GV 1215 W69 I wS cP\^V ■;-^, ^ ^0^ \ >^^ -^^ . ^oo^ '/- ■^' cS <:'. '' "^^^ /' \^ ,0o^ / % °^ * s ^ . ^"^ ^-^ ^ V *. ' ' " / "00^ xO^x. c> ,A -^^ .'?"' '^%-.: \ ^^.% ^"-. V ^^^ ■'^r.c^ * K ^ .-^-^^^ oO'.'»:i:%% yo:,:^'-"^. ,0^.-".,'*^ i^: N^^ o 0^ Digitized by the Internet Archive in 2011 with funding from The Library of Congress http://www.archive.org/details/childrenssingingOOwill CHILDREN^ AI^R^ANGED BY EL£AN01\WITHEY WILLAI^D RINGING GAHE^ Published BY THE WICHTCAN Tl^U^T COMPANY GP^AND K^PIDS, MICHIGAN. Cbilbren'e mgmg ©famee SHustcateb anb arranjjeO 6? f €leanot f^ittjep il^xHarD /r Cf)e ifEic|)tsan Crust Company 1^95 NOV 4: 1G95 Copyright, 1895 By The Michigan Trust Company JSnibtrsttg ^ress John Wilson and Son, Cambridge, U.S.A. H /Ihert^ Cbdstmas! 1595. " ^t Cl^ristmas plag anti make gooti cl^eere, iFar (llfjrfsttnas comes but oricc a geere." E beg you to accept this copy of our C^rtS'tlltas! HBoofe^ ^^i^ with it our best wishes that the day may be a glad one for you and yours. Should there be no little folks in your own family, you doubtless know some child to whom the book will be , a joy; and, moreover, it is not at all unlikely that you may fiira some interest in the volume yourself. You have probably played many of these old games ; and the curious origin of some of them will interest you now more than when you were a child. In any event, if this little volume shall add anything to your pleasure, we shall feel sufficiently rewarded in our attempt to bring something of the spirit of Christmas into the business world. If you should by chance discover any shortcomings in our work, you will kindly remember that we are not publishers, as we may seem, but only * ' . Your obedient servants, E\}t iHtdjisan Erust Compang. PREFACE. T has seemed to us a propitious time to call again into notice these old singing games for children. Many of these games, familiar to the last generation, are passing away in the present. The kinder- garten, with its many pretty songs and plays, is creating a natural revival of singing games; and it seems to us that these ancient plays should be rescued from the realm of mere folk-lore, and be made once more to take a part in child-life. Children, trained as they are in the kindergarten to use actions and words in unison, if allowed to play these games naturally, and with spirit, will find an outlet for their activity wnich will prove as beneficial and pleasing in the present as it has been in the past. We have taken much pains to give pretty games little known in this country, as well as some of those familiar to us all. The list might have been extended almost indefinitely. The tunes will be found in all cases simple and suited to the child- voice. To the old, well-known songs we have given the old, well-known tunes. We return our grateful thanks to the many friends who have assisted in the col- lection of these games, and in the arrangement of the music. We also desire to acknowledge our obligation to the English work of Alice B. Gomme, " Traditional Games," in her " Dictionary of English Folk-Lore," to which we are indebted for many suggestions, and especially for the basis of our versions of "London Bridge" and " Green Grass." To this valuable w^ork we would refer any who may become sufficiently interested in these games to wish to follow out their historical signifi- cance. And, finally, our thanks are due to the Library of Michigan University for the loan of books, and to the Newberry Library of Chicago for their list of works on the subject. CONTENTS. Page London Bridge 9 Soldier, Soldier, will you marry me? 15 Looby Loo 19 Oats, Pease, Beans 25 Round and round the Village 29 Here we go round the Mulberry Bush 33 Little Sallie Waters 39 Green Grass ^ .... 