Publications of the Texas Folklore Society, Issue 1, 1916 By Texas Folklore Society
SOME TEXAS PLAY-PARTY SONGS
BY R. E. DUDLEY AND L. W. PAYNE, JR.
[The following articles in the Journal of American Folk-Lore have been consulted: Vols. XXIV (1911), p. 295; XXV (1912), p. 261; XXVII (1914) p. 289; XXVIII (1915), p. 262. There seems to be such a habit of lawlessness in adapting different words to various dance-games and to various tunes that it has seemed desirable in this article to give the Texas versions just as we have collected them. A comparative study may be made when more of the songs have been gathered.]
Transmitted, as the play-party songs have always been, by word of mouth, and dependent, as they necessarily are, upon the memory of the singer, it is not surprising that we find many variations and many different versions. The wonder is that the same songs are scattered so widely and that in different localities and different generations, even, they remain very much the same.
However, it is true that games familiar in one locality are entirely unknown in another settlement or "range." At different times, too, in the same community the plays alter or are forgotten and supplanted by others. This is especially true in tenant communities or wherever the migratory element is large. '' The games we played here depended mainly on who did the singing," reported one young man who was of one of the the two or three home-owning families of a large neighborhood. "Sometimes a new singer would move in and start something different; but when he left, no one would remember enough to carry on the play, so we played something else."
The invited guests at a play-party included everyone who heard of the occasion and could get there. Usually some householder promised the young people a party on a certain night—they never spoke of it as evening—and two or three energetic young men rode out in get up the party. In more scattered settlements it was the work of half a day or so. The crowd gathered soon after sundown, the girls going in the house, the boys remaining for a while out of doors or about the stables. When they were finally in the notion of going in they entered the "front room." All the furniture had been removed, and around the wall were seats made of long planks resting on boxes, kegs, or chairs, and usually covered with quilts.
Where parties were common and the company well acquainted, the leader soon had them started in a favorite game. Otherwise, there was likely to be much bashfulness and little conversation till it was suggested that they play "Snap" or some other simple game, generally without a song. Then through easy stages they progressed to the more elaborate plays, dancing them if it was permitted. As a rule there were fiddlers present if dancing was expected, and in that case waltzes like "Over the Waves" and an occasional two-step were * alternated with the "square dances." In many homes, however, no dancing was permitted, and the players marched or skipped through the figures.
In some localities, especially in Western Texas, such games were called '' swinging plays.'' Perhaps this was derived from the manner of playing many of the games, which is somewhat as follows: The boys and girls march in opposite directions. The first couple swing half a turn by the right hands, then each swings with the next in line with the left hand, and so on down the line. When partners meet again all join hands and promenade, usually to a chorus. The play is continued till the stock of stanzas is exhausted or till they want a new play.
Typical of this play is the following:
Sometimes they sing, "Big fat gals in sandy land," and other variations at the ingenuity of the leader.
Another song sometimes used in this way is "Brown Jug." The second stanza seems to be an adaptation from "Sandy Land." A much fuller version is given in the Journal of American Folk-Lore, Xxvii (1914), p. 296.
1. SANDY LAND
Raise big taters in sandy land,
Raise big taters in sandy land,
Sift your meal and save your bran,
Mighty good living in sandy land.
CHORUS: Mighty good living in sandy land,
Mighty good living in sandy land,
Sift your meal and. save your bran,
Mighty good living in sandy land.
2. BROWN JUG
Sent my brown jug down town,
Sent my brown jug down town,
Sent my brown jug down town,
Early in the mornin';
It came back with a waltz around,
It came back with a waltz around,
It came back with a waltz around,
Filled with apple brandy.
Big taters grows in sandy land,
Big taters grows in sandy land,
Big taters grows in sandy land,
Way down in Alabam;
Sift that meal and save the bran,
Sift that meal and save the bran,
Sift that meal and save the bran,
Ladies fare you well.
The two following songs seem to have no titles and are known by the first or last line:
(3) Railroad, steamboat, river and canal,
I lost my true love in the raging canal.
CHORUS: Oh, she's gone—gone—gone.
Oh, she's gone—gone—gone.
Oh, she's gone to the last fare you well.
(4) Lead 'em up an' down the aisle
An' balance on the corner.
Swing your partner right an' left
An' bear down on the corner.
An' balance on the corner.
To include the directions for playing, as in the song just given, is characteristic of many of the more extended play-party games. Many of these are merely nonsensical jingles connecting the directions. Indeed, where they have violins—no, they are always fiddles at playparties—the weary singer, or caller, as he is often termed, sings only the first line of the verse and the figure is continued to the music.
5. BLUE BEADS
Pour hands round with the blue beads on,
Pour hands round with the blue beads. (Repeat.)
"Four hands round" means for two couples to join hands and circle around during the stanza.
Right hands crossed with the blue beads on, Left hands back with the blue beads on, Left hands back with the blue beads. Here each one crosses hands and clasps with the one not his partner; then they circle as before.
Grab right and wrong with the blue beads on,
Grab right and wrong with the blue beads. (Repeat.)
This refers to swinging right and left.
All promenade with the blue beads on,
All promenade with the blue beads. (Repea.)
The games of "Blackbird" and "'Taint Goin' to Rain No More"' are the same, the difference being in the words of the songs.
