Part 3
A game at ball common in Norfolk, and played in a similar manner to "Bandy" (Halliwell's _Dictionary_). Toone (_Etymological Dictionary_) says it is also played in Suffolk, and in West Sussex is called "Hawky."
Bandy-wicket
The game of "Cricket," played with a bandy instead of a bat (Halliwell's _Dictionary_). Toone mentions it as played in Norfolk (_Dict._), and Moor as played in Suffolk with bricks usually, or, in their absence, with bats in place of bails or stumps (_Suffolk Words_).
Banger
Each boy provides himself with a button. One of the boys lays his button on the ground, near a wall. The other boys snap their buttons in turn against the wall. If the button drops within one span or hand-reach of the button laid down, it counts two (fig. 2); if within two spans, it counts one. When it hits the button and bounces within one span, it counts four (fig. 1); within two spans, three; and above three spans, one. Each player snaps in turn for an agreed number; the first to score this number wins the game.--Deptford, Kent, and generally in London streets (Miss Chase).
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
This game is known in America as "Spans."--Newell, p. 188.
Bar
To play at "Bar," a species of game anciently used in Scotland.--Jamieson.
This game had in ancient times in England been simply denominated "Bars," or, as in an Act of James IV., 1491, edit. 1814, p. 227: "That na induellare within burgh . . . play at bar," "playing at Bars."
See "Prisoner's Base."
Barbarie, King of the
I. O will you surrender, O will you surrender To the King of the Barbarie?
We won't surrender, we won't surrender To the King of the Barbarie.
I'll go and complaint, I'll go and complaint To the King of the Barbarie.
You can go and complaint, you can go and complaint To the King of the Barbarie.
Good morning, young Prince, good morning, young Prince, I have a complaint for you.
What is your complaint? What is your complaint?
They won't surrender, they won't surrender To the King of the Barbarie.
Take one of my brave soldiers, Take one of my brave soldiers.
--Deptford, Kent (Miss Chase).
II. Will you surrender, will you surrender To the King of the Barbarines?
We won't surrender, we won't surrender To the King of the Barbarines.
We'll make you surrender, we'll make you surrender To the King of the Barbarines.
You can't make us surrender, you can't make us surrender To the King of the Barbarines.
We'll go to the King, we'll go to the King, To the King of the Barbarines.
You can go to the King, you can go to the King, To the King of the Barbarines.
--Clapham, Surrey (Miss F. D. Richardson).
III. Will you surrender, will you surrender The Tower of Barbaree?
We won't surrender, we won't surrender The Tower of Barbaree.
We will go and tell the Queen, Go and tell the Queen of Barbaree.
Don't care for the Queen, don't care for the Queen, The Queen of Barbaree.
Good morning, young Queen, good morning, young Queen, I have a complaint to thee.
Pray what is your complaint to me?
They won't surrender, they won't surrender The Tower of Barbaree.
Take one of my brave soldiers.
--Lady Camilla Gurdon's _Suffolk County Folk-lore_, p. 63.
IV. You must surrend' me, you must surrend' me To the Queen of Barbaloo.
No, we'll not surrend' you, no, we'll not surrend' you To the Queen of Barbaloo.
We'll complain, we'll complain, &c. [To the Queen of Barbaloo.]
You can complain, you can complain, &c. [To the Queen of Barbaloo.]
--Penzance (Mrs. Mabbott).
(_b_) Two children stand together joining hands tightly, to personate a fortress; one child stands at a distance from these to personate the King of Barbarie, with other children standing behind to personate the soldiers (fig. 1). Some of the soldiers go to the fortress and surround it, singing the first verse (fig. 2). The children in the fortress reply, the four first verses being thus sung alternately. The soldiers then go to the King singing the fifth verse (fig. 3), the remaining verses being thus sung alternately. One of the soldiers then goes to the fortress and endeavours by throwing herself on the clasped hands of the children forming the fortress to break down the guard (fig. 4). All the soldiers try to do this, one after the other; finally the King comes, who breaks down the guard. The whole troop of soldiers then burst through the parted arms (fig. 5).
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
[Illustration: Fig. 4.]
[Illustration: Fig. 5.]