43 Uncle John is very sick 49 I'll give to you a Paper of Pins 53 Jenny Jones 59 The Needle's Eye 65 LONDON BRIDGE. NOTE. THIS game is a very ancient one, and can be traced through the German, French, and ItaHan, as well as English versions. It is mentioned by Rabelais as early as 1533. In some cases it has a mythologic character, as in the Italian ver- sion, where the gates are those of the Inferno and Paradise, Saint Peter the keeper of one. Saint Paul of the other. The great importance of holding bridges in ancient times probably accounts for this game ; and the building and rebuilding of one of such note as London Bridge becomes easily a subject of nursery rhyme. In early times, when bridges were built, it was customary to offer a foundation sacrifice in the shape of human victims. This game may be a tradition of the rite. " So recently as 1872 there was a scare in Calcutta when the Hooghly Bridge was being con- structed. The natives got hold of the idea that Mother Ganges, indignant at being bridged, had at last consented to submit to the insult on condition that each pier of the structure was founded on a layer of children's heads" (Gomme's " Early Village Life," p. 29). And there is a tradition of London Bridge that the stones were bespattered with the blood of children. This may explain the fact that there is always in the rhyme great difficulty in building up the bridge until a prisoner is taken, showing a trace of the old heathenish ceremony. DIRECTIONS FOR PLAYING ''LONDON BRIDGE." Two players represent the bridge by raising their arms so as to form an arch. The others form in Hne, holding each other by the dress or hand, and pass under the arch. When the words " Here 's a prisoner I have got " are sung, the two keepers of the bridge let their arms fall, catching whichever child happens to be passing under at the time. The prisoner is then led off to a place representing the prison, or " den," and there he is asked, " Do you choose a diamond necklace or a gold pin?" The keepers have already privately agreed which of these objects each will represent ; and the prisoner is allotted to one side or the other, according to his choice. When all have been caught, the game ends with a " tug of war" between the two sides. ondonBridgb: J -^ J J' i r -T J J J- ^ s London Bridge is ^a.l/m5 down, Ta.llin^ down, falling down, J ^ i i i ; J ^^ S London BrtdSe is |'a.llin& down, My f a.i r La-- dy . Jju/ld it up witfi iron wars, Iron oars, iron /oairs, Bu»'a (t up witfi iron losers, iron loa-rs wi// bend and bre&.k^ , £end a-nd (area^k, foend and breaks, Iron bars wi// bend and Dreal<; , M 1y I'ai'r Lady Bui/d it up witfi feold and si/ver, Gold and sDvey, boli and sil\/er. Build it up wif/i ^oM i.nd S(/v/e>- M 1y /a-ir Lady. Get a m&n to uvaTch a/I m&ht, Witch i// ni&hf , (A/atcA a// ni&ht , Get a. m a.n fe watcfi all ni&fit , M 1/ ^' Lad y- 'ut a pipe into his rnoufh , Jnfo his rnourh , into fii S rnoufh , lut a aipe. !nTo n/s mouth , liy -fai r LaLOy . G-et a do& To Dar k al/ ni6nT , Bav-k a/1 I'^^t', fcirk all mS^t, G'et a. doS to bark aH ni"6/it. G'ola and silver LI he stolen away, Stolen away, stolen away, Gold and Silvet' '11 /ae stolen away. My fai V Lady . Suppose tl-ie- man should fa.!! asleep, I'a/I asleep , /a// as/ee lo , Oupjoos e the ma^n snoula /"i/i as/eeo, rly. +ai r Lioy . Suppose ffie tt'pe s nou/a ■/a// and oi^eaki rill and wreak , -fi'i ana orea.k, Ouppose tfie arpe ^fiould fall and trea/<^, ri y £a i r L a d G)upposG ■^fie ao& should meet a oone , 'ft (Suppose, /he 006 sAou/d meet & bo-ie, .Jy. M y ^ai f La.J< Gei M tc a cock lo c fow a' n;s/it. Crow all ri'i&ht , crow all m'Sbt, Get a cock to c>-ow all ni&ht , ir L ad' Wuts