6. BLACKBIRD
What did the blackbird say to the crow,
'Tain't goin' to rain no more.
'Tain't goin' snow, 'Tain't goin' snow,
'Tain't goin' to rain no more.
CHORUS: O ladies, oh,
'Tain't goin' to rain no more.
'Tain't goin' sleet, 'Tain't goin' snow,
'Tain't goin' to rain no more.
Right hands crossed and left hands back,
'Tain't goin' to rain no more. (etc)
7. 'TAIN'T GOIN RAIN NO MORE
Two and two and round up four,
'Tain't goin' to rain no more. (Repeat.)
Chorus—Rain las' night an' night before,
'Tain't goin' to rain no more. (Repeat.)
Gather corn in a bee-gum hat,
'Tain't goin' to rain no more. (Repeat.)
Six, two, round up four, etc.
Eight, two, round up four, etc.
This is continued, a new couple entering with each verse until all couples are in a circle. Sometimes it is reversed and then the couples drop out in the same way as they were added.
The "Irish Trot" is another example of the directions for a dance set to music.
8. THE IRISH TROT
Round up four in the Irish trot,
Round up four in the Irish trot,
Round up four in the Irish trot,
Way down below.
Round up six in the Irish trot, etc.
Round up eight in the Irish trot, etc.
All hands round in the Irish trot, etc.
Break and trail, etc.
All loose hands and follow trail fashion around a circle.
Right and left, etc.
Once and a half and still we're trottin', etc.
The boys swing girls once and a half around instead of half a turn as in the right and left swing.
All promenade in the Irish trot, etc.
The promenade finishes the dance. Others of this form are:
9. JUTANG
Four hands round an' Jutang,
Jutang-Ju;
Four hands round an' Jutang,
Jutang-Ju.'
Ladies do-se-do (French dos a dos, "back to back".)
Jutang—Ju, etc.
The usual figures are continued in the same way.
Another variation is:
10. TO LONDON
Cut a figure eight to London,
I thought I heard them say;
Repeat through the figure eight and continue the game as above. Still another popular form is:
11. ROUSER
We'll all go down to Rouser, Rouser, Rouser, Rouser, Rouser,
We'll all go down to Rouser,
To get our lager beer.
Round up four for Rouser, etc.
The game goes on until all couples are in, and at the concluding stanza all promenade.
All run away to Rouser, etc. (Promenade.)
12. JOSEY
An elaboration of this form is found in several games which, while varying in figures, are related by having plans for changing partners. In "Josey" the leading couple take the first couple to the right into the middle of the ring, and the four dance or march through the entire song. The first couple retire, and others take their places as the game continues.
Git your partner if you want'er dance Josey, Git your partner if you want'er dance Joe; Git your partner if you want'er dance Josey, Oh, law, Susan Brown. (Or, "Susie Gal;" or, "Miss Susan Brown". Partners swing right and left.)
Hold my mule till I dance, Josey, etc. (Right and left circle.)
Number nine can't dance Josey, etc. (Swing right and left.)
Wouldn't give a nickle if I couldn't dance Josey, etc.
Fiddler's drunk, and he can't dance Josey, etc.
Back step a little if you can't dance Josey, etc.
Git out of the ring if you can't dance Josey, etc. Usually sung for the last couple in the ring.
13. RABBIT
All the couples are in the ring as usual. The leader or rabbit skips across the room—whether it is considered as dancing or marching depends on the party—and swings some girl by the right hand. Her partner receives her and swings her by the left, while the rabbit swings his own partner by the left. At the beginning of the next verse he swings some other, and continues till all have been around. If the supply of verses is exhausted he repeats or extemporizes. This song was contributed by W. L. McWhirter of Ellis County, but it is widely known in Texas.
Rabbit jumped the garden gate,
'Tain't goin' to rain no more;
Picked a pea and pulled his freight,
'Tain't goin' to rain no more.
CHORUS: 'Tis a-rainin', 'tis a-rainin' (or "It's rainin'.")
'Tain't goin' to rain no more;
It's rainin' now an' soon will snow,
'Tain't goin' to rain no more.
Rabbit bit a turnip top,
'Tain't goin' to rain no more;
He went off a-hippity, hop,
'Tain't goin' to rain no more.—Chorus.
Rabbit settin' behind a pine. . . .
One eye shut an' t'other'n blin'.-- Chorus.
Rabbit settin' in a stable loft. . . .
His foot slipped an' he fell off.---Chorus.
Bake them biscuits good an' brown. . . .
Swing them ladies round an' round. ---Chorus.
14. MILLER BOY
The players form in a double circle with the girls inside. One boy, called '' the miller,'' tries to secure a partner at the end of the stanza and make some one else "miller." There are many minor variations in the words, but the stanzas following are typical: Happy is the miller boy who lives by the mill, Who takes his toll with a free, good will, One hand on the hopper the other on the slab, Every time the wheel turns, grab, boys, grab.
Miller boy, miller boy goes to the mill, Mill turns round with its own free will, One hand in the hopper, the other in the sack, Gents step forward, ladies step back. The following song is fitted to the same game as "Miller Boy":
It rains an' it hails an' it's cold, stormy weather,
Me an' my true love are marching round together.
You reap the oats, an' I'll be the binder,
I've lost my true love, an' right here I'll find here.