This is the Deptford version. The Clapham version is almost identical; the children take hold of each others' skirts and make a long line. If the brave soldier is not able to break the clasped hands he goes to the end of the line of soldiers. The soldiers do not surround the fortress. In the Suffolk version the soldiers try to break through the girls' hands. If they do they have the tower. The Cornwall version is not so completely an illustration of the capture of a fortress.
Barley-break
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
Barley-break, or the Last Couple in Hell, was a game played by six people, three of each sex, who were coupled by lot. A piece of ground was then chosen, and divided into three compartments, of which the middle one was called Hell. It was the object of the couple condemned to this division to catch the others who advanced from the two extremities (figs. 1, 2), in which case a change of situation took place, and Hell was filled by the couple who were excluded by pre-occupation from the other place (fig. 3). In this catching, however, there was some difficulty, as by the regulations of the game the middle couple were not to separate before they had succeeded, while the others might break hands whenever they found themselves hard pressed. When all had been taken in turn, the last couple was said to be "in Hell," and the game ended.--Dekker's _Works_, iv. 434.
Jamieson calls this "a game generally played by young people in a corn-yard. Hence called _barla-bracks about the stacks_, S. B." (_i. e._, in the North of Scotland). "One stack is fixed on as the _dule_ or goal; and one person is appointed to catch the rest of the company, who run out from the _dule_. He does not leave it till they are all out of sight. Then he sets off to catch them. Any one who is taken cannot run out again with his former associates, being accounted a prisoner; but is obliged to assist his captor in pursuing the rest. When all are taken the game is finished; and he who was first taken is bound to act as catcher in the next game. This innocent sport seems to be almost entirely forgotten in the South of Scotland. It is also falling into desuetude in the North."
(_b_) The following description of Barley-break, written by Sir Philip Sidney, is taken from the song of Lamon, in the first volume of the _Arcadia_, where he relates the passion of Claius and Strephon for the beautiful Urania:--
She went abroad, thereby, At _barley-brake_ her sweet, swift foot to try. . . . Afield they go, where many lookers be.
Then couples three be straight allotted there, They of both ends, the middle two, do fly; The two that in mid-place Hell called were Must strive, with waiting foot and watching eye, To catch of them, and them to hell to bear, That they, as well as they, may hell supply; Like some that seek to salve their blotted name Will others blot, till all do taste of shame.
There may you see, soon as the middle two Do, coupled, towards either couple make, They, false and fearful, do their hands undo; Brother his brother, friend doth friend forsake, Heeding himself, cares not how fellow do, But of a stranger mutual help doth take; As perjured cowards in adversity, With sight of fear, from friends to friends do fly.
Sir John Suckling also has given a description of this pastime with allegorical personages, which is quoted by Brand. In Holiday's play of the _Marriages of the Arts_, 1618, this sport is introduced, and also by Herrick (_Hesperides_, p. 44). Barley-break is several times alluded to in Massinger's plays: see the _Dramatic Works of Philip Massinger_, 1779, i. 167. "We'll run at barley-break first, and you shall be in hell" (Dekker's _The Honest Whore_). "Hee's at barli-break, and the last couple are now in hell" (Dekker's _The Virgin Martir_). See Gifford's _Massinger_, i. 104, edit. 1813. See also Browne's _Britannia's Pastorals_, published in 1614, Book I., Song 3, p. 76.
Randle Holme mentions this game as prevailing in his day in Lancashire. Harland and Wilkinson believe this game to have left its traces in Yorkshire and Lancashire. A couple link hands and sally forth from _home_, shouting something like
Aggery, ag, ag, Ag's gi'en warning,
and trying to tick or touch with the free hand any of the boys running about separately. These latter try to slip behind the couple and throw their weight on the joined hands to separate them without being first touched or ticked; and if they sunder the couple, each of the severed ones has to carry one home on his back. Whoever is touched takes the place of the toucher in the linked couple (_Legends of Lancashire_, p. 138). The modern name of this game is "Prison Bars" (_Ibid._, p. 141). There is also a description of the game in a little tract called _Barley Breake; or, A Warning for Wantons_, 1607. It is mentioned in Wilbraham's _Cheshire Glossary_ as "an old Cheshire game." Barnes, in his _Dorsetshire Glossary_, says he has seen it played with one catcher on hands and knees in the small ring (Hell), and the others dancing round the ring crying "Burn the wold witch, you barley breech." Holland (_Cheshire Glossary_) also mentions it as an old Cheshire game.