fU net-e's a. prisoner I ^ia.ve bot , 1 nive bot , I hatve hot , Here's a prisoner i fia-v( ^y ^a-fr Lady, M 't. 3.15 /he prisoner done to you , JJone To you, done To you, W/ha/s The prisoner done ro you, MJ j^i/r Lady? "^ Otble my watch and lost "ly f^eys. _^ my ■ny kfiys, lost my /nARRY|ME' (First voice) Solaier, so/uier, wT// you ma-t^ry me , (5, Witli your knapsack, Afe , and dh-um ? cond, voice) " OK , fiow can I rnaKi-> ■ econd, voice) " OK , fiow can I ms^rry such a prettv m6.t(i as f/iee ^ WKen IVe &ot no snoes 7b Put on <* (Gnorusj Tfien away she fan to tKe s/ioemakers shop, (First voice) -^^ Q)o/dier, soid/ev-, will you ma.r\^y me , Wi+fi your knapsack , f'f e , and drum '^ '' (Sec on d voice) '' Oli , fiow can J md.rry Suoli a pretty maid ds thee , Wfien I've bot no liat To put on ? "''' (Chorus) men axA'ay sh& ra.n To The- natter's Sno/o, (first vo/ce^ jgcv ooldier, so/d/er, wi// you marrj/ me , W/tn^our knapsaoi<,-^('Tpe , and drum ? "" (.Second vo/ce) "^"^Ofi , fiow can I rn&rry such a preffy fnai'd as tAee, ^hen I've bot no fe/oves to put on ^ ^■' (Cfiorus) /^- I . . Tnen away she. ran Tofhe b'ove-makers snop, (tirsT voicej -/ o ^_,_ Q>o/di£r^ soldier, will you marry me , With your knapsac k,-^/Te , and drum *'''■' (c^econd voice) ^'^Oh, how can I marry suoA a pretty rrjaia as thee., When I've bot a^ feood wi^^e at nome _ _' LOOBY LOO. NOTE. THIS is an English game, but no trace of it is found in American books of singing games. Our version, both words and music, was received from a Michigan. lady, who doubtless learned it in her childhood from some English source. According to Miss Gomme's " Traditional Games," this game had its origin in the imitation of the postures of animals, as one version is found in which the words are "Here we come louping " (leaping). This word having become obsolete, the game has become merely a dance, in which the movement of the different parts of the body is all that survives. 19 DIRECTIONS FOR PLAYING "LOOBY LOO." THE children form in a ring, and, joining hands, dance around while singing the first verse. At the second verse, they stand still and suit their actions to the words. Each child extends the right hand towards the centre of the ring as far as possible, then draws it back; then each shakes himself from side to side, and at the last line each one turns quickly around. Then the ring goes round again to the words, " Here we dance looby, looby, looby," and then the left hands are used in the same way. The dance around follows again, and at the next verse the right feet are extended and withdrawn in the same way. Then the elbows go through the same motions, the dance around following each time. The game may be lengthened by adding to the various motions " ears in," " heads in," etc. There is also a method of playing it by which each player does an additional movement in each verse until the last, when all the actions have to be gone through together. Forfeits may be exacted for any mistakes. Tiie game then becomes very lively. ILooBY Loo (7 A/^ 5: f ^ fe 4^ — te t-K Y ^ h — << f' •! ^^ •' ^^ — •J Het-e we dance /ooby, loohy ^ /oooy, ^ ^^ nere we- dance looby, lopoy, liS/it", ^TT-^rr^ IS N ■i-.jjj'.i jLi p ev-e we dance /oooy, /ooby ^ looby , /oo , L've.ry oa^ru^-day ni^^t. ^^ =^ -^ J i I J - Vut your r'l^ht ha-nds in, Put yOur ri^ht hands OuLj •^^J J'j Ji-:^ ^ * * I W J Give yourse'ves a snake, sneLke,shaLke , And turn yourselves aoout. Here we dance looby, loony , /oooy, Here we a a>. nee looby, loooy (I'ftKt, Hev-e we dance looDy, looby^ loooy loo, Every Sd-turday n/Sfit. Put your leH hinds in , rut your lefl naoids out , Give -yourselves Sv. sfiaAe, slna^ke, sfia.ke, And turn yourselves a^bouT. Here