep" have the relation to the play-party which "Authors" and "Chess" some- times have to the Euchre party. If there are enough guests who object to the dance in the playing games, they play this. It is the substitute for the dance-games and as such is very popular at play-parties and "roasts." Mrs. Gomme gives fourteen variants (Trad. Games, vol. I, pp. 306-8) under the title "Kiss in the Ring." In certain variants, if the "dropper" is caught by his pursuer he is given a kiss, and in one the marriage formula is a feature of the game. (Mrs. Gomme. Trad. Games, vol. I, pp. 309-10.) The expression, "throw (or fling) the handkerchief," Mrs. Gomme says is used commonly with the meaning of "an expected proposal of marriage which is more of a condescension than a complimentary or flattering one to the girl." Further she con- cludes that "Kiss in the Ring" is probably a relic of the earliest form of marriage by choice or selection. The custom of dropping or sending a glove as the signal of a challenge may have been suc- ceeded by the handkerchief in this game." 36 Mr. Newell (Games and Songs, pp. 168-9) gives this in connec- tion with "Hunt the Squirrel." 35 Another game of chase. 36 Mrs. Gomme, Trad. Games, vol. T, p. 310. THE PLAY-PARTY IN INDIANA. 61 Jersey Boy. a. Jersey Boy, tis you I call, Invitation free to all, The road is wide, the pathway clear, Jersey Boy, come volunteer. Apple cider, ginger beer, Christmas comes but once a year. The road is wide, the pathway clear, Jersey Boy, come volunteer. c. The name of this game "Jersey Boy" is familiar to several persons of Ripley County as the title of an old play-party song, but these stanzas were contributed by Mr. R. W. Stone, who played the game in Jay County, Ind. Stanza 1 of this is almost identical with the "Michigan Girls," which Mr. Piper (Jour. Am. Folk-lore, vol. XXVIII, p. 283) calls a Virginia reel. Kilamakrankie. a. 1 . Kilamakrankie's a very fine song, We sing and dance it the whole day long. 2. Down on this carpet you must kneel, 3. And kiss your true love in the field. 37 Down on this carpet you must kneel, Sure as the grass grows in the field. Salute your bride and kiss your sweet, And then you may rise upon your feet. b. Circle dance for any number of players above three. During the singing of 1, all join hands and circle left around one girl who stands in the center. At 2, she chooses a boy from the ring and leads him to the center where they kneel. At once all of the players in the circle drop hands and kneel. At 3, the girl in the center kisses her chosen partner, all then stand and she resumes her former place in the circle. Repeat from the beginning, the boy in the center choosing a girl as partner. Continue re- peating until each player has been in the center at least once. c. My informant says she played this game eighty years ago. 37 The children sang this line like this: "And kiss your true love in the heel." 62 THE^PLAY-PARTY IN INDIANA. King William Was King Jamie's Son. Miss Kuth Brooks, Memphis, Tenn. ^ King Will - iam was King Jam - ie's son, Who from the roy - al race did come. Up Jf k k r on his breast he wore a r l star, : 1 Like the points of the com - pass -jr- are. King William was King Jamie's son, Who from the royal race did come. Upon his breast he wore a star, Like the points of the compass are. 1 . Go choose to the east, go choose to the west, Go choose 38 the one that you love best, If she's not there to take her part, Choose another with all your heart. 2. Down on this carpet you must kneel, Sure as the grass grows in the field. Salute your bride and kiss her sweet. 39 Now you may rise upon your feet. b. All, excepting one boy, join hands and form a circle. The boy in the center representing King William (at 1) chooses 39 * his favorite girl, kneels, 39b at 2, salutes her and kisses her hand, then takes a place in the ring beside her. The game known in Oregon, New Jersey is played with hats and 38 Look to the East, etc., is more common. 39 A more common way of singing this line is : Kiss your bride, oh kiss her sweet. Another way is: Hug your bride and kiss her sweet. 39a "Go choose to the east, go choose to the west," is probably a survival of the lines, "Choose for the worst. Choose for the best" which were in one form or another a characteristic of the marriage ceremony. Mrs. Gomme. Trad. Games, i: p. 304. 39b The "carpet" on which he kneels is the green grass in almost every instance where it is found in games and it is without doubt, the meaning here because of the line which follows. THE PLAY-PARTY IN INDIANA. 63 is entirely unlike this simple marriage game. Mr. Newell does not describe the "Kissing Round" of the Middle and Southern States but it is probably this same game that he knew. 40 Mrs. Gomme gives three variants (Trad. Games, vol. I, pp. 302-4) but the point to these games lies in the ability of the lover to recognize his sweetheart in disguise, a well-known ballad theme. Mr. Newell thinks of the game as representing a test of affection. c.-d. Variants. Jour. Am. Folk-lore, vol. XIV, p. 298; Miss Goldy Hamilton, (words alone) Jour. Am. Folk-lore, vol.^XXVII, p. 295; Mrs. Ames, Jour. Am. Folk-lore, vol. XXIV, p. 313. Miss Amma Frank Johnson of Mississippi contributes the following variant, both words and music. 9 King William was King George's son, He the roy-al race,he run, Up - J on his breast he wore a star, Like a dia-mond in the sky. King William was King George's son, He the royal race, lie run, Upon his breast he wore a star, Like a diamond in the sky. Go choose to the east, go choose to the west, Go choose the one that you love best ; If she's not there to take her part, Choose another with all your heart. Upon this carpet you must kneel, As sure as the grass grows in the field, Salute your bride and kiss her sweet. Now you rise upon your feet. Mr. Newell (Games and Songs, p. 75) thinks this game bears more than an accidental resemblance to a certain version of the popular ballads which were attached to the Folke Algotson story. 41 In the Journal of American Folk-lore (vol. XIV, p. 298) a variant is given which ends with the following lines: 40 Newell. Games and Songs, pp. 73-75. 41 A Swedish youth carried off to Norway a daughter of the judge of East Gothland, who was betrothed to a Danish noble. 64 THE PLAY-PARTY IN INDIANA. :Say young woman, will you 'list and go?: two times The broad-brimmed hat you must put on, And follow on to the fife and drum. The editor's note gives a very different interpretation of the game and its origin. "By this interesting communication, it would seem that the game is from England and represented recruiting in war times. If so it has many parallels in ballads." London Bridge. Lon -don bridge is f.ill-mg down, fall - ing down, fall - tng down , Lon - don bridge is fall - ing down, my fair la - dy a. London Bridge is falling down, falling down, falling down, London Bridge is falling down, my fair lady. What has this poor prisoner done, prisoner done, prisoner done? What has this poor prisoner done, my fair lady? Stole my watch and lost my key, etc. Off to prison you must go, etc. b. This is especially a school game. Two children stand in the seats to the desks or upon the desks themselves and join hands to form an arch over the aisle. The other children pass under in single line. At the last stanza the hands of the arch- bridge fall and take someone as prisoner. He is allowed to choose which prison. The ones who form the bridge have agreed upon the symbols by which each of them will be known. One has per- haps chosen a watch, the other a chain, one an orange, the other an apple, and frequently, one red, the other blue. The prisoner chooses between the two and then stands behind the person whose symbol he has chosen. The game continues till all are lined up on one side or the other. Then comes a tug of war between the two sides, the followers of the red and the followers of the blue. This is played in a great many ways, with a large variety of THE PLAY-PARTY IN INDIANA. 65 melodies and wide variations in the words. The game in England has no "tug of war" ending. c.