15. FIGHT IN MEXICO
The children seem to have appropriated this play, but in earlier years it was common among the older set. A boy is placed in the middle of the room, and one couple marches around him while the others line up around the wall and sing:
They had a little fight in Mexico
And nobody got hurt but John Taylor, O.
Sing fa-la-ra, sing fa-la-ray,
Sing fa-la-ra, sing fa-la-ra-la-ray.
Rise you up quick, for you are mighty in the way,
Go choose you a partner an' come along 'n play.
Sing fa-la-ra, etc.
While this stanza is being sung the boy chooses a partner, who takes his place in the middle while he joins those marching around. The song is repeated, and the girl chooses a boy for the center and takes her place marching with her partner. When all are marching around, the last stanza is sung:
They come to the place where the blood was shed, The boys turn back an' the girls keep ahead. Sing fa-la-ra, etc. The tune is a spirited march time and the refrain is slurred, sounding "fol-a-ra, folla-rolla-ray."
16. OLD DAN TUCKER
During the first stanza the players swing right and left in the usual way, and when they meet, partners promenade on the chorus. "Dan Tucker" in the middle tries to secure himself a partner and leave some other boy out.
Old Dan Tucker's out tonight Swinging the ladies left and right, First to the right and then to the left . Then to the one that you love best.
Chorus—Git out of the way, Old Dan Tucker,
You come too late to git your supper.
Ridin' of a gray, leadin' of a bay,
Didn't get home till the middle of the day.
Or: Ridin' of a goat, leadin' of a sheep,
Didn't get home till the middle of the week.
Dan Tucker's a fine old man,
He washes his face in a fryin'-pan,
He combs his head with a wagon-wheel,
He died with the tooth-ache in his heel.
Git out o' the way for old Dan Tucker,
He's too late to get any supper,
Supper is over and breakfast is cooking,
Old Dan Tucker standing there looking.
This song was also sung to the game known as "Tucker Wants a Wife." In this game all the players form a circle in partners and put one man in the center. The call is given for the girls to march one way and the boys another. Then at the call '' Tucker wants a wife,'' each boy or "Tucker" grabs for a partner. The one who is left without a partner is "Tucker," and he takes his place in center.
17. SKIP TO MY LOU
The couples line up around the room, leaving one boy in the middle. The other players exchange places across the floor and the one in the middle tries to get a place after the manner of '' Puss in the Corner.''
Flies in the buttermilk
Skip to you my Lou,
Skip to you my Lou,
Skip to you my Lou,
Skip to my Lou, my darling.
I'll get another one prettier'n you, etc.
Can't get a blue bird, red bird'll do, etc.
Perhaps they would say, "If you don't know a verse, make one to do." At any rate that was practised, and the names of the players were worked in. The refrain was slurred usually to "Skiptum Lou," and sometimes to "Tum, tum, my Lou."
18. HOG DROVERS (OR HOG ROVERS)
A boy and a girl take their place in the middle of the room, usually in two chairs. The boy represents himself to be the father of the girl. Two other boys known as "Hog drovers" circle around these two singing,
"Hog drovers, hog drovers, hog drovers we are
A-courtin' your daughter, so neat and so fair,
Can we git lo-odgin' here, O here,
Can we git lo-odgin' here?"
The boy representing the father replies,
"This is my daughter that sets by my side,1
And no hog drover can get her for a bride,
You can't git lo-odgin' here, O here,
You can't git lo-odgin' here."
Then the hog drovers reply,
"Shucks for your daughter, much less for yourself,
I'll bet you five dollars I can better myself,
We don't want lo-odgin' here, O here,
We don't want lo-odgin' here."
Meantime the father has found out from the girl whom she wants for a partner, and he then sings,
"This is my daughter that sets by my side
And Mr. [real name inserted] can git her for a bride
By bringin' me another one here, O here,
By bringin' me another one here."
While the father is singing the last two lines, the boy whom the girl has chosen asks another girl to take the vacant chair by the father. The released couple take their place behind the circling hog drovers, and so the game goes on until all have secured partners.
19A. GOING TO BOSTON
There are several variations of this play; the first one described here was played in North Texas in an earlier day. Boys and girls line up facing each other, and the head couple marches between the lines, stopping at the foot when the second stanza ends. All promenade on the third, and then the game is repeated.
Oh, la, John, I'll tell your daddy,
Oh, la, John, I'll tell your daddy,
Oh, la, John, I'll tell your daddy,
How you are a-sparkin'.
Oh, la, Mary, I'll tell your mammy, etc.
Come along, girls, and le's go to Boston, (Three times)
To see that couple married.
For John and Mary are substituted the names of the couple on the floor. A variant rendering of the father's song is as follows:
"This is my daughter that sets by my knee,
And no hog drover can git her from me."
19B. GOING TO BOSTON
A variation of the foregoing is the following game and song. The couples line up opposite each other. At the first stanza the boys march around the girls, and at the second the girls march around the line of boys. At the singing of the third and fourth verses the head couple join hands and skip up and down between the two lines. They then take their places at the foot of the columns, and the game is repeated until each couple has been up and down the lane.
Come along, boys, and le's go to Boston (Three times),
Early in the morning.
Fix up, girls, and le's go with them (Three times),
Early in the morning.
Oh law, John, I'll tell your mamma (Three times),
How you go a-courting.
Courting that gal, and then can't get her (Three times),
Early in the morning.