v/e- d.anc& looby, looby, looby, Here we dance looby,/ooby , l/Sbi" , nere^ we d&.nce loooy, looby, iooby^ /oo. Every SaJ^ord&y ni§bt Put your ri^ht -Peet in , rut your TiSht fe^T ■Pe^T out , Gfve yourselves a sn^v.ke sna^ke , S-bake, Ana turn yourselves a^hout. Here we dd.nce loohy Jooly , JooIdy Vut your left jeet in, rut you f left -feet out , 6"ive yourse/v/es a. sfia^ke, sfiake, sfia^ke. Ana turn yourselves afcout. Here we daL,nce Ioodn/. loooy, foo Ly , rut youf ri'^ht elbow in, Put your ri^ht elloow out, GiVe yourselves 3w sfiake., sliake^, slid-ke, And turn your^e/ves aibout. Here we dd.nce looby, loowy^ /oooy. Put your left elDow in , Put your left elhow out , ixive yourselves a. sfiake, sliake , sfid^ke-, And furn yourselves afcout. 23 OATS, PEASE, BEANS. NOTE. THIS game is a favorite not only in America, but is sung in England, France, Spain, Sicily, Italy, Germany, and Sweden. It was played by Froissart as early as 1337, and probably takes its origin from rustic festivities connected with harvesting. Oddly enough, there is in none of the versions any mention of wheat, which would seem to indicate that the game goes back to a time when wheat was not in creneral cultivation. 25 DIRECTIONS FOR PLAYING ''OATS, PEASE, BEANS." THE players form in a ring, and circle about one child who stands in the centre. They sing the first four lines, and then the ring stands still, and each child makes the motions of sowing the seed, stamping foot, folding the arms while they "stand at ease," clapping hands, and finally turning round. Then they clasp hands again, and circle round. At the words, " Open the ring and choose one in," the child in the centre chooses and takes into the ring a partner, a boy taking a girl, or a girl taking a boy. These two kneel while the ring sings the concluding formula. At the end, the child first in the centre returns to the ring, the second remaining in the centre, and the game is repeated. lOATSi PEASE n r' ^ \ t ^ ■ s fr*^ — = — ^ — ^ ih^h J J J J .-^- (5; . «— ■! — " • Oa^ts , pea.se, bea^ns ,d.-nd bes-f/ey brows, (Jats, pease, Dea.ns a^nd faeu-iey ^3 =b^ You, nor 1 , nor nobody kno\yvs , Hov^ oa^fs oe&^se, bea-ns , 2>.nd oa-r/ey g»rows, £b ^ J- J J 1 — r^ 1 s 1 — J J J _ [: -^^3 * — •^ *^ *^^- Tbus tbe-fkrrner sovvs nis seed, Ihus ne sta.nds d-nd fa-kes his ea.se, 3 ^S s ^ r ^ J ^ r =:^ Sia-mps fni's -foot &.ncf 0I&.PS his bia-nds , And Turns a-round to view his Unds . A 27 i waiting -foi* a- partner, A- r — c r ^ «^. J ^ waitin6 -for a partner ; J r c J r r «J1J open the rinfe ,a.nd choose one m ^ /\nd kiss hei^ i^hen you 6et l-ier in now youVa rna.rried , vol/ must obey, You must be true To a.11 you say, jou must bt kinu, you must fcebood, /And keep your wi^e /n Kina/mfc-wooo . 28 ROUND AND ROUND THE VILLAGE. NOTE. THIS is a familiar game in both England and America, and owes its origin to the customs of early times. It is a childish imitation of village festivals or marriage ceremonials, beginning with the procession " round and round the village." The words, " as we have done before," indicate that it took its origin from some festivity which was observed at regular periods of time. 29 DIRECTIONS FOR PLAYING "ROUND AND ROUND THE VILLAGE." A RING is formed, with one player standing outside. The ring stands still, and sings the words describing the actions of the child outside. At the first verse, the child dances around outside the ring. At the second verse, the children in the ring raise their hands, allowing the one outside to pass under. She runs in under one pair of arms and out under another, and so winds in and out until she has passed around the ring. She tries to complete the circle by the time that the verse is sung. At the third verse, she stops in the centre of the ring and chooses one for her lover, and they stand facing each other till the last verse, when they kiss. The first child then takes her place in the ring, and the game is continued by the second child. The game is continuous throughout. There is no pause between verses, nor between the endinsir of one round and the beginning of the next. 30 [\OuND KpuND The Village . Kound a^ncl found the vi'l a-be , r\ou nd And round trit :^ J* ff. r. rr . i J Vi ll&.