The leader walks round chanting these lines, with her eyes fixed on the ground. Each new comer goes behind till a long train is formed, then they kneel side by side as close together as possible. The leader then gives a vigorous push to the one at the end of the line [next herself, and that one to the next], and the whole line tumble over.—Berkshire (Miss Thoyts in the Antiquary, xxvii. 194).

See “Obadiah,” “Solomon.”

Queen Anne

I.

II.

(Or sometimes)—

—Halliwell’s Pop. Rhymes, p. 230.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

[When the right one is guessed—]

—Barnes, Surrey (A. B. Gomme).

XII.

XIII.

XIV.

XV.

—Bocking, Essex (Folk-lore Journal, vi. 211).

(b) Sides are chosen, and two lines are formed; the words are said by each line alternately. One line, in which is the Queen, standing still or sitting down, the other line advancing and retiring while singing the words. The latter line gives one of their number a ball or some other small object to hold in the hand in such a manner that it cannot be perceived. All the players on this side then assume the same position—either all put their hands behind them or fold their arms, put their hands under their armpits, or under their skirts or pinafores. The object of the other side is to guess which child in the line has the ball. The line which has the ball commences the game by advancing singing or saying the first three or four lines. Queen Anne answers, and then names one of the girls on the opposite side whom she suspects to have the ball, and if she be right in her guess the lines change sides. If she be wrong, the line retires in triumph, the girl who possesses the ball holding it up to show the Queen she is wrong. The children all curtsey when leaving the Queen’s presence. Another girl of the line then takes the ball and the game continues till the right holder of the ball is named. When the Queen tells the line of players to “turn,” they all spin round, coming back to face the Queen, and then stand still again. In the North Kelsey version (Miss Peacock) there is only one player on Queen Anne’s side, the rest form the line. This is also the case with the Cornish game.

(c) The analysis of the game-rhymes is as follows:—

[96-
99]

This game appears to be in such a state of decadence that it is difficult to do more than suggest an origin. It may be that “Queen Anne” represents an oracle, and the petition is addressed to her to discover the stolen treasure; but more probably the players represent disguised damsels, one of whom is a bride whose identity has to be found out by her showing or possessing some object which belongs to or has been given previously by her suitor. The “guessing” or “naming” a particular person runs through all the versions, and is undoubtedly the clue to the game. If the Belfast version is the nearest to the original of those at present existing, and there is every probability that this is so, especially as Chambers’ version is so similar, an early form of the game might be restored, and from this its origin may be ascertained. Using the first four lines of one of Halliwell’s versions, and what appear to be the common lines of the other versions, the reading is—