20. ROSA-BETSY-LINA
Kosa-Betsy-Lina, contributed by Mrs. J. C. Alsup, of Weatherford, Texas, is a very similar play containing this stanza and refrain:
Swing around, turn around,
Rosa-Betsy-Lina, (Three times)
Oh, won't you be my darling?
Closely related to these is:
21. THE OLD BRASS WAGON
Wheel come off the old brass wagon,
Wheel come off the old brass wagon,
Wheel come off the old brass wagon,
You're the only one, my darling.
Linchpin broke in the old brass wagon, etc.
Many additional stanzas are improvised for this game. (See Journal of American Folk-Lore, xxiv, 307, etc.) Still another game along similar lines but of different tune is:
22A. WEEVILY WHEAT
Take her by the lily-white hand
And lead her like a pigeon,
Make her dance the weevily wheat
Till she loses her religion.
Chorus—A little more of your weevily wheat,
A little more of your barley,
A little more of your weevily wheat
To bake a cake for Charley.
Charley, he's a nice young man,
Charley, he's a dandy,
Charley, he's the very lad
Who stole his father's brandy.
If verses are exhausted, they sing the multiplication table in various stanzas, as follows:
Five times five are twenty-five,
Five times six are thirty,
Five times seven are thirty-five,
Five times eight are forty.
Another version of "Weevily Wheat," collected by Miss Mary S. Brown of Gatesville, Texas, from Wallace Fogle, a famous play-party singer of Coryell County, runs as follows. The boys and girls line up opposite each other; the boys begin swinging at one end, and girls at the other, each swinging his or her partner.
Take this lady by the hand, and lead her like a pigeon,
Make her dance the weevily wheat and scatter her religion,
Five times five are twenty-five, five times six are thirty,
Five times seven are thirty-five, five times eight are forty.
Don't want none of your weevily wheat, don't want none of your barley
I'll take some flour and a half an hour and bake a cake for Charley.
Charley he's a nice young man, Charley he's a dandy,
Charley he's the very young man that stole his daddy's candy.
Way down yonder in the maple swamp, the water's deep and muddy.
There I spied my pretty little miss, O there I spied my honey.
How old are you, my little miss, how old are you, my honey?
She answered with a ha-ha laugh, "I'll be sixteen next Sunday."
The higher up the cherry tree, riper grows the cherry,
Sooner a boy courts a girl, sooner they will marry,
So run along home, my pretty little miss, run along home, my honey,
Run along home, my pretty miss, I'll be right there next Sunday.
Papa's gone to New York town, Mama's gone to Dover,
Sister's worn her new slippers out a-kicking Charley over.
Charley here and Charley there
And Charley over the ocean,
Charley he'll come back some day
If he doesn't change his notion.
22B. WEEVILY WHEAT
Charley he's a nice young man, Charley he's a dandy,
Charley he's the very young lad that feeds the girls on candy.
Charley here and Charley there, Charley over the ocean,
Charley says he won't come home until he takes a notion.
Miss Brown writes under date of July 8, 1912, "On a recent visit to my father's ranch [Coryell County], I made a find in the way of folk-lore. At a party given by the manager of the ranch the old songs and dances of the play-party were the means of entertainment. My 'find' was one Wallace Pogle, who could and did sing these songs till everybody was ready to drop, himself included. He is called the music-box of the country, and comes miles to one of these parties in order to lead in the singing and dancing. I think it would be safe to say that he knows at least thirty of these songs." Later Miss Brown took down from Mr. Pogle nine of the songs as he played and sang them. "Weevily Wheat" has already been given; the remaining eight follow here.
23. BALTIMORE
Directions. Line up same as for "Weevily Wheat." The boy at the head of the line takes his partner's hand, and they go down between the lines, each couple following. At the end of the line they separate, boys going to one side and girls to the other. They meet again, and then all go to the left.
Lead this lady to Baltimore, Susie Anna Jane,
Lead this lady to Baltimore, Susie Anna Jane.
I'm goin' away to leave you now, Susie Anna Jane, (Repeat).
Mighty rocky road to Baltimore, Susie Anna Jane. (Repeat).
All promenade to Baltimore, Susie Anna Jane, (Repeat).
All turn to the left and promenade. The stanzas are repeated until each couple has led out.
24. ROXY ANN
Directions. Line up as in "Baltimore"; each girl and boy goes around partner, swings one next to partner with right hand first, then back around partner, then swing same person with left hand, around partner again, swing same person with both hands. Then goes to next person, repeats swinging in the same way till the foot of the line is reached. Repeat till all have gone through. Several couples may be swinging at the same time.
Roxy Ann is a foolin' me, I knew it all the while,
She's heen a long time a foolin', foolin',
She's been a long time a foolin' me.
Oh, that gal is a foolin' me, I knew it all the while;
She's had a hard time a foolin', foolin',
She's had a hard time a foolin' me.
25. WALKING ON THE GREEN GRASS
Directions. Boys select partners and begin walking around the room, forming a circle. Boys swing partners with right hand, then swing next girl with left, next with right, and so on till he gets back to his partner. All promenade and begin again.
Walking on the green grass, dus, dus, dus,
Come all ye pretty fair maids and take a walk with us.
If you are as fair as I take you for to be,
I take you by the right hand and walk along with ye.