&e' , Kound and round the vMla.6e, As we h^^/e done he fore- . in and out the windov\/s , In and out the w moow s , ina.ndoutthe windo\A/s, As weha^ve done hefor© ota.nd d.nd fd-ce your lover, ota^ncl &.n6 fs^ce 'you \f lover, otd-nd a-nd i-Ace your lover, /\s we nc>.ve done u&fore^. Kiss her before you leaive her, Kiss ne.r oeZ-ore you /ez^ve her K'isb ner oefore you /eave n&r , As we liAve done ive-fore^. 32 HERE WE GO ROUND THE MULBERRY BUSH. NOTE. THE "Mulberry-Bush" has probably been sung and played by every native- born American. In Massachusetts the " barberry-bush " is substituted for the "mulberry-bush," and the last line is sometimes sung, "All on a frosty morning; " but the essential characteristics of the game are the same the country over. DIRECTIONS FOR PLAYING "HERE WE GO ROUND THE MULBERRY BUSH." THE game consists in simply suiting the actions to the words of the song. It is especially attractive to little girls, who love to go through the dumb show of washing, ironing, sweeping, etc. 34 ^ £ ± Het-e we bo f-ound The mulidei-ry hush ^ »-n ^^f::^ ^ (k_ '^T iSf= —S.: S S S — «LJJ r^e mu/oerry hush , the muiaefry hush. ^ J j .r J •> J JnJ ^ ^^ let-e we 60 rouno tne, mu'oerl-y hush. So ea.i'ly in th e morni nc This fs tne w2s.y we wa^sh our c/oThes, We wasfi our clot/ies, we wa.sfi ourclorhes, This is tne ws.y we wa-sn our clothes, Oo ea-f-ly ( londd-y 010^0106 . 3S Ih/s ("s The Wd-y we iron ouf clothes, We iVoa out- clothes , we iVon out' c/orhes , In/a p's me wc^y we iron oli*" clotnes , Oo &d.r\y luesaa.y rnorn(n& } I's 'S The wa.y we sckuo the. f/oor', We scrub tRe /loo r, we scruh'iUe. ^loor, \W\s is the w^y we scruo tfie jloot*, So exrly U/ec/nesaa-v rno/'n/n& ' IhiS isthe'v^a.yvve mencl our Clothes, We men a our ofothes^we/nenc/ our oloTn CS , I his )S the Wd.y we mend Our clotne.S , -/y rnarsad-y So ea-c/y rnarsdd-y morninft ' 36 This I s tfi £ w ^y we. Sweep the house. , We sweep me fiouse^ we iweep The house , Jhis is the wa-y we sweep the house ■ >- I Q ?^ v/ m r^ [.- n I n o ' r I y ri- 1 d a- y '8 . Thus we pla-y when oup- work i5 done, Our work /s done, our work is done. Thus we pla^v when our work is aone-. s vA/e pi So ea-rly Od^turaa.y worn i nS 37 LITTLE SALLY WATERS, NOTE. THIS is an old and widely known game among those in which love and courtship are made the basis of the action, with a final ceremony ratifying the choice made. The English version says, " Little Sally Waters, sprinkle in the pan," which doubtless refers to some old formula said or sung when the sprinkling of water was a part of the ceremony. There are many variants of the game. 39 DIRECTIONS FOR PLAYING -LITTLE SALLY WATERS." THE players form in a ring, with Sally Waters in the centre. She kneels or sits on the ground, with her face covered with her hands, as if weeping. The ring dances round, singing the lines. When the words, " Rise, Sally, rise," are sung, the child in the centre rises and chooses another from the ring, who goes into the centre with her. She then goes out of the ring, while the second child remains and takes the part. The singing begins again, and the game is continued until all have personated Sally. .40 LITTLE ■ SALLY ■ WA T E R S -# i ■I jH ^ .1 . 