-d. Mrs. Gomme (Trad. Games, vol. i, pp. 333-340) gives nine variants and three melodies. Mr. Newell gives five (Games and Songs, pp. 206-210) and in many of the children's books of rhymes, games, or songs, this is to be found. 42 The tune of a country dance called "London Bridge" is given in Playford's Dancing Master, 1728 edition. The game is undoubtedly very old but what it represents is a question of some dispute. Mr. Newell, though connecting it with the ancient superstitions regarding bridges and the stories of human sacrifices which were connected with bridge building, gives the tug of war a mythological interpretation. Mrs. Gomme points out that this tug of war is not a feature of the game in England and therefore is probably an American addition. Marching to Quebec. We're marching down to old Que-btc, The bells are loud-ly ring - ing, The A - meri-cans have gained the day, The j h j^ r*j 1 1 ji t ^ ij> J ^f~~ ~^ V) V) Brit-ish are re - treat- ing. O, the war is o'er, And J' J^ Ji r we'll turn back, To the place where we first start -ed, We'll J ' J. J' J' I Jl J J- open a ring and choose a cou-ple in, To re-lease the bro- ken -heart-ed. 42 This is printed as a children's song in the Ideal Home Music Library, vol. X, p. 225 and in Little Songs of Long Ago, collected by Alfred Moffat. Marion B. Newton also includes this game in Graded Games and Rhythmic Exercises, p. 24. 66 THE PLAY-PARTY IN INDIANA. a. 1 . We're marching down to old Quebec, The drums are loudly beating. America has gained the day, And the British are retreating. 2. The war is over and we'll turn back To the place where we first started, 3. We'll open a ring and choose a couple in 4. To release the broken-hearted. Miss Fannie Stewart, Brown Tp. b. Partners take promenade position and march forward in a straight line during the singing of 1. At 2, the line makes a double turn to the left and marches back in a line parallel to that made first. At 3, all join hands to form a circle, circle left, and choose a couple to enter center. Repeat from the beginning with the last center couple heading the line. This couple chooses the next couple to enter center. c. Miss Stewart writes : "This game was played fifty-three years ago by an elderly man who sang it for me." d. Miss Wedgwood (Jour, of American Folk-lore, vol. XXV, p. 27) prints the words and music to this. The words of Miss Hamilton's variant "Old Quebec" are practically the same (Jour. Am. Folk-lore, vol. XXIV, p. 303). Mr. Newell (Games and Songs, pp. 125-26) gives two ballad- like pieces of doggerel, one a stanza which went with a game and was played in Philadelphia the first of the last century (presum- ably about 1800), the other consisting of three stanzas and re- sembling those ballads which tell of the separation of lovers in war times. Concerning the age of the game, Mr. Newell says: "This piece of doggerel may be of revolutionary origin, as it can be traced to near the beginning of the present century." 43 Miss Stewart writes that "during the Civil War times they used to paraphrase it and sing, 'The Yankee boys have gained the day, and the Rebels are retreating.' ' Melven Vine. a. 1. The melven vine grows around the tree, The melven vine grows around the tree, 2. Go write her name, and send it to me. 43 The statement was made in 1883. Games and Songs, p. 125- THE PLAY-PARTY IN INDIANA. 67 3. Morris Jones his name shall be, 4. Morris Jones his name shall be. 5. So rise you up and she will sit down, So rise you up and she will sit down. b. One girl sits on a chair in the center of the room while one couple promenades around her during the singing of 1. At 2, she whispers to this couple the name of the boy whom she chooses to be her partner. The couple in the center sing 3, supplying the name of the boy chosen. All join in singing 4. At 5, the girl who has occupied the chair gets up, and the boy whom she has named takes her place in the chair. She joins hands with the couple and the three circle left around the boy. Repeat from the beginning with the boy in the chair. At 2, he gives to the three the name of the girl whom he chooses. At 5, he joins the three in the circle. Continue repeating until all of the players are on the floor. Mrs. Peter Geiling, Laurel, Ind. Miller Boy Mrs. Leslie Beall, Versailles, Ind. j. hap - py is the mil - ler boy That J J J ' ' lives by Ihe mill, He takes his toll with a & J J J J free good- will, One hand in the hop -per and the i^p^ a. oth-er in the sack, The ladies step forward and the gents step back. 1 . Happy is the miller boy that lives by the mill, He takes his toll with a free good will, One hand in the hopper and the other in the sack, 2. The ladies step forward an d the gents step back. Miss Ruth Flick, Holton. 68 THE PLAY-PARTY IN INDIANA. O happy is the miller boy, And he lives by himself, As the wheel goes round, He gathers in his wealth. One hand in the hopper, And the other in the sack; As the wheel goes around The boys fall back. 44 Mrs. Leslie Beall, Versailles, Ind. b. The game requires an uneven number of players. The person (boy or girl) who is without a partner stands in the center and all of the others promenade around him during 1. The movement is regular and rather quick to imitate the turning of a wheel. At 2, each boy drops his partner's arm and tries to get the arm of the girl behind him and at his right. While the change is being made, the one in the center (the Miller) tries to get a partner. If he (or she) succeeds the person without a partner is the one in the center for the next game; if he (or she) fails in this, then he must be in the center a second or even third time. c.-d. There are many references to the tune, "There Was a Jolly Miller." D'Urfey in "Pills to Purge Melancholy" (vol. iii, pp. 151ff of 1707 edition) mentions this as being used in several ballad operas, e. g., "The Quakers' Opera," "The Devil to Pay," and "The Fashionable Lady" or "Harlequin's Opera," under the name of "The Budgeon It Is a Delicate Trade." The tune to "The Jolly Miller" was in 1624 harmonized by Beethoven for Geo. Thomson (Pills to Purge Melancholy, i, p. 169). Further "The Jovial Cobbler" of St. Helen's has the same tune. (Ibid, p. 169.) The first stanza of the ballad is remarkably like certain Amer- ican versions of the game song: How happy's the mortal that lives by his mill, That depends on his own, not on Fortune's wheel. By the sleight of his hand, and the strength of his back How merrily this mill goes clack, clack, clack. A dialogue song "Oh Jenny, Jenny, Where Hast Thou Been?" follows the line of departure which is shown in the last stanza of the preceding ballad quoted above. Gummere. Scottish Ballads, vol. 2, p. 449. The Miller of Dee, is related to the same story. 44 This was a popular game only a short time ago in Jay County. Mr. R. H. Strong. THE PLAY-PARTY IN INDIANA. 69 Love in a Village (opera 1762) There Was a Jolly Miller. Dryden. Miscellany Poems. The Miller of Dee. The Convivial Songster. 1782. The Miller of Dee. Walsh' Compleat Country Dancing Master. The Dusty Miller. Hornby. The Joyous Book of Singing Games. Jolly Miller, p. 60. c. Games. Mrs. Gomme (Trad. Games, ii, pp. 436-7. Vol. i, pp. 289-293) gives eight variants. Miss Mari Ruef Hofer. Children's Singing Games, p. 23. Mrs. Ames. Jour. Am. Folk-lore, vol. XXIV, p. 306. The music, which she gives is very similar to that above, in its manner of repetition and variation of the phrases and in rhythm, but the melodies are not identical. Miss Goldy Hamilton. Jour. Am. Folk-lore, vol. XXVII, p. 293. Mr. Addy in his directions for the game as played in Sheffield 45 uses the words "young men" and "young women" to designate the players. This would indicate that the game was played by young people and that within a recent date. This suggests that our older play-party games may be directly connected with the dance games of England. The song dances of the Misses Fuller witness to the same thing. 