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The Linguistic Context The second thin g w e di d wit h ou r collecte d song s was t o ana lyse their structure and style . They are classified int o four cate gories in terms of their meaning and function, althoug h there is a great deal of overlap. 1. Rhythmi c Chant s The first group are rhythmic chants which often accompan y movements and actions, and were meant to be sung by children at play, with o r without adul t supervision . Th e first vers e o f a number o f song s i s a kin d o f stag e direction , signallin g th e action required, such as ?&AA 'Touc h bug bug', the reduplica tion o f bug i n th e origina l suggestin g bab y talk , an d 2L2Lt t 'Turn roun d an d round' . Singin g %&gk&k 'Touc h bu g bug', fo r example, childre n woul d pu t thei r tw o inde x finger s togethe r three times, drawing thei r hands apar t a t an appropriate poin t in th e song , an d the n us e on e finge r t o touc h someon e else' s nose, at the same time supplying the name of the person touched, in answer to the question in the rhyme, 'Where should bug bu g settle?' Amon g th e bes t know n chant s i s th e on e beginnin g 2.2.$$ 'Tur n round an d round,' whic h is probably meant to be sung by children holding hands and dancin g round an d roun d in a circle. It is possible the original author devised more elaborate movements to go with the words, and improvisations wer e added b y late r performers . Will a Mui r write s o f th e elaborat e play-acting that went with th e singing-games sh e played a s a n eleven-year-old i n a predominantl y workin g clas s schoo l i n a small town in N.E. Scotland,* but neither our informants no r w e ourselves recal l suc h elaborat e stylize d movement s associate d with songs like 'Turn round an d round'. The mere repetition of the words , structure s an d rhymes , and a singl e actio n ha s th e effect o f a ritual . Muir write s o f th e sens e o f belongin g whic h arises fro m participation . Th e Opies commen t tha t thes e sing - * Will a Muir, ibid., pp. 13-34. 12 Fossils from a Rural Past ing game s ar e lik e ceremonies, an d childre n gai n 'reassuranc e from repetition'. * It is reasonable t o suggest tha t i n th e cas e of the song s i n ou r collection , th e childre n themselve s playe d a n important role in creating or modifying those songs most closely related to the games they played with one another . 2. Lullabie s The secon d majo r categor y ar e th e lullabies , use d b y th e mother, older relative or maid servan t to lull the young child t o sleep. Som e o f thes e lullabie s ar e directe d specificall y t o mal e children, others to female . 3. Song s of Complaint and Praise The third category are songs which show a clearer themati c development, an d ar e used t o voice complaints or praise desir able attributes . Thi s categor y include s monologue s o f daugh ters -in-law complaining about their difficult lot , songs in prais e of idea l wome n o r paragon s o f domesti c virtue , an d a youn g man's lamen t abou t th e impossibilit y o f poo r me n marryin g beautiful wives . As we have stated, these categories overlap. 4. 'Nonsense ' Song s We woul d lik e to posi t th e existenc e o f a fourt h category , namely the 'nonsense' songs, which seem to defy ordinary logic, and describ e a n unrea l o r improbabl e world , wher e animal s perform huma n acts and people can marry inanimate objects as, for example...

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