1 1 J. ^|j J .1 ^^ Little Od-ily Wd-tez-g , a^-S'ttinS m the Sun , Cryi'nb and ^s ^^ 3: 3 ^^ ^ eepi n& foe &. youn6 ma^n , f\iSe ,oa-My, cise , w(pe off youi ^ I J J J I J. Ill JZ I^ J J J | -I ^ eyes , ^\y to tfie eivst , Tly fo the west , / y f o t h e V e r-y o n e f r I r ^ J ^ 'h&.t you love jDesL, ^jjiiifi^^-*^ 41 GREEN GRASS. NOTE, THIS is a very pretty English game, little known in this country. Its probable origin is very interesting. Henderson's " Folk-Lore of Northern Countries " describes the curious rites accompanying the blessing of the dead in the Scottish Lowlands. Empty dishes are placed on the hearth near the fire ; and when certain ceremonies have been per- formed, the company join hands and dance round the dishes, singing, — " A dis, a dis, a dis, A green griss, A dis, a dis, a dis." In many versions of the game of Green Grass, the first two lines of this rhyme are retained in the same form, with the exception that the " green griss " has been changed to "green grass." In this version "a dis" has finally been converted to " dusty." This would indicate that the game was originally a child's imitation of an old burial ceremony. Several versions, like this one, suggest love, courtship, and the death of one of the lovers, but the courting and dancing are made the principal features of the eame. 43 DIRECTIONS FOR PLAYING "GREEN GRASS." THE players form in two lines. One line stands still, while the other walks forwards and backwards, singing the verses. A child to be chosen has pre- viously been decided upon by those advancing; and at the question, " Will you come?" the name of the one chosen is supplied, and he replies, "No." The line then forms a ring, and dances round while singing " Naughty lad," etc. In case a girl is chosen, " lass" is sung instead of " lad." The question, " Will you come ?" is asked again, and the child replies, " Yes." The child goes over to the line, and all dance round together. The line continues to advance and retire, singing the verses, until all have been chosen. In case the child says " No " to both questions, the line has to repeat the verses, and choose another child. 44 EEN GRASS ^ ^ i ? ~ in^ ^ I ri pni nb up the th th< ppinb up the &reen ^rs-ss , The breen gre^ss, the green ^ivkss, ^=^=^ ^ ^t ^ Irippjn6 up the ^reen ^re>.ss , ,JJust-y dusT-y ds-y 45 GREEN GRASS CONTINUED ^ -Lj! i J — I ■' -^ J. — You shall hdve ^ duck , my ded.r^ And you sh^^n h^>vt ^ swe^n # \ N I\r i -I ^ t^ And you sh^li hzsve ^ nice younS ma.n , /\ - w^ifm^ j-OK to come 46 ^J^greFtTj^I^ g^kas^ '-<^ fc^ — tr-f* ^^ ^=F^ s uuppose ne wev-e fo die' , /And )ea.ve hiS wi-Pe a. widow , C i Jii J -^"1 ,i- i J. -f ^ all ye pretty \d.\t- m&.'ias , Come. cld>p yoai- hands fo &efherl -W r 47 ^^IE5I3I CoTTc^-UDEDJj js J. J J [- .r ,r J ^p j-_ J . ^ Naubhty laLcl , he wont come, out , wont come out, ne wontcome out. Now xA^eVe tiot our nonny /EN-d , bonny Id-Uy our bonny la^d , ^^ t •'• Qji J J i Na-ubnty l2!^d , he wont come Out, to help us w^h our dd-ncin[^ Now we've 6ot our bonny la.d, to nelp us with our qa-nc i n5 ' t ^ w;ii ^oa come ? Yes. 48 UNCLE JOHN IS VERY SICK. NOTE. THERE are indications that this game has an ancient origin, and has come down from old ballads in which a knight is saved from death or disaster by the daughter of .the tyrant who keeps him in prison. The latter part of the rhyme is very familiar in this country, but we give here the complete song, which is less known. 