46 Mr. Newell in this instance goes farther, and considers the game as being the predecessor of the once-popular ballads of the game. After quoting the first stanza from "The Happy Miller" 47 he concludes thus : "The song was doubtless formed on the popular game; but the modern children's sport has preserved the idea, if not the elegance of the old dance better than the printed words of a hundred and seventy years since." His meaning seems to be that this ballad followed the dancing game "The Jolly Miller" and was in some degree indebted to it. It is important, too, that this game which has changed so little in the words and manner of playing has melodies in Indiana and Missouri, which are almost identical with the first one which Mrs. Gomme gives. 48 Her second melody, though in the Aeolian mode so common to English ballads, is easily recognized as being related to the former. The third which she gives is a circular 45 Mrs. Gomme. Trad. Games, vol. 1, p. 291. 46 See the game "Here Come Four Dukes A-Riding,' 47 D'Urfry. Pills to Purge Melancholy. 1707. 48 Trad. Games, vol. I, p. 289. 70 THE PLAY-PARTY IN INDIANA. tune. 49 Yet even lacking as it does the final cadence, many of the intervals are the same as the other tunes. The numerous variants coming as they do from such widely separated localities show remarkable likeness not only in melody but in words and in theme. I think we may easily account for this. The theme of the miller who so wel could "stelen corn and tollen thryes" 50 has never ceased to be of interest. The farmers have always known his trickery only too well. The satire on the miller has been modern for centuries and it is retained in the Cin- cinnati version which Mr. Newell prints : Happy is the Miller, that lives in the mill, While the wheel goes round he works with a will, One hand in the hopper, and one in the bag, The mill goes round, and he cries out "grab." The phrasing in the early versions was concise, and it was also adapted to the playing of the game as well. These facts probably account for the slight changes in words. Mrs. Gomme (Trad. Games, i. p. 292) gives an interesting inter- pretation to the game: "It is probable that the custom which formerly prevailed at some of the public festivals, of catching or 'grabbing' for sweethearts and wives is shown in this game." 61 49 C. J. Sharp. English Folk Songs, pp. 64 ff. 50 G.Chaucer. Prol. to Canterbury Tales. Vol. II, p. 562. 51 Guthrie (Scottish Customs, p. 168) tells of a Scottish annual solemnity (at Campbeltown) at which all unhappy couples were blindfolded and at the word, "Cab- bay" (seize quickly) every man laid hold of the first woman he met and she was his wife Until the next year's anniversary of the custom. (Quoted by Mrs. Gomme. Trad. Games, vol. I, pp. 292-3.) THE PLAY-PARTY IN INDIANA. 71 Molly Brooks. Miss Alice Delay, Brown Tp. P Mol - \y Brooks is gone'the isle, Gone 'the isle, gone'the isle, t. J^ J. J. |J' J'J'JtJilJ* J' Mol - ly Brooks is gone'the isle,AndI hope she'll never re- turn, And I ;=fe p hope she'll never re - lurn, And I hope she'll never re -turn. J> ' ' 1* JMJ J I Mol - ly Brooks is gone'the isle, And I hope she'll never re -turn. a. 1. Molly Brooks is gone (to) the isle, Gone (to) the isle, gone (to) the isle, Molly Brooks is gone (to) the isle, 2. And I hope she'll never return, And I hope she'll never return, And I hope she'll never return. Molly Brooks is gone (to) the isle, And I hope she'll never return. b. Girls join hands to form a circle. Boys do the same, forming a circle immediately outside that of the girls, i. e., each boy is at the left of, and a step behind his partner. Girls circle to the left in this position, while boys remain standing during 1. After one entire circuit girls return to original position. At 2, the girls with their hands still clasped throw their arms over the heads of the boys and around them. Thus the boys, though still on the outside and making the larger circle, are en- closed by that made by the girls' arms (i. e., make basket). Repeat from the beginning with the girls outside, the boys inside. 72 A. B. j. THE PLAY-PARTY IN INDIANA. Needle's Eye. Mrs. Allie B. Jackson, Versailles, Ind. The needle's eye, it doth sup-ply The thread that runs so true, And r Mr p r ma-ny a girl have I let go , But now I have caught you a. 1 . The needle's eye, that doth supply, The thread that runs so true, Many a beau have I let go 2. Because I wanted you. I won't have you, Because I can't get you, Many a lass have I let pass, Because I wanted you. Miss Fannie Stewart, Brown Tp. b. One couple join hands high over their heads and form an arch. All of the other players form in line, each girl behind her partner and each person having both hands on the hips of the person in front of him. The long line then passes through the arch while the arch-makers sing 1. As soon as possible the ones who have passed under without breaking line circle around one of the arch-makers and join with those who have not been under the arch. All of the time, the persons who have just gone through or are under the arch, keep pulling forward, while those behind, fearful of being caught pull backward. The arch-makers secretly choose their symbols, silver or gold, ring or bracelet, cake or pie, apple or pear. Whenever they sing 2, the arch falls and encloses one of the players. He must choose between the symbols, 52 and then leave the line to stand behind the arch-maker whose symbol he has chosen. The game continues until the players are divided into two separate groups. A tug of war ensues. 52 The game as played thirty years ago was a "kissing game." The person caught under the arch had to kiss the arch-maker whose symbol he haa chosen and then exchange places with him, the former becoming arch-maker and the latter filling in the gap in the line. Repeat from the beginning with the new arch-makers and continue repeating until each player has been caught at least once. My informant says further, that although "kissing games" were played more than any of the others, they were considered even then as being rather undignified. THE PLAY-PARTY IN INDIANA. 73 c.-d. Mari Ruef Hofer. Children's Singing Games, p. 17. Mrs. Gomme. Trad. Games. II, pp. 228-232; 289-90. W. W. Newell. Games and Songs, pp. 89ff. Goldy Hamilton. Play-party in Missouri. Jour. Am. Folk- lore, vol. XXVII, p. 298. Edwin F. Piper. Some Play-party Games of the Middle West. Jour. Am. Folk-lore, vol. XXVIII, p. 263. Mr. Newell (Games and Songs, p. 81) tells of this interesting incident. "When a French savant asked the peasants of La Chatre why they performed this dance, the answer was, 'To make Dhe hemp grow.' ' This would suggest that in the game we have a relic of some ancient rite of worship. The English words are very different from those of the Ameri- can game. No Sir. Mrs. T. N. U. Mrs. T. N. Underwood, Correct, Ind. p-p Tell me one thing, tell me tru - ly, Tell me why you scorn me so. Tell me why when asked a question,Youwill al-ways an-swer No. I N J ' I'J J J h ., a. "No, sir, no,sir, no , sir, no, No, sir, no, sir, no, sir, no." 1 . "Tell me one thing, tell me truly, Tell me why you scorn me so. Tell me why when asked a question, You will always answer, 'No!' " Refrain "No Sir, No Sir, No Sir, No, "No Sir, No Sir, No Sir, No. 2. "My father was a Spanish merchant, And before he went to sea, He told me to be sure and answer, 'No' To all you said to me." 74 THE PLAY-PARTY IN INDIANA. 3. "If when walking in the garden, Plucking flowers all wet with dew, Will you be offended if I Have a walk and talk with you?" 4. "If when walking in the garden, I should ask you to be mine, And should tell you that I love you, Would you then my heart decline?" d. This is sometimes sung in dialogue by a boy and a girl. It bears a resemblance to the riddle ballads. Not by answering questions correctly, but by asking them in the right way does he win his love. In Mr. Sharp's book of Folk-Songs from Somerset, series 4, pp. 46-47 is the song, "O No, John!" It is very similar to the Indiana song. The words certainly had a common original. The music, however, is in common time and both in melody and in rhythm it is very different from the song as I heard it. Mrs. Underwood, the lady from whom I received the song, is of Scotch descent and it is probable' that her variant represents the words and music of a Scotch parallel to the Somerset Song. THE PLAY-PARTY IN INDIANA. 75 Mrs. T. N. U. Nora Darling. M.