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MEMOIR ON THE STUDY OF |
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Three Sailors.
Wallflowers.
We are the Rovers.
When I was a Young Girl. |
Widow. Wind.
Would you know how doth the Peasant ? |
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(2) Dialogue and Action (no singing). |
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Auld Grannie.
Barbarie, King of the.
Chickens, come clock.
Deil amo' the Dishes.
Doagan.
Draw a Pail of Water.
Dumb Motions.
Eller Tree.
Fox and Geese.
Ghost at the Well.
Giddy.
Gipsy.
Gled-Wylie.
Hen and Chickens.
Honey Pots.
How many Miles to Babylon.
Jack, Jack, the Bread's a-burning.
Keeling the Pot.
King of Barbarie.
King of the Castle. |
Lady on yonder Hill.
Lend me your Key.
Mother, may I go out ?
Mother Mop.
Mother, Mother, the Pot boils over.
Mouse and Cobbler.
Namers and Guessers.
Old Cranny Crow.
Old Dame.
Rashes.
Shepherds and Sheep.
Steal the Pigs.
Thread the Needle.
Three Jolly Welshmen.
Tower of London.
Trades.
Who goes round my Stone Wall ?
Willie Wastell.
Witch.
Wolf. |
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Nearly all the remaining dramatic games form a third class, namely, those where action remains, and where both words and singing are either non-existent or have been reduced to the merest fragments.
In order to complete the investigation from the point we have now reached, it is necessary to inquire what is the controlling force which has preserved ancient custom in the form of children's games. The mere telling of a game or tale from a parent to a child, or from one child to another, is not alone sufficient. There must be some strong force inherent in these games that has allowed them to be continued from generation to generation, a force potent enough to almost compel their continuance and to prevent their decay. This force must have been as strong or stronger than the customs which first brought the games into existence, and 1 identify it as the dramatic faculty inherent in mankind.
A necessary part of this proposition is, that the element of |
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