49 DIRECTIONS FOR PLAYING "UNCLE JOHN." THE ring of players circles round, singing the first lines. At the words, " governor's daughter," all squat down, and the last down stands apart and whispers to some player the name of a boy whom she honors with her choice. (In case a boy is last down, he gives the name of a girl.) She then returns to the ring, and takes her place with her face outside. The confidential friend then announces the name of the boy chosen, and the next lines are sung with the names of the pair inserted at the proper places. At the last line, the ring breaks up, all clapping hands and dancing round. The game may then be repeated, with a chance for others to take the parts. 5° Uncle John IS V^RY SIC ^ Uncle John IS very sick, Wha^t sfia-ll we ^ P f=^ send h I m f Three Sold wishes , three ^ood kisses , And e>. shoe of ^ E J J J . III M ^ &in6ei' . Wha-t sKaII we send it in? In a. piece of pa.per. R ^& >t 6ood enou&h , But in a. golden seduce r, Who sfi ^ J J J J , 1 I ^ send it by ? By the Governor's dive To you a.n ea-sy c/ia.i not ^cce pt your- easy c/ja-iv-, lo Sit fn and com/o your bo/c/en /lai r, T^ sit m and comb my bolder, Kal r, If you will ^- ----- A , r.„ X y S Jf you vvillmai-ry rne ,me, i-n& , w/ K marry me . And i'll not marry you,yOu, you, And I'll not marry you n ive Toj/ou asilver spoon, ill nofaccepf your si/v/er spoon , dj^our baioe in+he aj^femoon, 7^ feed my lo^.hein th^ aft&rnoon , »u will m&rry me, me, me, /\nd/'nnof marry you, you , you , T you will marry me. And ]')] not marry you. 1.1 ^ive To you adress of&reen, IH not accept your dress of fei-een, lo maka yoc looK like any nueen, lo m^ke me look like any Queen, J I you will marry me, me, me, Andlllnotmarry you , you , you , l-tYOuwiHmarryme. Anal7lnotmarryyou'. 56 I'LL Give-To you-a-paper- op-PINS CONC L UDED. 1 K b'l ve To you the Key o-f my chest, I'll not accept t/ie fCey of your cnest, I hat you rn&y n&ye money at yoL/^- }"e^ue/sT, /fiAi 1 may have money a-t my J-efeoear, 1+ you wi/(in2.rK-yrne-,n-ie,rne., Anc/i'll not mahry you^ you, yoUj ou wi ;/ m a.r r y me . Anc/ I'll not you. J II Siva To you trie key o| my heart, Yes, i'/l accept the key Cjt your heart, 'hat we may love 2,.n(i never part, Inat we may love a-nd never parf, J 4 you w/llmarry me, me, me, Ana i wi/i man-y you, you, you, if you will marry me. And J w) // marry you 57 JENNY JONES. NOTE. THIS game needs no introduction. It is familiar to the oldest inhabitant. Versions of it may be found in England, Scotland, Ireland, going back to a very early date. Doubtless the original name of the leading character was Jenny Jo, Jo being an old English word meaning lover or sweetheart. From this it has gone through various stages of corruption until it has been modernized into Jenny Jones ! 59 DIRECTIONS FOR PLAYING ''JENNY JONES." ONE child takes the part of the mother, and is seated. Another, representing Jenny Jones, stands or rechnes near her. The rest of the players join hands in a line and move backwards and forwards before the mother, singing the words. The mother replies, and the questions are repeated until one has been asked for each day in the week. The news that Jenny is dead is received with great grief; and then proceeds the discussion as to the burial costume, some one suggesting blue, red, green, pink, etc. At the last verse, the ring breaks up, pursued by the ghost of Miss Jenny Jones. 60 Jenny Jones nj*r- — f- K 1 h W^ — s — ' — « — —m — -J- + — • — — -^ ^ J -^ --J_ ^ ■^ We ve come Lo see ^hss . e nn y Jones . 1 llSS J enny J ones ,1 liss Jenny -TT^ i , r- ' _ ' >^ . V .11 1' 1 _i . r - 1 1- -^ ^ • J J J — 1 1 ~ • -I • Jones , We've " come to see f^i'ss Jennv Jones , And how is snc to 6z.j/ 6 1 I llSS Jenny is a.-W3.shinq , /a - Wd-sn ;' n& , a^-\A/cySn inc I I/S5 Jenny is d--waL5hin§? . You ca.nt see fier to-d. 