(Swinging) Grandma she likes butter and cheese,
Grandpa he loves brandy,
Grandma she loves butter and cheese,
And the girls are sweeter than candy.
Over the hills and chase the squirrel,
My true love is the beauty of the world,
Grandma she loves, etc.
Over the hills and chase the possum,
My true love is sweeter than a blossom,
Grandma she loves, etc.
26. LONDON BRIDGE
Directions. Same as for "Walking on the Green Grass."
London Bridge is washin' away, O girls, remember me,
Build it up with iron and steel,
To my hop light, ladies turn,
Turn, turn, turn, to my hop light, ladies, turn,
Hop light, ladies, turn, etc.
(Repeat till partners come together again.)
Iron will break and steel will bend, O girls, remember me,
Build it up with sticks and clay,
To my hop light, ladies, turn,
Turn, turn, turn, to my hop light, ladies, turn,
Hop light, ladies, turn, etc.
Sticks and clay will wash away, O girls, remember me,
We'll build it up with pretty little girls,
To my hop light, ladies, turn,
Turn, turn, turn, to my hop light, ladies, turn,
Hop light, ladies, turn, etc.
27. MILL POND
Directions. Get on the floor same as "Roxy Ann." First couple walk up and down the line, hand in hand, till "So I get my true love in"; then they go around two lines. All follow the leaders, and form a double circle, with girls in the center. Boys go around this circle, leaving the girls standing till they reach their partners; then they swing the girls to the outside; girls go around as the boys did. When they reach their partners, they all promenade, and the play begins again.
If you was in the mill pond and could not swim,
How would you get out again?
I don't know and I don't care, so I get my true love in.
Hedge 'em along, Jim along, Josey,
Hedge 'em along, Jim along, Joe. (Girls to the center.)
Fire in the mountains, run boys run, (Repeat)
Hedge 'em along, Jim along, Josey,
Hedge 'em along, Jim along, Joe. (Boys to the center.)
Cat's in the cream jar, run, girls, run, (Repeat)
Hedge 'em along, etc.
After they promenade the last time, they fall back into line, with head couple at foot of line. They promenade each time they change centers.
28. COFFEE GROWS ON WHITE OAK TREES
Directions. Ring up, two in the middle, boy and girl. Each chooses a partner from the ring by the right hand. The four then swing right and left till "All in the middle and time goes out." Couple first in the middle get out, and remaining couple proceed as the first.
Coffee grows on white oak trees,
River flows with brandy-o,
Go choose you one to roam with you,
Sweeter than candy-o.
Four in the middle, and you better get about (Repeat three times),
Swing those ladies round.
Six in the middle, and you better get about (Repeat three times),
Swing those ladies round.
Eight in the middle and time most out (Repeat three times),
Swing those ladies round.
All in the middle and time goes out (Repeat three times),
Swing those ladies home.
29. ROUND THE MOUNTAIN, TO-RI-ROOLY
Directions. Same as for "Coffee Grows on White Oak Trees."
Round the mountain to ri rooly (Repeat)
To ri rooly, my darling,
Swing your lover, to ri rooly (Repeat),
To ri rooly, my darling,
Mighty pretty motion, to ri rooly (Repeat)
To ri rooly, my darling,
Get a little faster, to ri rooly (Repeat),
To ri rooly, my darling,
Christmas time will soon be over, to ri rooly (Repeat),
To ri rooly, my darling,
That'll do, to ri rooly (Repeat),
To ri rooly, my darling,
No it won't, to ri rooly (Repeat).
To ri rooly, my darling.
Yes it will, to ri rooly (Repeat),
To ri rooly, my darling.
There are many variations for this; anything may be put in.
30. TURN, CINNAMON, TURN.
Directions. Boy and girl in the center of ring, each chooses a partner from ring. Cross right hands, and turn while crossed, dancing to music. Change to left hands, dancing as before. Then first couple gets out, remaining couple chooses, and the game goes on as before.
All around this ring my sugar lump,
All around this ring we go,
Somebody's rocking my sugar lump (Repeat three times),
O turn around, cinnamon, turn (Change to left hands),
O turn, cinnamon, to my sugar lump,
O turn, cinnamon, O turn around, cinnamon, turn.
Never get tired of my sugar lump,
O I'll never get tired of my sugar lump,
I'll never get tired of my- sugar lump,
O turn around, cinnamon, turn. (Change and repeat as before).
Never get tired of playing in the sand, I'll never get tired of playing in the sand, I'll never get tired of playing in the sand, 0 turn around, cinnamon, turn, etc. I'm gettin' mighty tired of my sugar lump (Repeat three times), 0 turn around, cinnamon, turn, etc. The following song and directions were submitted by Mr. W. A, Hewatt, of Bastrop County.
31. NEEDLE'S EYE
The players form a ring (there are no partners in this game), and one boy and girl catch hands; and standing one on each side of the ring hold their hands high, and the ring passes under them as they all sing:
"The needle's eye that does supply The thread that runs so true." Then when the boy passes under whom the girl wishes caught, she and the boy with whom she is holding hands drop their arms around this desired boy while they all sing,
A many a beau have I let go, because I wanted you,
Because I wanted you,
Because I wanted you,
Because I wanted you,
Then the first boy steps into the ring and the chosen boy takes the girl's hand; and while he is bowing and kneeling to her, they all sing,
A many beau have I let go, because I wanted you.
