General:
This is Volume II of a two-volume work. Because Volume I was published in 1894 and Volume II in 1898, there is no symmetry in the references between the two volumes (for example, Gled Wylie from Volume I does not refer to Shue-Gled-Wylie from Volume II, whereas Shue-Gled-Wylie does refer to Gled Wylie).
In the chapter Addenda the author has added to the description of some of the games. Where this is the case, a hyperlink ^[Addendum] has been provided. Some descriptions have more than one addition; in these cases, there is a separate hyperlink for each addendum.
This eBook contains a number of symbols and characters that may not display properly, depending on the software used and its settings.
Midi files have been provided to play the tunes. Playing these files may not work on all devices, depending on the hard- and software used.
The tables with analyses of the rhymes have been re-arranged to better convey their meaning; they are sometimes very wide and may require horizontal scrolling, depending on the hard- and software used for reading.
This text follows the original printed work, including inconsistencies. Inconsistencies include differences in spelling of the names of games and locations, differences in transcription of dialect, inconsistencies in lay-out, etc. Where changes were made, these are documented below.

References and hyperlinks:
The book contains some uncertain references to games, because of inconsistent naming and/or spelling of game names. Where these differences were trivial (for example, Wolf and Lamb versus Wolf and the Lamb), their identity has been assumed silently. Following is a list of less trivial references and hyperlinks.
The game Stag is often referred to as Stag Warning; occasionally they are listed as thought they were separate games. The hyperlinks point to Stag.

• Page xiv: Lubin, Looby Loo is listed as game in the Additions, but not present there; Hulla-balloo-ballee is not listed, but present in Addenda (including references to Lubin and Looby Loo). The link from Lubin, Looby Loo therefore points to Hulla-ballo-ballee.
• Page 56: reference to the Scottish version. From the text and the analysis this is probably version XVIII, to which the hyperlink points.
• Page 145: reference to Tag. This game is not listed as such, but according to the description it could be a version of French Jackie (Vol. I), which is called French Tag in some places; the hyperlink points to French Jackie.
• Page 282: reference to See the Farmer Sow his Seed, which is not a separate game, but one version of Oats and Beans and Barley, to which the hyperlink points.
• Page 307 and 421: reference to Twos and Threes, which is not a separate game, but a local name for Round Tag (where the hyperlink points).
• Page 383: reference to Silly Young Man, which is probably a typo for Silly Old Man (where the hyperlink points).
• Page 436: reference to "Jolly Lads"; this is not a separate game, the hyperlink points to Jolly Sailors (Vol. I).
• Page 467: reference to Drummer Man; there is no such game in either volume, the only Drummer Man occurs in one of the variants of Follow my Gable (Vol. I; the hyperlink points there).
• Page 470: reference to Lugs; there is no such game listed, possibly this should be Luggie (Vol. I; hyperlink points there).
• Page 476: reference to Old Widow; there is no such game listed, it could be a reference to Poor Widow (the hyperlink points there); Baste the Bear, ditto; this is mentioned under Badger the Bear (Vol. I); Old Woman, ditto, this is hyperlinked to Dumb Motions (Vol. I).

Textual remarks:
At least some quotations presented by the author are not verbatim quotations, they have been edited by the author (for example Aubrey on cockle-bread).
In the Addenda, the original work uses Arabic rather than Roman numerals for different variants; this has not been changed.
The original work uses both 2-4 and ²/₄ to indicate musical time; this has not been standardised.

• Page 199: Love another like sister and brother is probably a mistake (Love one another like sister and brother).
• Page 336/7: The original work does not give a source or authority for variation XXV.

Changes made to original text:
Footnotes have been moved to end of the description of the game or (in the Memoir) to immediately underneath the relevant paragraph.
Sources (when printed in smaller type in the original work) have been moved to a separate line where necessary.
In the Addenda, the references to games have been moved to separate lines.