'y- We've coma io see ' liss Jenny Jones, I iiss Jenny iS a^- sFArcn i n^ A-sta,rc^iing, a^-sta-rc/imfe , / liss Jenny /s a- sta.rcn/n§ , You cd-nt seefier fo da-y. roor Jenny is ill, rbor Jenny ;s il/, You ca^n't see ner lo-a: y- y We e ve come Lo se ' liss Jenny /s ironi'nfi , Is ironing, IS ironing, t I iiSS Jenny J< ones , I liss Jenny ^s ironinl You ca.nt see ner To-d; y- W/c Ve come to see / I'ss Jenny Jon&S, liSS Jenny (S a--sweep/n6, ,nj /A ■ 5weep/'n& , a--Sweep/n5, ss Jenny /s aL-sweepinS , You ca^nT see ner to-da t/- We come To see niss Jenny Jones, 62 w, e i/e come to see I liss Jenny Jones , rooi' Jenny is c(y(n& , is Oyin^ , (5 ayln& . roor Jenny is oy/nS , You Cd-nt see he-t- tod, We've come to see Pl.'ss Jenny /on< 'oor Jenny is (}&&.(}. 16 dea^o (S c/ea.il, roor Jenny I's aea.d , Vou ca,n't see her to -a peco/e, Jj/ack IS for mourners, w/r/fe is for aeij people , pie oo tnat w;i/ never(3o> 5o tfat wi/l Surely do. i dred.mt I sslw a ^fost la-st ni^nt, A ^nost last n/^ht, agifiost Iciest ni^ht, 1 drea^m t I saw a ^fost lastn/gnt, Under fne aople-tree. 64 THE NEEDLE'S EYE. T HIS cfame is so old and so familiar as to need no comment. 65 DIRECTIONS FOR PLAYING "THE NEEDLE'S EYE." THIS game is played in a similar manner to " London Bridge." Two of the tallest children raise their arms to form an arch, while the others pass under. The hands are dropped over the one who happens to be passing at the end of the verse; and the question, "Will you have a rose or a violet?" or some similar one, is asked. The one caught then takes his place behind the one whose side he has chosen, and the game goes on till all are caught, and ends with a tug of war. 66 THE Needle's eye TT^ §± ^ K — vr — N-i — r< — r* K— 1 — ^ ^^= — 2" J- J- J j ^! J J J The needle's eye, tlie^t dotli supply, Tfi ey rry^ -ir^ ^ j^ ] y—. >. 1 y m m . 1 J 1 W ^ «l 1 threa-cl thcvT t'uns so truly, Inere's if^ K \ ^ ^ r fc- P^ ""T * ^ 1 J 1 ^ ^ r ^ J a - ^ J •- •! 1 1 /fl^ •! « J *■ - -1 -1 • ru • •• ma^ny a- la^ss Tnes-T 1 ve lef od-ss , Beca-use i wa^nlea you , Be - '^ • r« • r- 1 J • _ 1 1 " S 4 r r 1 ^ -• w J ^ '" ^ , ' C 'isuse- 1 wa^ntecl you , Jjeca>-use 1 vA/a^n/ed you, T/iei-e's f n An y n'W '■ A " \ \ Y m \ ^ J r ^ J n Ih « * U « « _j f ^— ^ 5- 1 2^ss that i v e let pa-bS , Deczs-use i wa-nTed you 6; The Michigan Trust Company, GRAND RAPIDS. Capital $200,000.00 Surplus 100,000.00 Deposit with. State Treasurer . . lOO.OOO.CO X — - ^N ©fftrcrs. LEWIS H. WITHEY, President. WILLAKD BAElfHAET, Vice-President, DAEWIN D. CODY, 2cl Vice-Presideut. HENEY IDEMA, 3d Vice-President. ANTON G. HODENPYL, Secretary. GEOEGE E. HAEDY, Ass't Secretary. P. A. GOEHAM, 2d Ass't Secretary. THIS Company is authorized by law to receive and execute trusts of every cliaracter, from courts, corporations, and individuals. It was organized for tlie express pur- pose of acting- as Executor, Administrator, Guardian, Trustee, Assignee, Receiver, and General Agent in any matter of business, taking entire charge of estates, real and personal. It is subject to examination by the State Bank Examiner, and its deposit of $100,000 with the State Treasurer, in addition to the liability of $200,000 on the part of its stockholders, is security for the faithful performance of its duties. N. L. Avery, WiLLARI) BaRNHART, James M. Barnett, Darwix D. Cody, f. a. gorham. Thomas Hkfferw, DIRECTORS. Anton G. Hodenpyl. Harvey J. Hollister, Henry Idema, Samuel B. Jenks, Frederick Loettgert, Alfred D. Rathbone, Willlvm G. Roftnson, Samuel Sears, Dudley E. Waters, T. Stewart White, l.EWLS H. WniiEY, Rdkert B. Woodcock, W. W. Cummer, Cadillac, Mich., E. Golden Filer, ]\ranistec, Mich., Charles H. Hackley, Muskegon, Mich .V ■i. -/■ "i,^ ^ ° WMW * AV '■^-. ••.^ ■OA . W/>5ci.\N * 'y <->^ ^ "•aim r 18^'-^ /\ "^ ^ ^ . -^b. ^ "C \\ ■ ^i C „ '/ ; c> '-n^ K' A .-^ " " ' '■■ 'WW^' 4'""-'. o>' o " o,0 'b "^. .-i.'^ ^^: '"^Uir^^ -.■ .<^ >V 0