See "Boggle about the Stacks," "Scots and English."
Barnes (Mr.)
Mr. Barnes is dead and gone, And left his widder, Three poor children in her arms; What will you give her?
Where did you come from?
--Played about 1850 at Hurstmonceux, Sussex (Miss Chase).
This is probably a forfeit game, imperfectly remembered. See "Old Soldier."
Base-ball
An undescribed Suffolk game.--Moor's _Suffolk Words_. See "Rounders."
Basket
[Music]
--London (A. B. Gomme).
In this game the children all follow one who is styled the "mother," singing:
I'll follow my mother to market, To buy a silver basket.
The mother presently turns and catches or pretends to beat them.--Dorsetshire (_Folk-lore Journal_, vii. 231).
We'll follow our mother to market, To buy herself a basket; When she comes home she'll break our bones, We'll follow our mother to market.
--Hersham, Surrey (_Folk-lore Record_, v. 84).
A version familiar to me is the same as above, but ending with
For tumbling over cherry stones.
The mother then chased and beat those children she caught. The idea was, I believe, that the children were imitating or mocking their mother (A. B. G.). In Warwickshire the four lines of the Surrey game are concluded by the additional lines--
We don't care whether we work or no, We'll follow our mother on tipty-toe.
When the mother runs after them and buffets them.--Northall's _English Folk Rhymes_, p. 393.
Battledore and Shuttlecock
See "Shuttlefeather."
Bedlams or Relievo
[Illustration: Fig. 1.]
[Illustration: Fig. 2.]
[Illustration: Fig. 3.]
A number of boys agree to play at this game, and sides are picked. Five, for example, play on each side. A square is chalked out on a footpath by the side of a road, which is called the "Den;" five of the boys remain by the side of the Den, one of whom is called the "Tenter;" the Tenter has charge of the Den, and he must always stand with one foot in the Den and the other upon the road; the remaining five boys go out to field, it being agreed beforehand that they shall only be allowed to run within a prescribed area, or in certain roads or streets (fig. 1). As soon as the boys who have gone out to field have reached a certain distance--there is no limit prescribed--they shout "Relievo," and upon this signal the four boys standing by the side of the Den pursue them, leaving the Tenter in charge of the Den (fig. 2). When a boy is caught he is taken to the Den, where he is obliged to remain, unless the Tenter puts both his feet into the Den, or takes out the one foot which he ought always to keep in the Den. If the Tenter is thus caught tripping, the prisoner can escape from the Den. If during the progress of the game one of the boys out at field runs through the Den shouting "Relievo" without being caught by the Tenter, the prisoner is allowed to escape, and join his comrades at field. If one of the boys out at field is tired, and comes to stand by the side of the Den, he is not allowed to put his foot into the Den. If he does so the prisoner calls out, "There are two Tenters," and escapes if he can (fig. 3). When all the boys out at field have been caught and put into the Den, the process is reversed--the boys who have been, as it were, hunted, taking the place of the hunters. Sometimes the cry is "Delievo," and not "Relievo." One or two variations occur in the playing of this game. Sometimes the Tenter, instead of standing with one foot in the Den, stands as far off the prisoner as the prisoner can spit. The choosing of sides is done by tossing. Two boys are selected to toss. One of them throws up his cap, crying, "Pot!" or "Lid!" which is equivalent to "Heads and Tails." If, when a prisoner is caught, he cries out "Kings!" or "Kings to rest!" he is allowed to escape. The game is a very rough one.--Addy's _Sheffield Glossary_.
Beds
Jamieson gives this as the Scottish name for "Hopscotch;" also Brockett, _North Country Words_.
Bell-horses
I. Bell-horses, bell-horses, what time of day? One o'clock, two o'clock, three, and away! Bell-horses, bell-horses, what time of day? Two o'clock, three o'clock, four, and away! Five o'clock, six o'clock, now time to stay!