-s. Thaddeus Underwood. Correct, Ind. I am go - ing far a - way, No ra, dar - ling, For the big ship lies an-chored in the P ^ hay, By the ris - ing of the sun, By the j sig-nal of the gun, I'll be rea dy for to take you a-way. =3 Then come to my arms, No - ra, dar - ling, Bid j. J all your friends in Ire - land Good - by, For 'tis hap- py you will be, In that land of lib-er - hap - py with your Ben - ny "I am going far away, Nora, darling. For the big ship lies anchored in the bay, By the rising of the sun, By the signal of the gun, I'll be ready for to take you awav " Coy. Refrain "Then come to my arms Nora, darling, Bid all your friends in Ireland Goodby, For 'tis happy you will be, In that land of liberty, Living happy with your Benny McCoy. 76 THE PLAY-PARTY IN INDIANA. "Then I'll not go with you Benny, darling, Once before I've told you the reason why, If from my mother I should part It would surely break her heart, But then I'll not forget you, Benny McCoy." "Then I must leave you Nora, darling, Though it will almost break my heart to try. I will seek some other part, I will wed another heart. And you will never more see Benny McCoy." "Then I'll go with you Benny, darling, I, my parents and my sisters bid, Goodby, I will roam the world with you, I will always prove true, I will roam the world with Benny McCoy." d. This, like "No Sir" and "Billy Boy" is .a dialogue song; it is dramatic in the degree to which the two actors make it, but there is no game or dance to it. Old Brass Wagon. Miss E. F. Laud, Shelby. Tp Circle to the left, the old brass wag - on, Circle to the left, the old brass wag- on, Circle to the left, the a. old brass wag - on, You're the one, my dar - ling 1. :Circle to the left, Old Brass Wagon, : 3 times You're the one my darling. 2. :Swing oh swing Old Brass Wagon, : 3 times You're the one, my darling. 3. : Promenade home Old Brass Wagon, : 3 times You're the one, my darling. 4. :Shoddish up and down, the Old Brass Wagon, : 3 times You're the one, my darling. THE PLAY-PARTY IN INDIANA. 77 5. :Break and swing, the Old Brass Wagon, : 3 times You're the one, my darling. 6. :Promenade around the Old Brass Wagon, : 3 times You're the one, my darling. Miss E. F. Laud, Shelby Tp. b. During 1, all join hands, boys being at the left of their part- ners, and circle left. At 2, they drop hands and each boy swings his partner. During 3, partners promenade, circling to the right. Repeat from the beginning, while singing stanzas 4, 5 and 6. The following additions were made by Miss Fannie Stewart, Shelby Tp. :Wheel and turn, the Old Brass Wagon, : 3 times You're the one, my darling. :The Hoosier girls, they're worth having, : 3 times You're the one, my darling. c. Miss Hamilton (Missouri Play-Party. Jour. Am. Folk-lore, vol. XXVII, pp. 298 and 302) gives the majority of these stanzas and several others. Mrs. Ames (Jour. Am. Folk-lore, vol. XXIV, p. 307) gives words that are very similar but the tune is different from that in Indiana. Mr. Edwin F. Piper (Jour. Am. Folk-lore, vol. XXVIII, p. 282) prints a version of "Old Brass Wagon" with a quite different tune. 78 THE PLAY-PARTY IN INDINNA. Old Dan Tucker. Old Dan Tuck- er's still in (own, Swing- ing Ihe la - dies . : . all a - round, First to the East and then to the West, And . j ji .h j> J' then to the one that you love- best. Get out of the way of J' Old Dan Tuck- er! He's to late to get his sup - per. Sup-per'sover and breakfast's cooking,01dDanTucker's out a- look-ing. a. 1. Old Dan Tucker's still in town, 2. Swinging the ladies all around, First to the East 3 and then to the West, 4. Then to the one that you love best. Chorus: 5. Get out of the way of Old Dan Tucker! He's too late to get his supper. Supper's over and breakfast's cooking, 6. Old Dan Tucker's stands a-looking. Old Dan Tucker's a fine old man, Washed his feet (or face) in tke frying pan, Combed his hair with a wagon wheel, And died with a tooth-ache in his heel. Mrs. Leslie Beall, Versailles, Ind 1 . Get out o' the way for Old Dan Tucker, He's too late to get his supper. Some are black and some are blacker, Some are the color of a chew a' terbacker. Ripley County variants. :Swing three ladies, Old Dan Tucker, : 3 timea Down in the valley. Promenade round Old Dan Tucker: 3 timea Down in the valley THE PLAY-PARTY IN INDIANA. 79 :Circle to the left Old Dan Tucker, : 3 times Down in the valley. :Right, left around, Old Dan Tucker, : 3 time* Down in the valley. :S\ving oh swing, Old Dan Tucker: 3 times Down in the valley. :Promenade home, Old Dan Tucker, : 3 times Down in the valley. Miss E. F. Laud, Shelby Tp. b. Circle dance for an uneven number of players above four. All, excepting one, join hands to form a circle, each boy being at the left of his partner. During 1, they circle left around the person without a partner. At 2, each boy turns right and swings his partner, at 3, he leaves her, turns, and swings the girl who was at his left. At 4, he turns back and swings his partner. At 5, partners face. Each boy takes the left hand of his partner, passes her on the left, then takes the right hand of the next girl at her right passes her on the right. Continue this "grand right and left" figure until all are in their original positions. During this last change the one in the center tries to get a partner. At 6, partners swing. The person who is left without a partner is the one in the center for the next figure. Sing stanza 2, and chorus, repeating the figure from the beginning. d. An interesting variant which has, I think, not been published is the following, which comes from Miss Agnes Taylor, Hearne. Texas. Mr. so they say, Goes a courtin' every day, Carries a pistol by his side, Asks Miss to be his bride. Old Dan Tucker came to town, Riding a billy-goat, leading a hound. Hound gave a yelp, the goat gave a jump, Landed old Tucker straddle of a stump. Miss Hofer. Popular Folk-Games, p. 58. This is given as an old American barn dance. She makes the interesting statement that "the common way of playing this is at present being revived in the ball-rooms." Are we at the beginning of a revival of Amer- 80 THE PLAY-PARTY IN INDIANA. ican play-party games, similar to the re-introduction of the country dances in England? I think we may detect signs of such a move- ment. The words and melody given by Mrs. Ames (Jour. Am. Folk- lore, vol. XXIV, pp. 309-10) are very similar to those noted above. Miss Wedgwood (Jour. Am. Folk-lore, vol. XXV, pp. 272-3) prints a variant which is practically the same as the one given above. The ballad, "Old Dan Tucker," is to be found in the "Ideal Home Music Library." Vol. X, p. 273, and also in "Heart Songs," p. 174. Mrs. Peter Ceiling (Laurel, Ind.) states that the following games were played twenty-five years ago, "Miller, Weevily Wheat, Melven Vine, Skip Come-loo, Snap, Old Sister Phoebe, Getting Married, Chase the Squirrel, Needle's Eye and Marching to Quebec. The last six mentioned were 'kissing games.' ' Old Sister Phoebe. Mrs. Win. Hunter, Versailles, Ind. Jf |U HJ 1 L- L t- 1 --& N 5 ! -fe HM High - fc K o, Sis-ter Phoe-be, how mer - ry were we, The si P J night we ^ ' +* ^ g -^ ^ ^ ^ sat un - der the ju - ni - per tree, The J> J J' - 1 -* ^ ^^^ ju - ni-per tree, high- o,high-o, The ju - ni-per tree,high-o 1 . Old Sister Phoebe, how merry were we, The night we sat under the juniper tree, The juniper tree, high-o, high-o, The juniper tree, high-o. 2. Take this hat on your head , keep your head warm, 3. And take a sweet kiss, it will do you no harm, But a great deal of good, I know, I know," 4. But a great deal of good I know. Mrs. Calvin Stark, Versailles, Ind. 53 In the place of these last two lines, the following were often substituted: It will do you no harm, but a great deal of good. And so take another while kissing goes good. THE PLAY-PARTY IN INDIANA. 