CONCLUDING REMARKS

IN conclusion it seems well to glance back over the ground that has been traversed, and to consider what information can be gleaned from the comparative study of nursery rhymes.

At the outset we saw that our nursery collections consist of a variety of pieces of diverse origin. Many rhymes are songs or snatches of songs which have no direct claim on the attention of the student of folk-lore. Other pieces are relatively new, although they contain names that are old. Thus, Old King Cole and Mother Hubbard are names that go some way back in history; the story of the woman who fell asleep out of doors and forgot her identity, preserves an old tradition; Jack and Jill are connected with Scandinavian mythology; while Tommy Linn, the hero of several nursery pieces, figures in romantic ballad literature also.

A more primitive form of literature is represented by traditional dancing and singing games, to which many nursery rhymes can be traced. These games in several instances preserve the remains of celebrations that date from heathen times. In the last instance they survive as a diversion of the ballroom. Incidental allusions enabled us to establish the relation between the Cotillon, the Cushion Dance, and the game of Sally Waters. This latter game preserves features of a marriage rite, which was presided over by a woman who was addressed as mother. The words used in the game and the rite suggest that there may be some connection between the game of Sally Waters and the name of Sul, the local goddess of the waters at Bath.

Other traits preserved in the games of The Lady of the Land, Little Dog I call you, and Drop Handkerchief, probably date from the same period. For the comparison of these games with their foreign parallels enabled us to realize that, in their case also, it is a question of a presiding mother, who, in some of the German versions of the game, was addressed by the name of a heathen mother divinity. Engelland, that is Babyland, and the disabled condition of the human mother, which are mentioned in these games, reappear in the ladybird rhymes. In these we also come across Ann or Nan, who reappears under the same name in the corresponding rhymes of Switzerland and Swabia.

On comparing our rhymes with those of other countries, we find that the same thoughts and conceptions are usually expressed in different countries in the same form of verse. The words that are used, both in England and abroad, in dancing and singing games, in custom rhymes like those addressed to the ladybird, and in riddle-rhymes such as that in Humpty-Dumpty, are set in short verse that depends on tail rhyme for its consistency. Distinct from them are the pieces that depend for their consistency on repetition and cumulation. Some of these are obviously intended to convey instruction, like the chants of Numbers and of the Creed. Others appear to be connected with the making and unmaking of spells. Again in this case, the parallel pieces of different countries are set in the same form of verse.

Another class of rhymes is represented by the chants on bird sacrifice. Those current among ourselves depend for their consistency on repetition only, while those current abroad which present details on the plucking and the dividing up of the bird, are related in cumulative form. Perhaps the repetition which preserves the simpler facts of the custom is the older form of recitation. The kingship of the wren which is accepted throughout Europe, and which dates some way back in history, in some of these chants is connected with the kingship of the man who was engaged in the hunt. Possibly the custom of killing the king was overlaid by the custom of sacrificing a bird in his stead.

The reverence felt for the wren is equalled among ourselves by the reverence felt for the robin, whose knell remains one of our finest, and perhaps one of our oldest nursery pieces. It is set in dialogue form, which seems to have been generally associated with bells, but which was a primitive manner of recitation, as we gather from other pieces.

The information which can be derived from nursery rhymes corroborates what has been collected elsewhere concerning different stages of social history in the heathen past. Some pieces preserve allusions which carry us back to customs that prevailed during the so-called mother age; others, quite distinct from them, are based on conceptions that may have taken rise before man tilled the soil. The spread of European nursery rhymes, taken in the bulk, appears to be independent of the usual racial divisions. Some of our rhymes, such as that of the ladybird and Humpty Dumpty have their closest parallels in Germany and Scandinavia; others, such as the bird-chants and the animal weddings, have corresponding versions in France and in Spain. Moreover, some of the ideas that are expressed in rhymes carry us beyond the confines of Europe. The chafer was associated with the sun in Egypt, the broken egg engaged the attention of the thinking in Tibet.

Thus the comparative study of the nursery rhymes of different countries throws light on allusions which otherwise remain obscure, and opens up a new vista of research. The evidence which is here deduced from some rhymes, and the interpretation put on others, may be called into question. Much remains to be said on the subject. But the reader will, I think, agree that nursery rhymes preserve much that is meaningful in itself, and worth the attention of the student.