--Stanton Lacey (Burne's _Shropshire Folk-lore_, p. 520).
II. Bellasay, bellasay, what time of day? One o'clock, two o'clock, three, and away.
--Halliwell's _Nursery Rhymes_, p. 283.
(_b_) The children form long trains, standing one behind the other. They march and sing the first four lines, then the fifth line, when they stand and begin again as before.
(_c_) Miss Burne suggests a connection with the old pack-horses. Mr. Addy (_Sheffield Glossary_) gives the first two lines as a game. He says, "The first horse in a team conveying lead to be smelted wore bells, and was called the bell-horse." I remember when a child the two first lines being used to start children a race (A. B. G.). Chambers (_Pop. Rhymes_, p. 148) gives a similar verse, used for starting a race:--
Race horses, race horses, what time of day? One o'clock, two o'clock, three, and away;
and these lines are also used for the same purpose in Cheshire (Holland's _Glossary_) and Somersetshire (Elworthy's _Glossary_). Halliwell, on the strength of the corrupted word "Bellasay," connects the game with a proverbial saying applied to the family of Bellasis; but there is no evidence of such a connection except the word-corruption. The rhyme occurs in _Gammer Gurton's Garland_, 1783, the last words of the second line being "time to away."
Bellie-mantie
The name for "Blind Man's Buff" in Upper Clydesdale. As anciently in this game he who was the chief actor was not only hoodwinked, but enveloped in the skin of an animal.--Jamieson.
See "Blind Man's Buff."
Belly-blind
The name for "Blind Man's Buff" in Roxburgh, Clydesdale, and other counties of the border. It is probable that the term is the same with "Billy Blynde," said to be the name of a familiar spirit or good genius somewhat similar to the brownie.--Jamieson.
See "Blind Man's Buff."
Bend-leather
A boys' phrase for a slide on a pond when the ice is thin and bends. There is a game on the ice called playing at "Bend-leather." Whilst the boys are sliding they say "Bend-leather, bend-leather, puff, puff, puff."--Addy's _Sheffield Glossary_.
Betsy Bungay
[Music]
Hi, Betsy Bungay, all day on Sunday; You're the lock and I'm the key, All day on Monday.
--Kent (J. P. Emslie).
Two children cross their hands in the fashion known as a "sedan chair." A third child sits on their hands. The two sing the first line. One of them sings, "You're the lock," the other sings, "and I'm the key," and as they sang the words they unclasped their hands and dropped their companion on the ground. Mr. J. P. Emslie writes, "My mother learned this from her mother, who was a native of St. Laurence, in the Isle of Thanet. The game possibly belongs to Kent."
Bicky
In Somersetshire the game of "Hide and Seek." To _bik'ee_ is for the seekers to go and lean their heads against a wall, so as not to see where the others go to hide.--Elworthy's _Dialect_.
See "Hide and Seek."
Biddy-base
A Lincolnshire name for "Prisoner's Base."--Halliwell's _Dictionary_; Peacock's _Manley and Corringham Glossary_; Cole's _S. W. Lincolnshire Glossary_.
Biggly
Name for "Blind Man's Buff."--Dickinson's _Cumberland Glossary_.
Billet
The Derbyshire name for "Tip-cat."--Halliwell's _Dictionary_.
Billy-base
A name for "Prisoner's Base."--Halliwell's _Dictionary_.
Bingo
[Music]
--Leicestershire.
[Music]
--Hexham.
[Music]
--Derbyshire.
[Music]
--Earls Heaton, Yorks.
[Music]
--Enborne.
I. The miller's mill-dog lay at the mill-door, And his name was Little Bingo. B with an I, I with an N, N with a G, G with an O, And his name was Little Bingo.
The miller he bought a cask of ale, And he called it right good Stingo. S with a T, T with an I, I with an N, N with a G, G with an O, And he called it right good Stingo.
The miller he went to town one day, And he bought a wedding Ring-o! R with an I, I with an N, N with a G, G with an O, And he bought a wedding Ring-o!
--Monton, Lancashire (Miss Dendy).