81 b. 1. All join hands and circle left around one girl who stands in the center holding a hat in her hand. At 2, she chooses a part- ner from those in the ring, draws him into the center, places the hat on his head and at 3 gives him a kiss. She then (at 4) joins the players in the ring. Repeat from the beginning with the boy in the center. d. Additional stanzas may be found in the variants printed by Goldy Hamilton, Jour. Am. Folk-lore, vol. XXVII, p. 300 and Edwin F. Piper, Jour. Am. Folk-lore, vol. XXVIII, p. 268. Pig in the Parlor. fai .hi.h.hjoj^ We've got a pig in the par-lor^VVe've got a pig in the par-lor, We've I M ~T\ fV fc. . "- 1 " 1 -" KJ got a pig in the par - lor, And it is J - rish, too; And J - ^ P p Jl r ; it is I- rish,too, And it is I-rish, too. We've j. I got a pig in the par - lor, And it is I - rish too. 1. We've got a pig in the parlor, 51 We've g t a pig in the parlor, We've got a pig in the parlor, And it is Irish, too: 3 times We've got a pig in the parlor, And it is Irish, too. Refrain : 2. 3. 4. 5. 6. Oh it's left hand to your partner, The right hand to your neighbor, The left hand back to your partner, And we'll all promenade: 3 times Swing your left hand lady round, And we'll all promenade. 55 My father and mother we Irish: 3 times And I was Irish, too: 3 times My father and mother were Irish, And I was Irish too. 54. After the first stanza the words are: "We've got a new pig in the parlor, or "We've got the old pig in the parlor," to agree with the game. 55. The refrain has the same tune as the stanzas. 82 THE PLAY-PARTY IN INDIANA. :I stole a peck of potatoes, : 3 times And they were Irish, too, : 3 times I stole a peck of potatoes, And they were Irish, too. :I went down to Sally's house, : 3 times :Fourteen stories high, : 3 times Every room I went through, Was filled with pumpkin pie. Mrs. Leslie Beall, Versailles, Ind. b. Circle dance. An odd number of players is required. At 1, all excepting one, join hands, each girl at the right of her partner, and circle left. The odd player stands in the center. 66 At 2, each boy turns right, each girl left. Each boy takes the left hand of his partner, passes her by the left and at 3, takes the right hand of the next girl at his right. He circles around her, and at 4 comes back and takes the left hand of his partner. At 5, he turns right and takes position for promenade. During the time of the changes at 3 and 4 the one in the center tries to get the place of one of the other players. If he succeeds the one left without a partner is in the center for the next game, if he fails he must be in the center a second or third time. During 5, partners promenade. At 6, each boy may change and swing the girl behind and at the left of him or may continue the promenade with his partner. d. Mrs. Ames (Jour. Am. Folk-lore, vol. XXIV, p. 298) prints a variant, the tune of which is the same as that given above, in every respect excepting time. The words are of the same general character though not identical. Mr. Edwin F. Piper (Some Play-party Games of the Middle West. Jour. Am. Folk-lore, vol. XXVIII, pp. 283-4) gives another variant. 50 When there are many players, perhaps a number over twelve, there are two or three persons in the center without partners. THE PLAY-PARTY IN INDIANA. Polly, Put the Kettle On. 5 j Pol - ly, put the ket -tie on, Kettle on, kettle on, Pol - ly, put the ket - tie on, Andwe'll all have tea. Polly, put the kettle on, Kettle on, kettle on-, Polly, put the kettle on, And we'll all take tea. b. c. This was a play-party game in Ripley County, Indiana, thirty years ago, but the figures have been forgotten, d. Miss Mari Ruef Hofer, in "Children's Singing Games" prints a game with these words but its melody differs from this. As a ballad it is to be found in the "Ideal Home Music Library," Vol. X, p. 228. Pop Goes the Weasel. Mrs. Allie Jackson, Versailles, Ind. 1 ' p - It's all a-round the American flag-,It's all a-round the ea - gle, j. ' f That's the way the moa - ey goes, Pop goes the wea - sel. It's all around the American^flag, 'It's all around the_eagle, That's the way the money [goes, Pop goes the weasel. A nickle for a spool of_thread, A penny for a needle, That's the way the money goes, Pop goes the weasel. You may buy the baby clothes, And I will buy the cradle, That's the way the money goes, Pop goes the weasel. 84 THE PLAY-PARTY IN INDIANA. All around the American flag, Monkey chased the weasel, That's the way the money goes, Pop goes the weasel. Round and round the market house, Monkey chased the weasel, Preacher kissed the pedlar's wife, Pop goes the weasel. Mrs. Frank Brinson, Johnson Tp. Five cents for calico, Three cents for needles, That's the way the money goes, Pop goes the weasel. Miss Fannie Stewart, Brown Tp. Round and round the cobbler's bench, The monkey chased the weasel, The farmer kissed the cobbler's wife, And pop goes the weasel. b. Mrs. Gomme 57 describes the game as being very simple but wherever we have known of it in the United States the dance figures are much more complex. In Louisiana it is a long-ways dance. c. Two versions of a country dance of this name are given in Mr. C. J. Sharp's Country Dance Book, Part 1, pp. 53-54. Mrs. Gomme Trad. Games. Vol. ii, pp. 64-65. Two stanzas. It is rather singular that this game is not given in either of the articles on the Missouri play-party, for this is certainly an old one. d. Mrs. Gomme (Trad. Games, vol. ii, p. 64) gives this stanza and a very interesting note concerning this London version. Up and down the City Road ; In and out the Eagle; That's the way the money goes, Pop goes the weasel. (A. Nutt) Mr. Nutt writes, "The Eagle was (and may be still) a well- known tavern and dancing saloon." This is probably the variant from which the American ones started. In only one line does it differ essentially from the first stanza which we give. The "Eagle" was to Americans their emblem, and this is probably the reason why it was associated with the American flag, in this song. 57 Trad. Games, vol. II. p. 64. THE PLAY-PARTY IN INDIANA. Sailor. 85 C. H. Hall . What shall we do with the drunk - en sail - or? P What shall we do with the drunk - en sail - or? atfEI k t\ K v K ^ ^ ft fc '-(to * * Ji Wha t shall we cl o with th e drunk - e E ^ J) ' 1 n sail - or? - h S Put him in a boat an a i row hin i o - ver. What shall we do with the drunken sailorf What shall we do with the drunken sailor? What shall we do with the drunken sailor? Put him in a boat, and row him over. Prof. C. H. Hall, Franklin, Ind. b. Longways dance for any number of couples above three. The same figures are danced to this as to "Weevily Wheat" but the order in which these are taken is left to the leader of the game. d. Edwin F. Piper (Jour. Am. Folk-lore, vol. XXVIII, p. 277) prints this as a play-party song of two stanzas. This tune belongs to a very old form of song, and is related to what is known today as the "round." 86 THE PLAY-PARTY IN INDIANA. Sally Walker. Lit - tie Sal- lyWalk-er, a - sit - tin' in the sun, A - cry - in' and a - weep - in' for what she has done, J J> J' J IJ J' J' J Rise, Sal - ly rise, wipe out your eyes, Look to the East and .h A J 1 look to the West, And choose the one that you love best. 1 . Little Sally Walker, a-sittin' in the sun, A-eryin' and a-weepin' for what she has done. 2. Rise Sally, rise! wipe out your eyes, 3. Look to the East and look to the West, 4. And choose the one that you love best. Often this marriage formula is attached to the game. Now you're married I wish you joy, First a girl and then a boy, Seven years aft-er son and daughter, Pray young couple come kiss together. b. This like "London Bridge" is definitely and exclusively a children's game. All the children, excepting one, join hands and form a circle. One sad little girl kneels in the center. The others all circle to the left around her. At 2, she rises, wipes her eyes and at 3 looks at the different ones in the circle. At 4, she chooses a boy or girl to be her partner. The game then begins again. If it is merely a girl's game, the girl chosen in the center, is Sally Walker for the next game. If the boys play too, the last girl in the center must choose also the girl who is to start the next game. If the marriage formula is used, the girl who is choosing, takes the right hand of her chosen 'partner and then kisses her partner, THE PLAY-PARTY IN INDIANA. 87 c.