• First page: mustergiltig changed to mustergÜltig
• Page vii: Pocklington Coltman changed to Pocklington-Coltman
• Page xiii: Teesty-Totsy changed to Teesty-Tosty as in text
• Page xv: Game Hulla-balloo-ballee added to list
• Page 35: the other player’s changed to the other players
• Page 56-60: some rows with only —s were combined in part of the table in the original work, they have been split into separate rows
• Page 66: Hurstmoneaux changed to Hurstmonceux as elsewhere
• Page 67: Hurstmoneaux changed to Hurstmonceux as elsewhere
• Page 88: galop changed to gallop as elsewhere
• Page 100: square brackets moved from line of verse to explanation, as elsewhere [I pray ... the ball], putting ... three girls. changed to I pray ... the ball, [putting ... three girls.]
• Page 101: square bracket after yield up the ball. removed
• Page 108: Egmond changed to Edgmont
• Page 150: Biddgelert changed to Beddgelert
• Page 153, (variant VIII): rise, Sally changed to rise, Sallie
• Page 167: Strixwould changed to Stixwould
• Page 192: Encyclopedia changed to EncyclopÆdia as elsewhere
• Page 212: seldom or ever changed to seldom or never
• Page 214: Warkwickshire changed to Warwickshire
• Page 221: 1 and 2 changed to I and II as elsewhere
• Page 274: come with we changed to come with me
• Page 304: Schir, ?it remembir as of befoir changed to Schir, ?it remembir as of befoir
• Page 321/2: I. and II. added for consistency
• Page 323: Collyhurst changed to Colleyhurst as elsewhere
• Page 324: Ill changed to I’ll
• Page 333: Sprole changed to Sporle
• Page 347: Hartley Witney changed to Hatley Wintney
• Page 359: Authencairn changed to Auchencairn
• Page 360: beleagured changed to beleaguered
• Page 411: 229-303 changed to 299-303
• Page 412: Page 292 changed to Page 294
• Page 415: Doagan: placed on separate line as other section headers
• Page 423: reference to Wads and the Wears: vol. i changed to vol. ii
• Page 438: 315-319 changed to 313-319
• Page 462: Tuilzie changed to Tuilyie
• Page 464: Johnny Hairy changed to Johanny Hairy
• Page 466: Cobler’s changed to Cobbler’s
• Page 469: Spangle changed to Spangie
• Page 475: Babity changed to Babbity as elsewhere
• Page 476: Granny Crow changed to Cranny Crow; Rushes changed to Rashes
• Page 477: Tuilzie changed to Tuilyie
• Page 499: and in animals of the chase changed to and in these animals of the chase
• Page 482: Johnny Hairy changed to Johanny Hairy
• Page 506: Orange and Lemons changed to Oranges and Lemons
• Page 517: mother’s have children changed to mothers have children
• Page 519: “Secular and Ceremonial Dances” of Torres Straits changed to “Secular and Ceremonial Dances of Torres Straits”

Notes on the music transcriptions:

• Page 26 (Oranges and Lemons, London): Final refrain, measures 25 and 26—there is something wrong with the beat count in these measures—they are ¹/₁₆th note short. Either the terminal 16^th notes should be 8^th notes or there is a missing rest; the latter has been added.
• Page 68 (Pretty Little Girl of Mine, Hanbury): In the sixth bar, there is a quaver printed as if it were a grace note but after the minim on beats 3 and 4. That and the fact that it has a downwards stem suggests that this is not a grace note but a quaver at the end of the bar for an alternative version of the bar (perhaps to fit the words in one of the verses). This is recorded in the second version, where instead of a minim D as the last two beats of bar 6, a crotchet D followed by a quaver rest and then the quaver on D have been inserted.
• Page 102 (Queen Mary): Verses 3, 4 and 5 are quite different to verses 1 and 2. The midi file plays all five verses in sequence.
• Page 122 (Round and Round the Village, Barnes): Bar two has a quaver rest at the end. This leaves the bar half a beat short. The quaver rest has been replaced with a crotchet rest, also in the fourth bar. (Round and Round the Village, Hanbury): At the end of the first, third and fifth bars, there is an alternative version of the last note. For example in the first bar it is either a quaver or two semiquavers (possibly to fit the words of different verses). In the midi file, the tune is played first with the longer note and then repeated with the shorter notes.
• Page 150 (Sally Water, Beddgelert): The note in bars 4, 8, 16 and the last bar looks as if it were a breve. They have been transcribed as semi-breves. The ninth bar is short of two beats, containing just one minim. The piece contains 28 bars broken into phrases of 4 or 8 bars with this ninth bar so it appears to be required. The transcription given is a minim G which seems to fit well.
• Page 185 (See-Saw): Bar 2 is short of an eighth of a beat. The last quaver has been dotted to make this up, mirroring the last dotted quaver in the final bar.
• Page 280 (Three Little Ships, Rimbault): The second note in the third and fourth bars appears to be a semi-quaver. This would leave a semi-quaver short in each of these bars. This has been made up by dotting the first quaver.
• Page 315 (Twelve Days of Christmas): In the second full bar, the first quaver needs to be dotted to make up the correct number of beats in the bar. Similarly in the bar before the change of time signature to ³/₄, the quavers have been transcribed as dotted. The music as written is for the first and second verses only with an indication of which bar to repeat for each extra day. To illustrate how this works, the midi file continues to the third verse.
• Page 323 (Up the Streets): The fourth and seventh bars are missing two beats. The missing beats have been transcribed as rests.
• Page 330 (Wallflowers, Connell Ferry): In the fifth bar, a half beat is missing. An extra quaver B before the last two notes of the bar has been inserted.
• Page 362/363 (When I was a Young Girl, Market Drayton): In the fourth full bar, the second note is written as a crotchet but must be a quaver to make the correct number of beats in the bar.
• Page 384 (Wind up the Bush Faggot): The instructions are to repeat the section in ³/₈ time as often as required and then follow with the ²/₄ section. In the midi file, the first section in ³/₈ is repeated just once to indicate the pattern, followed by the ²/₄ section.