II. A farmer's dog lay on the floor, And Bingo was his name O! B, i, n, g, o, B, i, n, g, o, And Bingo was his name O!
The farmer likes a glass of beer, I think he calls it Stingo! S, t, i, n, g, o, S, t, i, n, g, o! I think he calls it Stingo! S, t, i, n, g, O! I think he calls it Stingo!
--Market Drayton, Ellesmere, Oswestry (Burne's _Shropshire Folk-lore_, p. 513).
III. There was a jolly farmer, And he had a jolly son, And his name was Bobby Bingo. BINGO, BINGO, BINGO, And Bingo was his name.
--Liphook, Hants; Wakefield, Yorks (Miss Fowler).
IV. There _was_ a farmer _had_ a dog, His name was Bobby Bingo. B-i-n-g-o, B-i-n-g-o, B-i-n-g-o, His name was Bobby Bingo.
--Tean, Staffs.; and North Staffs. Potteries (Miss Keary).
V. The farmer's dog lay on the hearth, And Bingo was his name oh! B-i-n-g-o, B-i-n-g-o, B-i-n-g-o, And Bingo was his name oh!
--Nottinghamshire (Miss Winfield).
VI. The miller's dog lay on the wall, And Bingo was his name Oh! B-i-n-g-o, And Bingo was his name Oh!
--Maxey, Northants (Rev. W. D. Sweeting).
VII. The shepherd's dog lay on the hearth, And Bingo was his name O. B i n g o, Bi, n, g, o, Bi-n-g-o, And Bingo was his name O.
--Eckington, Derbyshire (S. O. Addy).
VIII. Pinto went to sleep one night, And Pinto was his name oh! P-i-n-t-o, P-i-n-t-o, And Pinto was his name oh.
--Enbourne, Berks (Miss Kimber).
(_b_) In the Lancashire version, one child represents the Miller. The rest of the children stand round in a circle, with the Miller in the centre. All dance round and sing the verses. When it comes to the spelling part of the rhyme, the Miller points at one child, who must call out the right letter. If the child fails to do this she becomes Miller. In the Shropshire version, a ring is formed with one player in the middle. They dance round and sing the verses. When it comes to the spelling part, the girl in the middle cries B, and signals to another, who says I, the next to her N, the third G, the fourth "O! his name was Bobby Bingo!" Whoever makes a mistake takes the place of the girl in the middle. In the Liphook version, at the fourth line the children stand still and repeat a letter each in turn as quickly as they can, clapping their hands, and at the last line they turn right round, join hands, and begin again. In the Tean version, the one in the centre points, standing still, to some in the ring to say the letters B.I.N.G; the letter O has to be sung; if not, the one who says it goes in the ring, and repeats it all again until the game is given up. In the other Staffordshire version, when they stop, the one in the middle points to five of the others in turn, who have to say the letters forming "Bingo," while the one to whom O comes has to sing it on the note on which the others left off. Any one who says the wrong letter, or fails to sing the O right, takes the place of the middle one. The Northants version follows the Lancashire version, but if the answers are all made correctly, the last line is sung by the circle, and the game begins again. In the Metheringham version the child in the centre is blindfolded. When the song is over the girls say, "Point with your finger as we go round." The girl in the centre points accordingly, and whichever of the others happens to be opposite to her when she says "Stop!" is caught. If the blindfolded girl can identify her captive they exchange places, and the game goes on as before. The Forest of Dean and the Earls Heaton versions are played the same as the Lancashire. In the West Cornwall version, as seen played in 1884, a ring is formed, into the middle of which goes a child holding a stick; the others with joined hands run round in a circle, singing the verses. When they have finished singing they cease running, whilst the one in the centre, pointing with his stick, asks them in turn to spell Bingo. If they all spell it correctly they again move round singing; but should either of them make a mistake, he or she has to take the place of the middle man (_Folk-lore Journal_, v. 58). In the Hexham version they sing a second verse, which is the same as the first with the name spelt _backwards_. The Berks version is practically the same as the Tean version. The Eckington (Derbyshire) version is played as follows:--A number of young women form a ring. A man stands within the ring, and they sing the words. He then makes choice of a girl, who takes his arm. They both walk round the circle while the others sing the same lines again. The girl who has been chosen makes choice of a young man in the ring, who in his turn chooses another girl, and so on till they have all paired off.