-d. Mrs. Gomme (Trad. Games, vol. ii, pp. 149-167) gives seven melodies to this, and forty-eight variants, yet no one of either the tunes or the rhymes is the same as that given above. The name is usually, "Water," and that is probably the earlier form. Mrs. Gomme. Children's Singing Games, vol. ii, pp. 20-21. The music and words of this resemble the game in Ripley County more than the other English variants do. Mr. Newell prints one variant. (Games and Songs, p. 70) but gives no melody to the song. John Hornby: The Joyous Book of Singing Games, p. 23. Mr. Newell makes only one comment and that is, "A ballad situation has been united with a dance-rhyme." Mrs. Gomme's interpretation of it involves a number of questionable points. She considers the name to have been "Water" in the earlier form. Further, she would believe that this was not originally a surname but had to do with the ceremony of "sprinkling in a pan." She says 58 (Trad. Games, vol. ij, p. 174) "I prefer to suggest that 'water' got attached as a surname .by simple transposition." She points out that the relation of the marriage ceremony and water worship or the rites performed with water, among pre- Celtic peoples find more than a parallel in this game. (Trad. Games, vol. ii, pp. 176-7). The sprinkling or pouring of water as a part of the marriage ceremony is, she considers, the origin of this. Further evidence of great age, she finds in the words, "Look to the East and look to the West," which are in nine var- iants, "Choose for the best and choose for the worst." This is thought to have come from the same old marriage formula which was preserved in the vernacular portion of the ancient English marriage service. 59 The words, "seven years after," are also believed to be signifi- cant, for ''a year and a day;" and ''seven years" are the two periods for which the popular mind regards marriage binding. 60 Further, "the popular belief that a man's cycle of life is not complete until he is the father of a daughter, who, in her turn, shall have a son" 61 is shown, Mrs. Gomme thinks, in the line, "First a son and then a daughter." "The 'kissing together' of the married couple is the 58 Many variants have the words, "Lictle Sally Water, Sprinkle in a pan." 59 Palgrave. English Commonwealth. Vol. II, p. 136. 60 Mrs. Gomme. Trad. Games. Vol. ii, p. 178. 61 Ibid. 88 THE PLAY-PARTY IN INDIANA. token to the witness of their mutual consent to the contract. 62 As a further proof of the antiquity of the formula as an outcome of the early marriage ceremony, she notes the fact that the words of the marriage formula are always sung to the same tune although it is attached to a number of different game-songs whose melodies have no connection. This fact is also true of the marriage formula of the American children's games. The melody and the words are inseparable. There were in Ripley County other games to which this same form- ula was attached, not more than fifteen years ago, but I have been unable to get them. Six Little Girls A-Sliding Went. Ethel Ballman Six littlegirls a -slid-ingwent, a- slid-ingwent, a-slid-ing went, ^->y K ' ' 1 j: i _ 41 1 ^ j_i ^j Six lit-tlegirls a- slid-ingwent, So ear - ly in the morn-ing. The ice was thin,and theybroke in, And theybroke in, and theybrokein. The J) ^ J>lj. > I p ice was thin, and they broke in, The rest all ran a - way. 1 . Six 63 little girls a-sliding went, A-sliding went, a-sliding went, Six little girls a-sliding went, So early in the morning. 2. The ice was thin, and they broke in, And they broke in, and they broke in. 3. The ice was thin, and they broke in, The rest all ran away. b. Boys stand in a circle facing in. Girls join hands to form a circle inside that of the boys, but facing the boys. During 1, girls circle left. At 2, girls break line and each swings the first boy she comes to. During 3, all get in position for the next game. Repeat from the beginning, boys and girls having exchanged places. The words are changed to correspond: Six little boys a-sliding went, etc. 62 Mrs. Gomme, Trad. Games. Vol. U, p. 179. 63 The number is not necessarily six, but is determined by the number of couples playing the game. THE PLAY-PARTY IN INDIANA. Skip-to-My-Lou 89 The cat's in the but - ter-milk, skip - lo - my -Lou, f 's in the but-ter-milk, skip- to-my-Lou, Cat's in the but-ter-milk, Ji j :\ j. skip - to- my -Lou, Skip - to - my -Lou, my dar :The cat's in the buttermilk, skip-to -my- Lou : 3 times Skip-to-my-Lou, my darling. rl'll get another one, skip-to-my-Lou : 3 times Skip-to-my-Lou, my darling. :Little red wagon painted blue: 3 times Skip-to-my-Lou, my darling. :Flies in the biscuit, two by two: 3 times Skip-to-my-Lou, my darling. :Mule's in the cellar, kicking up through, : 3 times Skip-to-my-Lou, my darling. :Chickens in the hay-stack, shoo, shoo, shoo, : 3 times Skip-to-my-Lou, my darling. :If I can't get her back another one 64 '11 do, : 3 times Skip-to-my-Lou, my darling. :Hurry up slow poke, do oh do, : 3 times Skip-to-my-Lou, my darling. :My wife wears number 'leven shoes: 3 times Skip-to my-Lou, my darling. :Flies in the cream jar, shoo, shoo, shoo : 3 times Skip-to-my-Lou, my darling. :I'll get her back, in spite of you, : 3 times Skip-to-my-Lou, my darling. :When I go courting, I take two, : 3 times Skip to-my-Lou, my darling. :Gone again, what shall I do?: 3 times Skip-to-my-Lou, my darling. :I'll get another one sweeter than you : 3 times Skip-to-my-Lou, my darling. :Rabbit's in the bean patch, two by two etc. 64 The name of the girl chosen may be substituted. 90 THE PLAY-PARTY IN INDIANA. Any order in the singing of these stanzas may be taken. The skipper selects and quite as often invents the words to suit the occasion. This, of all the games, is the most indicative of. the country life and of the things which are considered comic. Any number of other stanzas are sung but these are the most common ones. This game illustrates well the processes of invention, selection and continuity of the communal composition theory of ballad origins. (C. J. Sharp, English Folk Song. Chap. Ill, Evolution.) b. All stand around in a circle, boys at the left of their partners. One boy skips around, to the right inside the ring; he slyly takes the arm of one girl whose partner is not watching and skips on around the circle with her. Her partner then skips after them singing perhaps, "I'll get her back in spite of you." If he can catch the couple before they get back to her former position, he gets back his partner. 65 If he does not overtake her, he must skip around the circle and continue as the former boy has done. Much of the singing is in character and each boy tries to get words that will suit the situation. d. Variants. Wedgwood: Jour. Am. Folk-lore, vol. XXV, p. 270. The music is nearly the same, but has not so much exact repetition of phrase. Mrs. Ames (Jour. Am. Folk-lore, vol. XXIV, p. 302) gives lines which are the same, but prints no game of this name. Miss Hofer (Popular Folk Games, p. 12) gives a very similar song "Skip-to-ma-Lou, ma children dear," whose melody with the exception of the second phrase is identical with this. She speaks of it as being played in the southern states. Mr. C. E. Perrow (Jour. Am. Folk-lore, vol. XXVI, p. 136) gives this interesting note, " 'Lou', a common term for 'sweet- heart' in eastern Tennessee." 65 The first must then continue his search for a partner, but this Is unusual. THE PLAY-PARTY IN INDIANA. 