You bow so neat, and you kiss so sweet,
I fully intend before the end
To make this couple complete.
Then the chosen boy rises and, holding hands with the girl, passes around the ring and this last boy then chooses a girl as they sing the song over again. Thus a boy is chosen one time the song is sung and a girl the next, and so the game goes on. The fun of the game is to see whom the boy and girl holding up hands will choose each time for his or her "beau."
32. LITTLE JOHNNIE BROWN
Very well done, said little Johnnie Brown,
This is the way to London town.
Stand you still, stand you by
Till you hear the next one cry.
On this carpet you must kneel,
Kiss your true love in the field,
Kiss the one that you love best,
And I'm sure you'll please the rest. [1]
[1] In my boyhood in Kentucky the song was sung as follows:
"O fare you well," said Johnnie Brown,
"Is this the way to London town?"
"Stand you still and stand you by,
Until you hear the watchman cry."
Down on this carpet you must kneel
And face your true love in the field,
Face the one that you profess
To be the one that you love best. (Boy kneels to girl.)
Now you're married you must be good;
Don't let your wife cut all the wood,
But think of love and dream of bliss,
Now rise and give her a handsome kiss. (Boy kisses girl.)
The players join hands and circle around one in the center. At the end of the first stanza the line halts, and the center man chooses his partner. The line then resumes the song and the march, while the couple in the center kneel, etc. The center man then joins the circle, leaving the girl to choose a partner. We are indebted to Mrs. J. C. Alsup, of Weatherford, Texas, for this song.
The two songs following were collected by Miss Irene Stuart, DeKalb, Texas.
33. SWING THE GIRLS
First gent leads the hall,
The lady go right and the gent go left,
And balance on the corner;
Swing your partner all around,
And promenade the girl behind you.
CHORUS: Oh! the girls, the pretty little girls,
The girls I left behind me,
I'll weep and cry till the day I die,
For the girls I left behind me.
I went down to New Orleans,
I got down there on Sunday,
They put me in the calaboose
And kept me there till Monday.—Chorus.
Next gent lead the hall,
The lady go right and the gent go left,
And balance on the corner;
Swing your partner by the right,
And promenade the girl behind you.—Chorus.
This song is quite similar to The Girl I Left Behind Me, number 42 below.
34. STEAL PARTNERS
You stole my partner at my dislike,
You stole my partner at my dislike,
You stole my partner at my dislike,
So early in the morning.
Chorus: Reel, reel at my dislike,
Reel, reel at my dislike,
Reel, reel at my dislike,
So early in the morning.
I'll get her back or have a fight (three times),
So early in the morning.—Chorus.
She's gone again, and I don't care (three times),
So early in the morning.—Chorus.
I'll get another one as pretty as you (three times),
So early in the morning.—Chorus.
35. GREEN LEAVES
"Green Leaves" and "Farmer in the Dell" are reported by Miss Kathleen Moore, of Grayson County, and Miss Moss Richardson, of Bowie County. They seem to be still widely played by children.
Green leaves, Oh green leaves that grow on the vine
Go choose you a partner, the fairest you can find.
CHORUS: When you get married, jump for joy,
When you get married, jump for joy,
When you get married, jump for joy,
Joy's bound to be.
In this game all the players join hands and circle about two, a boy and a girl. These two select one each during the march, and at the chorus these four join hands and jump for joy, or skip around the circle. The two last chosen remain in the circle, and so the game goes on.
36. FARMER IN THE DELL
Farmer in the dell, farmer In the dell,
Hl-O, Ki-O, farmer in the dell.
Farmer takes a wife, farmer takes a wife,
Hi-O, Ki-O, farmer in the dell.
Wife takes a child, wife takes a child, etc.
Child takes a nurse, etc.
Child takes a doll, etc.
All join hands around one, the farmer, in the middle. He chooses a wife, the wife chooses a child, etc. The doll then becomes the farmer, and the other players return to the circle. Sometimes the humorous variation of the dog, cat, rat, etc., as in "The House That Jack Built'' are substituted by the children, for wife, child, nurse.
37. ROMAN AND ENGLISH SOLDIERS
In "Roman and English Soldiers" Miss Eichardson reports an interesting variation from the regular dance games. The players are divided into two sides. They stand facing each other at opposite sides of the room. The Roman soldiers march up to the English singing:
Romans: Won't you give us a glass of wine, a glass of wine, a glass of wine?
Won't you give us a glass of wine,
For we are the Roman soldiers?
They step backward when they ask the question and sing the last line when they reach their original position. Then the English soldiers march up and back similarly, singing:
English: No, we wont' give you no glass of wine, no glass of wine, no glass of wine,
No, we won't give you no glass of wine,
For we are the English soldiers.
Romans: Then we'll tell the governor, the governor, the governor, etc.
English: We're not afraid of the governor, etc.
Romans: Then we'll tell the president, etc.
English: We're not afraid of the president, etc.
Romans: Are you ready for the fight, etc.?
English: Yes, we're ready for the fight, etc.
At the last stanza each one selects his antagonist, and all roll up their sleeves and make elaborate pretence of fighting.
38. MARCHING ROUND THE LEVEE
"Marching Round the Levee," a statelier type of game, is still quite popular with the children and even with the grown-ups in the country and in the towns. A full description of the game with the music is given in the Journal of American Folk-Lore, vol. xxiv, p. 306.
