Gammer Gurton’s Garland, published in 1784, is one of the earliest collections of English nursery rhymes, and contains verses both familiar and alarmingly unsettling.

Intended to be read to toddlers (i.e., “children who can neither read nor run,” according to its subtitle) and named after a fictitious Grandma (“Gammer”) Gurton, who’d be analogous to Mother Goose, the volume were assembled by the eccentric scholar Joseph Ritson, who was known for his collecting of Robin Hood ballads, vegetarianism and ultimate descent into madness.

We begin our episode with a snippet of a 1940s’ rendition of “Froggy Went a-Courting” by cowboy singer Tex Ritter. It’s a relatively modern take on Ritson’s “The Frog and the Mouse.” But like quite a few rhymes in the collection, this one had appeared in print earlier. Already in 1611, British composer of rounds and collector of ballads, Thomas Ravenscroft, had written out both lyrics and musical notation for “The Marriage of the Frogge and the Mouse,” a song he described as a folk song or “country pastime.”

While a few other rhymes in Ritson’s collection were borrowed from one of two earlier editions of nursery verses (both published as Tommy Thumb’s Song Book 40 years earlier), most of what he collected appeared for tge first time in Gammer Gurton’s.

We hear a bit about some of the familiar rhymes that premiered in this collection, including Goosey, Goosey Gander, Ride a Cock-Horse to Banbury Cross (with the “rings on her fingers and bells on her toes” lady), Bye, Baby Bunting, and There Was an Old Woman who Lived in a Shoe.” Ritson’s version of the last, however, takes a rather rude and unexpected turn.

Many, if not most, of Ritson’s rhymes seem to have been weeded out of the gentile or sentimental collections we know today. Naturally, we devote attention particularly to these objectionable verses. Included are a handful of aggressively nonsensical rhymes, which could pass for 18th-century Dada and verses notable for their cruelty. The most alarming contain brutal slurs, threats, and playful references to assault, adultery, matricide, suicide, and animals going to the gallows.

The last third of our episode is dedicated to poems noteworthy for their survival as musical ballads. The first discussed is the basis for song “Lady Alice,” which later appears in James Child’s 1860 collection The English and Scottish Popular Ballads. Ritson’s version, “Giles Collins and Proud Lady Anna,” is a greatly simplified version of the ballad later cited by Child. While toddlers might appreciate the simpler storytelling, the subject matter — namely, doomed lovers — is not the normal stuff of healthy nursery rhymes. More surprising, is the fact that Ritson’s story begins with Giles Collins in the process of dying and Lady Anna dead (of heartbreak) within a few verses. After their deaths, a tentative suggestion of undying love, a lily reaching from Giles’ grave toward Anna’s, is destroyed – an unhappy turn on the not uncommon motif of a rose and briar entwining over lovers’ graves.

We close with a discussion of “The Gay Lady who Went to Church,” an innocuous-sounding rhyme, intertwined with the history of two rather gruesome folk songs popular around Halloween: “There Was an Old Lady All Skin and Bones” and “The Hearse Song” AKA “The Worms Crawl In.” Also discussed is a surprising link between Ritson’s nursery rhyme and a faux-historical ballad invented for the very first Gothic novel, Matthew Gregory Lewis’ The Monk.

INFORMATION RE. THE FOLK-HORROR GIVEAWAY DISCUSSED IN THE SHOW OPEN CAN BE FOUND HERE: https://www.boneandsickle.com/giveaway/

The Christmas Eve ghost story is a fine old tradition associated with Victorian and Edwardian England, one that’s been making a comeback on both sides of the Atlantic. Since 2018, Bone and Sickle has enthusiastically embraced the custom.

Our offering for 2025, is “The Other Bed” written by E.F. Benson in 1912 and read for us by Mrs. Karswell.

Previous Christmas ghost stories are linked here in our website show notes (2018, 2019, 2020, 2021, 2022 , 2023, and 2024.)

Historically, the celebration of Christmas and Carnival could overlap, and there is some reason to believe that customs associated with the former were inherited by the latter.

A clue to this calendrical shift is offered by the Christmas song, “Carol of the Bells,” which uses the melody of an old Ukrainian New Year;s carol, one which dates back to the era in which New Year was celebrated in March (hence the springtime imagery of its original Ukrainian lyrics).

After a brief look at the variable date chosen to celebrate the New Year throughout European history, we take some time to rethink our modern understanding of what constitutes the Christmas season. The common notion that the season ends on December 25 or January 1, possibly including the weeks leading up to those dates, in historical understanding, was reversed, with Dec. 25 representing the start of Christmastide, which at the very least ran until Epiphany (Jan. 6) or Candlemas (Feb. 2).

The merger of Christmas and Carnival is not only aided by the historically later end date of Christmastide, but also the variable start date for Carnival. A number of regional dates preferred for those festivities are discussed with Germany’s initiation of festivities on November 11 being the earliest.

Another reason to suspect that Carnival inherited some of its customs from Carnival is the carnivalesque quality of the Christmas Feast of Fools celebrated anywhere from Dec. 26 to January 6. The wild, and sometimes dangerous revels celebrated on those days (and discussed in Episode 100) were ended by local bishops at roughly the same time that Carnival celebrations in France and Germany emerged, suggesting re-channeling of anarchic impulses and customs.

Our discussion then turns to the Roman New Year, the January Kalends, which likely inspired chaotic elements around the Feast of Fools. Of particular interest here are accounts of celebrants dressing in animal hides and horns. a custom that seems to have survived in certain Carnival traditions, including a number discussed in my Carnival book. One of these, the Kurent of Slovenia, who happens to be rather similar to the Austrian Krampus across the country’s northern border.

In Western Bulgaria too, another Carnival figure, the Kuker, in western regions also makes use of animal hides and horns (as well as bells). Bulgaria also provides us with an interesting 20th-century case study of the merger of the traditions of Christmas (or “Surva,” the Bulgarian New Year) merging with springtime fertility customs of Carnival, both strands being associated with the Kuker.

We wrap up with a brief look at Slavic celebrations of the Christmas cycle as Koliade (various spellings), a name for Christmastide and the customs associated with it, particularly door-to-door “good luck visits” incorporating short plays and songs, kolyadka in Ukrainian, the original of “Carol of the Bells” (Shchedryk/”Bountiful Evening”) being one of these songs

The sources for this show are Mr. Ridenour’s books The Krampus and the Old, Dark Christmas and A Season of Madness, Fools, Monsters, and Marvels of the Old-World Carnival.