91 Star Promenade. Mrs. Leslie Beall, Versailles, Ind. Six ladies to the center with the right hand crossed, Be care - ful that you don't get lost. Back to the left and Jl J| J don't be a-fraid, Pass your partner in the Star Prom-e -nade. 1 . Six ladies to the center with the right hands crossed, Be a careful that you don't get lost. 2. Back to the left and don't be afraid, 3. Pass your partner with the Star Promenade. My old girl went back on me, Just because I went to sea, | My old girl went away last fall, [Break and swing and promenade all. Circle dance for six couples. Girls form a circle. Each girl crosses her right hand with the girl opposite her to form a star. The boys join hands forming a circle around that of the girls, and each boy behind his partner. During 1, the girls, in star position, circle left to position in front of partner. At 2, girls form star with left hands and circle right and again return to original position in front of partner. At 3, each girl gives her right hand to her partner, passes by his right and on to the boy on her partner's right with whom she promenades during 3. At 4, they drop hands, then take position and swing once, then promenade. Repeat all from the beginning with this new partner. Continue repeating until each girl has had for partner every one of the boys, i. e., the figure is gone through six times. The entire performance is then repeated from the beginning, the boys and girls having exchanged places. The words during the second performance are changed to agree, "Six boys (or gents) in the center with the right hand crossed, "etc., and stanza two becomes : 92 THE PLAY-PARTY IN INDIANA. My old beau went back on me, Just because I went to sea. My old beau went away last fall, Break and swing and promenade all. c. Miss Hamilton gives the words to a Missouri play-party game which she calls "Gents to the Center." The game is probably similar to this. (Jour. Am. Folk-lore, vol. XXVII, p. 300.) This seems to be of American origin. There Goes Topsy Through the Window. Mrs. Leslie Beall, Versailles, Ind. t J. J. J.JH There goesTop-sy thro' the window,Thro' the window,thro' the window, There goes Top-sy thro' the win-dow, Down in Al - a- bam-a. 1 . There goes Topsy through the window, Through the window, through the window, There goes Topsy through the window, Down in Alabama. 2 Refrain All promenade with the hand on the shoulder, Hand on the shoulder, hand on the shoulder, All promenade with the hand on the shoulder, Down in Alabama. 3. There goes Sambo through the window, etc. 4. Sambo and Topsy through the window, etc. b. Boys form in straight line. Girls form straight line about four steps from that of the boys, in such a way that each girl is facing her partner. During 1, the top girl walks down through the center, casts off to the left, makes a complete circuit of the line of girls, and returns to position. During 3, the top boy walks down through the center, casts off to the right, makes a complete circuit of the line of boys, and returns to position. During 4, the top couple promenade down through the center, cast off, either to the left or right, making a complete circuit of one of the lines, and return to position. THE PLAY-PARTY IN INDIANA. 93 At 2, the bottom couple meet between the lines and take this position. The girl places her right hand on her left shoulder. Her partner, behind her, catches her right hand with his left, and with his right holds her left hand loosely at their right side. They cast off to the right and walk up to position at the top of their respective lines. Repeat from the beginning with this new couple at the top and the different couple at the bottom of the lines. There Was An Old Woman in Ireland. TJ 1 ; J' JJ J' J There was an old woman in Ire - land, In JiJ J. t Ire land she did dwell, She lovedherold man dear - ly, Bui an - i j, ji j, , jji oth - er twice as well. Oh my dear-est dear, what ails me, j Thinks says I what ails me? And what's the mat -fer now? There was an old woman in Ireland, In Ireland she did dwell. She loved her old man dearly, But another twice as well. Refrain Oh my dearest dear, what ails me? Thinks says I what ails me? And what's the matter now? The old woman being good natured, For fear that he could swim, She took a great long pole And she pushed him headlong in. Only the refrain of this ballad belongs to the play-party. Professor A. H. Tolman in the Jour. Am. Folk-lore, vol. XXIX, pp. 179-180, prints an interesting ballad without refrain entitled, 94 THE PLAY-PARTY IN INDIANA. "The Old Woman of Slapsadam," to which the one given above is doubtless related. I have also a ballad of this same name which contains eight stanzas. It has a syllable refrain and an entirely different tune. Professor Tolman cites two variants, one con- tributed to Child by William Walker of Aberdeen in the Child MSS. (Harvard College Library, vol. ii, p. 216 "The Wife of Kelso)" another Scottish copy given by Gavin Grieg xii "The Wily Auld Carle." THUS THE FARMER Sows His SEED. 1 . Thus the farmer sows his seed, And takes his ease, 2. Stamps his foot and 3 claps his hands, 4. And turns clear round again. 5. Come my love and go with me, And I will take good care of thee, 6. I am too young, I am not fit, I cannot leave my mamma yet. 7. You're old enough, you are just right. I asked your mamma last Saturday night. Miss Rena Bushing, Johnson Tp. b. All join hands to form a circle, each girl being at the right of her partner during 1. At 2, each stamps his right foot and at 3, each claps his hands. At 4, each makes a complete turn to the right. At 5, partners promenade. During 6, the girls pass their partners by the left, then join hands to make a circle inside that of the boys, and circle left. At 7, each girl turns right, takes the right hand of her partner, passes him by the right, and skips on to the right of the boy at her partner's right, with whom she promenades. Repeat from the beginning with this new partner. Continue repeating until each girl has had for partner every one of the boys and is back with her original partner. c.-d. Hofer. Children's Singing Games, p. 22, stanza 1. Hamilton. Play-party in N. E. Mo., Jour. Am. Folk-lore, vol. XXVII, p. 299, stanza 2; Complaint of Scotland, Early Eng. Text Soc. ; Newell, Games and Songs, pp. 81-83, stanza 1 ; Gomme, Trad. Games, vol. ii, pp. 1-16, stanza 1, 18 variants; Hofer, Popu- lar Folk-Games, 31; Edwin F.- Piper, Some Play-Party Games of the Middle West. Jour. Am. Folk-lore, vol. XXVIII, p. 273. THE PLAY-PARTY IN INDIANA. 95 This game in almost every other version begins with the lines, "Oats, pease, beans and barley grows, How, you, nor I, nor nobody knows." and is usually called by this first line. The game gives many evidences of age. 66 It is a favorite in France, Provence, Spain, Italy, Sicily, Germany, Sweden and Great Britain 67 as well as in the United States. 68 Mr. Newell is inclined to believe that it is of Romance origin. But since variants VII, VIII and IX 69 contain the first four lines which distinguish the American game, and most of the other variants are very similar we should conclude that, like so many of our games, this too came to us from England. His next conjecture seems well founded. He says (Games and Songs, p. 81) "The lines of the French refrain (Oats, oats, oats, May the Good God Prosper You) and the general form of the dance suggest that the song may probably have had (perhaps in remote classic time) a religious and symbolic meaning, and form- ed part of rustic festivities designed to promote the fertility of the fields, an object which undoubtedly formed the original purpose of the May festival." Mrs. Gomme is inclined to connect the line "Waiting for a partner" with the mating of the young people, which was so much a feature of harvest festivals. 70 Mr. Newell says that this "is properly a dance rather of young people than of children." 71 The statement was made in 1883. How different we find the game. The first two lines of the English game-song are dropped and are never used in the play-party game of Ripley County. Those lines were not dramatic, neither were they particularly suited to a dance. The four lines which met these conditions were retained with absolutely no change. The stanza 66 Mr. Newell (Games and Songs, pp. 33-6) quotes a poem of Froissart's in which he speaks of playing Oats (evidently the same as this). As he was born in 1337, the game is certainly nearly five hundred years old and is probably much more ancient than that. 67 Mrs. Gomme. Trad. Games, vol. ii, p. 10. 68 Newell. Games and Songs, p. 80 ti9 Mrs. Gomme. Trad. Games, vol. ii, p. 10. 70 Ibid, p. 13. 71 Newell. Games and Songs, p. 81. 96 THE PLAY-PARTY IN INDIANA. whose theme was, "Waiting for a partner" 72 is significantly replaced by the dialogue of courtship which gives opportunity for a coquettish dance. Thus, though the first four lines of this game have originated in England, the melody and dance, and the greater part of the words are distinctly American. Tideo. Mrs. Leslie Beall. ' TT^ , 1 1 - de - o , Pass one win-dow, Ti -de - o, Pass two windows i J)J' Pass three windows, Ti -de - o, Jin-gle at thewin-dows,Ti-de -o, =F=fi ^ jja r^^ r->> h h 1 *= ij 1 ' Jl J J^ Ij) j J ii Ti-de-o, Ti-de-o, Jin-gle at the win-dows, Ti- de - o. 1 . Pass one window, Tideo, Pass two windows, Tideo, Pass three windows, Tideo, Jingle at the windows, Tideo. 