39. SLEEPY MAN
This game is reported from Tennessee, but it is known also in Texas. Two young men are seated side by side while the other players march around singing. At the third stanza one of the boys writes or whispers the name of a girl, and the other boy starts the fourth stanza by giving the real name of the girl chosen. Then the song is repeated with appropriate variations, such as "Here sits a sweet violet going down to sleep," etc.
Here sits an old man going down to sleep,
Going down to sleep, going down to sleep.
Here sits an old man going down to sleep,
So early in the morning.
He wants a pretty girl to keep him awake,
To keep him awake, to keep him awake,
He wants a pretty girl to keep him awake,
So early in the morning.
Oh, write her name down and send it to me, etc.
Miss Janie Hunter her name it is called, etc.
40. MARRYING GAME
The foregoing game, "Sleepy Man," serves to get the young people paired off, and then frequently follows the kissing feature, or '' Marrying Game.'' Two players, usually boys, clasp hands and hold between their arms a boy and girl. After the hug and kiss have been duly registered or timidly avoided, another couple enters for the marriage game. Two players sing the following song, holding between their arms, hands clasped, the boy and girl representing the man and wife.
If you marry for love, let love be good,
If you marry for love, let love be good,
If you marry for love, let love be good,
Keep your wife in water and wood.
If you marry for love, let love be that (Three times),
Keep you wife in flour and fat.
If you marry for love, let love be this (Three times),
Hug your wife and give her a kiss.
41. GROUND HOG
This is another song for choosing partners. When a boy is in the center he is facetiously dubbed with some disagreeable name, such as ground hog, buzzard, lizard, crow, etc. "When a young lady is in the center the stanza runs '' A pretty white rose," "A sweet little pink,'' etc.
An old ground hog, an old ground hog,
So early in the morning,
Choose you one fair as the leaves
That grows upon the trees;
The oak grows tall, the pine grows slim,
So rise you up, you old ground hog, and bring your partner in.
Among the most widely scattered and popular, and certainly among the most richly varied in versions of all the play-party songs in Texas are the five which follow here.
42. THE GIRL I LEFT BEHIND ME (OR PRETTY GIRL)
The first young gent to the opposite lady,
Swing her by the right hand,
Swing your partner by the left,
And promenade the girl behind you.
Chorus (All promenade)— Oh, that girl, that pretty little girl,
That girl I left behind me,
Oh, I'll laugh and cry till the day I die
For the girl I left behind me.
The next young gent to the opposite lady, etc.
There are many variations both to the refrain and to the stanzas after the first two.
If ever I travel this road again,
And tears don't fall and blind me,
I'm going back to Tennessee
To the girl I left behind me. Chorus—
Oh, that girl, that pretty little girl,
That girl I left behind me,
With rosy cheeks and curly hair,
That girl I left behind me.
If ever I travel this road again,
And the angels they don't find me,
I'll reconcile and stay a little while
With the girl I left behind me.—Chorus.
I'll cross the Red River one more time,
If the tears don't fall and drown me,
A-weeping for that pretty litle gal,
The gal I left behind me.—Chorus.
I'll build my nest in a hollow tree,
Where the cuckoos they won't find me,
I'll weep and sigh till the day I die,
For the gal I left behind me.—Chorus.
If ever I git off this warpath,
And the Indians they don't find me,
I'll go right back to see that gal,
The gal I left behind me.—Chorus.
I could buy such girls as you
For fifteen cents a dozen,
But I'm going back tomorrow,
And marry my country cousin.
43. LORDY, WHAT A MAN
This is a more sedate marching play, contrasting with "Pretty Girl," or "Purty Gal," if you please. The music is sometimes the same as that for "Shoot the Buffalo." Boys and girls line up opposite each other and sing.
Rise you up, my true love,
Present to me your hand,
I know you are a pretty girl,
But Lordy, what a man.
At the first verse the head couple step forward and shake hands. Then the players sing:
Right here I leave my true love,
To weep and to cry,
Weepin' an' mournin'
I'll meet you bye-and-bye.
During the singing of this verse the couple separate and march behind the lines, the girl going behind the line of girls and the boy behind the line of boys. The third verse is sung thus:
Oh, yonder she comes,
An' it's howdy, howdy do,
How have you been since I last saw you?
The couple meet at the lower end of the line, salute, and then reverse and march back to the head of the line as they came down, and shake hands as at first, while the players sing the following:
The war is all over,
An' peace is in the land,
Can't you give us joy
By the raisin' of your hands.
At this verse the opposite players join hands and raise the arms high up so that the couple can pass under the arch and down to take their place at the foot of the lines. The game goes on until all couples have had a turn or until the players are tired or ready for a new game.
44. SHOOT THE BUFFALO
Rise you up my dearest dear
And present to me your hand,
And we'll all meet together
In a far and better land.
Chorus— In a far and better land,
In a far and better land,
And we'll all meet together
In a far and better land.
This is sung while swinging left and right.
Well, it's ladles to the center
And it's gents around the row,
And we'll all meet together and shoot the buffalo.
Chorus—
And we'll promenade, you know,
And we'll promenade, you know,
And we'll all meet together
And we'll shoot the buffalo.
Sometimes, when the "far and better land" has grown stale and commonplace and the buffalo has been shot to death, they sing:
And we'll all meet together
In the sweet potato patch;
In the state of Arkansaw;
In the foreign, happy land.
And we'll shoot the buffalo,
And we'll chase the calico,
We'll rally round the cane-brakes
And shoot the buffalo.
45. LIZA JANE, OR BLACK DEM BOOTS
Black 'em boots an' make 'em shine,
To see me;
Black 'em boots an' make 'em shine,
To see me, Liza Jane.
Chorus—Oh, how I love her,
An' ain't it a shame,
Oh, how I love her,
An' it's good-by, Liza Jane.
A hump-back mule I'm bound to ride,
To see me, etc.
Hopped up a chicken, and he flew upstairs,
Good-by, good-by! Etc.
Other stanzas of "Liza Jane" run as follows:
I went down the Norfolk road
An' she went down the lane,
I stuck my toe in the crack of the fence
And out jumped Liza Jane.
I went upon a mountain,
To plant a patch of cane
To make a barrel of 'lasses
To sweeten Liza Jane.
or perhaps or
Her cheeks are red and rosy
And her eyes are blue,
Her cheeks are red and rosy
And her nose is too.
A meeting is a pleasure, boys,
And parting gives me pain,
But I never knew what trouble was
Till up jumped Liza Jane.
Many are the verses and variations to Liza Jane, but "Old Joe Clark" is the banner song for length. "There are one hundred and forty-four verses to 'Old Joe Clark,' though I don't know all of them," modestly affirmed a popular "caller" in Nolan County. The following give an idea of their tenor.
46. OLD JOE CLARK
Old Joe Clark is dead and gone,
I hope he's doin well, [1]
He made me wear the ball and chain
Till it made my ankles swell.
Chorus—Round and round, old Joe Clark,
Round and round, I say;
Round and round, old Joe Clark,
I ain't got long to stay.
Eighteen pounds of meat a week,
Bacon (candy) here to sell,
How can a young man stay at home,
When the gals all look so well.
Old Joe Clark had a big white house,
Sixteen stories high,
And every room in that old house
Was filled with chicken pie.
Old Joe Clark is mad at me,
I'll tell you the reason why,
I went down to old Joe's house
And ate all his chicken pie.
Old Joe Clark had a possum dog
So blind he couldn't see;
He treed a chigger on a log,
And thought it was a flea.
Coon up in a Simmon tree,
Possum on the ground;
Possum said, "You lop-eared coon,
Shake them Simmons down."
Old hen settin' in the fodder stack,
A hawk come sailin' by,
He caught that chicken by the back o' the neck,
And made them feathers fly.
If you see that gal of mine,
Tell her if you can,
Before she goes to make up bread,
To wash them dirty hands.
If you see that gal of mine,
Tell her if you please,
Before she goes to make up bread,
To wash them dirty sleeves.
You can ride the old gray horse,
And I will ride the roan;
You can court your own" true love,
And let my gal alone.
I slipped up on a mountain,
Give my horn a blow,
Thought I heard somebody say,
"Yonder comes my beau."
I wouldn't have an old maid,
I'll tell you the reason why,
Her neck is so long and slender,
I'm fraid she'd never die.
I wouldn't marry a young gal,
I'll tell you the reason why,
Her kin folks come to see her,
And call for chicken pie.
Get around here in a hurry,
Ain't got no time to tarry,
The quicker a young man courts a gal,
The quicker they're going to marry.
Whisky by the bottle full,
Sugar by the pound,
A great big bowl to pour it in,
An' a pretty gal to stir it 'round.
There are sixteen horses in my team,
An' the leaders, they are blind,
And every time the sun goes down
There's a pretty girl on my mind.
There's eighteen mile of mountain road,
And fifteen miles of sand,
If ever I travel this road again,
I'll be a married man.
Yes, old Joe Clark, that good old man,
We will never see him any more,
He left here wearing an overcoat
All buttoned-up down before.
[1] In more boisterous gatherings a more profane wish is expressed in this line.
A number of the stanzas of this song are given with the music by Mrs. Ames in her article on "The Missouri Play-Party" in the Journal of American Folk-Lore, xxiv, pp. 299-300, but the title, chorus and tune which she gives (Oh, Ain't I Gone) are different from those usually heard in Texas. Three variants of the chorus have come to us. The two other forms of the chorus as sung in various parts of Texas are:
Rockity rock, old Joe Clark,
Rockity rock, I say,
Rockity rock, old Joe Clark,
He ain't got long to stay.
and
Fare you well, old Joe Clark,
Fare you well, I'm gone,
Fare you well, old Joe Clark,
Good-by Lucy Long.
Indeed, "Old Joe Clark" and his companions of the play-party are rapidly traveling a road over which they will journey no more. Each year the games are played less and less, and both the words of the song and the figures of the plays are slipping away from the memories of the players. "I used to know all the old party songs, but I don't remember them now,'' is the common refrain that greets the collector. "I know a fellow over the way a few miles who can sing them all yet." But the search for this "fellow" is like Coronado's quest for the golden city of the Indians. And not far distant is the day when the surviving songs of the play-parties will be only those which have been collected and transmitted in writing.
E. E. DUDLEY, VALLEY VIEW.
L. W. PAYNE, JR., UNIVERSITY OF TEXAS.