2. Tideo, Tideo, Jingle at the windows, Tideo. 3. I asked that girl to be my wife, She said, "No, not on your life." I asked her mother and she said, "No." Jingle at the windows, Tideo. 4. Tideo, Tideo, Jingle at the windows, Tideo. b. At 1, all form a single circle, with each boy in front of his partner. Each player has his left hand on the right shoulder of the person in front of him. Circle left. At 2, each boy makes a half tur.n to the right and swings his partner. At 3, each girl steps in front of her partner and all form a single circle again in position as 1. At 4, each boy turns and swings the girl behind him in the circle. 72 In Traditional Games, vol. ii, p. 13, Mrs. Gomme says, "It is abundantly clear from the more perfect game-rhymes that the waiting for a partner is an episode in the harvest custom, as if, when the outdoor business of the season was finished the domestic element becomes the next important transaction in the year's proceedings." In vol. ii, p. 510, she continues, "A ceremonial of this kind would probably take place each spring, and the stamping on the ground would be, as in 'Oats and Beans and Barley,' a part of the ceremony to arouse the earth spirit to the necessity of his care for the trees under his charge." THE PLAY-PARTY IN INDIANA. 97 Begin the song again and continue the game until each girl has been partner to every boy and returns to her original partner, c. The first stanza of a variant which Mrs. Ames calls "Pass One Window Toddy-o" (Jour. Am. Folk-lore, vol. XXIV, p. 311), is the same as that given above, but the tune is different. Miss Goldy Hamilton (Jour. Am. Folk-lore, vol. XXVII, p. 294) prints the words of stanza 1. UNCLE JOHNIE'S SICK A-BED. Tune: Yankee Doodle. Uncle Johnie's sick a-bed, What shall we send him? Three good wishes, three good kisses, And a slice of ginger bread. What shall we send it in? In a piece of paper, Paper is not fine enough, But in a golden saucer. Who shall we send it by? By the governor's daughter. Take her by the lily white hand. And lead her cross the water. so they say Goes a-courtin' night and day, With a sword by his side, And takes Miss for his bride." Mrs. Susan Ballman, Versailles, Ind. b. This was a "kissing game" at the play-parties thirty years ago. The figures have been forgotten. 73 The names of the boy and girl are supplied in the blank spaces. 98 THE PLAY-PARTY IN INDIANA. Wait for the Wagon. Mrs. Losli Hcall. Will you come with me,my Phyllis^dearjToyon blue mountain freeWhere the ^ J ^ j, ^ij, j.V j> ij) .M JMJ * blos-soms smell the sweet-est, Come rove a -long with me. .M It's ev-'ry sun-ny morning,When I am by your side, Well J ' jump in to the wag-on, And all take a ride. J Wait for the wag -on, Wait for the wag -on, Ji J' J' IJ J' J' I"! I I Wait for the wag - on, And we'll all take a ride. 1. Will you come with me, my Phyllis, dear, To yon blue mountains free, Where the blossoms smell the sweetest Boys Come rove along with me? sing. 2. It's every sunny morning, When I am by your side, We'll jump into the wagon And all take a ride. Refrain All 3. Wait for the wagon, Wait for the wagon, sing. Wait for the wagon, 4 And we'll all take a ride. Boys Where the river runs like silver sing. And the birds they sing so sweet, I have a cabin, Phyllis And something good to eat. Come listen to my story; It will delight your heart. So jump into the wagon And off we will start. THE PLAY-PABTY IN INDIANA. 99 Refrain Boys Do you believe, my Phyllis dear, sing. Old Mike with all his wealth Can make you half as happy As I with youth and health? We'll have a little farm, A horse, a pig, a cow, And you will mind the dairy, While I guide the plough. b. For any even number of players above seven. The players stand in one long line, each girl behind her partner. At 1, each boy makes a half turn left and while facing his partner sings the first four lines. At 2, each boy steps to the left of his partner, they turn left and all promenade in line, tracing a rect- angle by means of four sharp turns to the left, and all return to the position held at the beginning of the promenade. During 3, each boy swings his partner and at 4, all return to their original positions in preparation for stanza 2. Repeat from the beginning, to the singing of stanza 2 and 3. 100 THE PLAY-PARTY IN INDIANA. Walk Along John. Mrs. A. T. Beckett, Versailles, Incl. 'j J' J [ Walk a -long John, the fif-er'sson, Aint you mighty glad your day's work's done? Walk a - long John, (he fif - er's son, j t ij, ijj,i Aint you mighty glad your day's work's done? Oh 'twill nev-er do to J' J| J i give it up, old Un-cle Ben, It will nev - er do to 4 Jiji give it up so Oh, 'twill nev- er do to give it up, old Un-cle Ben, It will nev-er do to give it up so. 1 . Walk along John, the fif er's son, Aint you mighty glad your day's work's done? Walk along John, the fifer's son, Aint you mighty glad your day's work's done? Refrain O 'twill never do to give it up, Old Uncle Ben, 74 It will never do to give it up so, O 'twill never do to give it up, Old Uncle Ben, , It will never do to give it up so. 2. Old Mr. Coon, you come too soon, The girls won't be ready till tomorrow afternoon, Old Mr. Coon, you come too soon, The girls won't be ready till tomorrow afternoon. 74 As this song was given me it had a change of key before the refrain as indicated above, but I am of the opinion that the original kept the same key throughout. The refrain would then be (See music at bottom of next page.] THE PLAY-PARTY IN INDIANA. 101 b. Circle game for children. All march in single file, tracing a large circle^ during the singing of the stanzas. The refrain is sung after each stanza, and, to this music, the children dance a jig inside the circle which they have traced. Way Down in the Paw Paw Patch. Mrs. Leslie Seal, Versailles, Ind. Where, oh where is pretty little _? pretty little ? pretty little ? Where, oh where is pretty little _ ? Way down in the pawpaw patch. Where oh where is pretty little ? Pretty little , pretty little ? Where oh where is pretty little ? Way down in the paw paw patch. By and by we'll go and meet her, Go and meet her, go and meet her, By and by we'll go and meet her, Way down in the paw paw patch. Won't that be a happy meeting, Happy meeting, happy meeting? Won't that be a happy meeting, Way down in the paw paw patch? Miss Rena Bushing, Johnson Tp. On, 'twill nev - er do to give it up, old Un-cle Ben, If will nev - er do to give it up soi^r ' On 'twill nev- er do to give it up, old Un-cle Ben fe Hei i ji ji ji=i j j j i ^p i j 1 1 It will nev - er do to give it up so:- 102 THE PLAY-PARTY IN INDIANA. b. It is obvious that the dance directions for this cannot be related with the words or with the music. The length of the song will be determined by the number of players and this may be six or any even number above six. Longways dance. 1. All form in two lines, boys in one, girls in the other and part- ners facing, with a space of six steps between them. The first couple join and lead down the middle. They have promenade position but the walking step is generally used. At the bottom they swing and lead back again to position. 2. The first boy and girl simultaneously cast off and each is followed by his or her line. Partners meet at the bottom and promenade in line up through the middle and resume position. 3. The first couple advance and join hands above their heads to form an arch. The bottom couple followed by the couple next to them and so forth, promenade up through the center, then under the arch and cast off. Couple 2 passes through the arch last and instead of casting off, they form the arch. Couple 1 then passes under and casts off. Repeat the figure with couples 3, 4, 5, 6, 7, ... respectively forming the arch. After the last couple has made the arch all are in the original order and promenade back to their original places. Weevily Wheat. Newton Jackson.