CHAPTER XVI.

STRING FIGURES.
An amusement of considerable antiquity consists in tlie production of figures, known as Cat's-Cradles, by twisting or weaving on the hands an endless loop of string, say, from six to seven feet long. The formation of these figures is a fascinating recreation with an interesting history. It cannot, with accuracy, be described as mathematical, but as I de- liberately gave this book a title which might allow me a free hand to write on what I liked, I propose to devote a chapter to an essay on certain string figures*. The subject is ex- tensive. I propose however merely to describe the production of a few of the more common forms, and do not concern myself with their ethnographical aspects. Should, as I hope, some of my readers find the results interesting, they may serve as an introduction to innumerable other forms which, with a little ingenuity, can be constructed on similar lines.
First we must note that there are two main types of the string figures known as Cat's-Cradles. In one, termed the European or Asiatic Variety, common in England and parts of Europe and Asia, there are two players one of whom, at each move, takes the string from the other. In this, the more
* For my knowledge of the subject I am mainly indebted to Dr A. C. Haddon, of Cambridge ; to String Figures by C. F. Jayne, New York, 1906 ; and to articles by W. I. Pocock and others in Folk-Lore, and the Journal of the Anthropological Society. Since writing this chapter I have come across another book on the subject by K. Haddon, London, 1911 : it contains descriptions of fifty Figures and a dozen String Tricks.
CH. XVl] STilING FIGUKES 349
usual forms produced are supposed to suggest the creations of civilized man, such as cradles, trays, dishes, candles, &c. In the other, termed the Oceanic Variety, common among the aborigines of Oceania, Africa, Australasia and America, there is generally (but not always) only one player. In this, the more usual forms are supposed to represent, or be connected with, natural objects, such as the sun and moon, lightning, clouds, animals, &c., and on the whole these are more varied and interesting than those of the European type. There are a large number of known forms of each species, and it is easy to produce additional forms as yet undescribed. We can pass from a figure of the European type to one of the Oceanic type and vice versa, but it is believed that this transformation is an invention of recent date and has no place in the history of the game.
To describe the construction of these figures we need an accurate terminology. The following terms, introduced by Rivers and Haddon*, are now commonly used. The part of a string which lies across the palm of the hand is described as palmar, the part lying across the back of the hand as dorsal. The part of a string passed over a thumb, finger or fingers is a loop. A loop is described or distinguished by the projection — such as the thumb, index, middle-finger, ring-finger, or little-finger of either the right or the left hand — over which it passes. The part of the loop on the thumb side of a loop is termed radial, the part on the little-finger side is called idnar; thus each loop is composed of a radial string and an ulnar string. If, as is not uncommon, the figure is held by some one, with his hands held apart, palm facing palm and the fingers pointing upwards, then the radial string of any loop is that nearest him, and the ulnar string is that farthest from him ; in this case we may use the terms far and near instead of ulnar and radial. If there are two or more loops on one finger (or other object), the one nearest the root of the finger is termed proximal, the one nearest the tip or
* Torres Straits Siring Figures, by \V. H. E. Rivers and A. C. Haddon, Man, London, 1902, pp. 147, 143.
350 STRING FIGURES [CH. XVI
free end of the finger is termed distal. If the position of the hands is unambiguous, it is often as clear to speak of taking up a string from above or below it as to say that we take it from the distal or proximal side.
The following descriptions are I believe sufficient to enable anyone to construct the figures, and I do not attempt to make them more precise. They are long, but this is only because of the difficulty of explaining the movements in print, and the figures are produced much more easily than might be inferred from the elaborate descriptions. Unless the contrary is stated all of them are made with a piece of string, some seven feet long, whose ends are tied together. In the descriptions I assume that after every movement the hands are separated so as to draw the strings tight. In the diagrams the string is represented by two parallel lines : this enables us to indicate whether one string appears in front of or behind another. Unless otherwise stated the diagrams show the figures as seen by the operator.
I recommend any one desirous of making the Figures and not already acquainted with the subject to commence with the Oceanic Varieties described on pp. 357 to 371, where only one operator is required.
Cafs-Cradles, European Varieties. I begin by discussing the form of Cat's-Cradle known in so many English nurseries. It is typical of the European Variety. It is played by two persons, F and Q, each of whom in turn takes the string off the fingers of the other. In the following descriptions, the terms near and far, or radial and ulnar, refer to the player from whom the string is being taken. In most of the forms two or more parallel horizontal strings are stretched between the hands of the player who is holding the string, and the other strings cross one another forminof an even number of crosses. When there are more than two such crosses, two will usually be at the ends of the figure near the hands, and two at the sides nearer the middle of the figure. Parallel strings, if taken up, are usually taken up by hooking each little-finger in one of them. A cross, if taken up.
CH. XVIJ
STKINQ FIGURES
351
is usually taken by inserting the thumb and index-finger of one hand in opposite angles of the cross, holding the cross with the thumb and finger, and then turning the plane containing the thumb and finger through one or two right angles. When one player takes the strings from the other, it is assumed that he draws his hands apart so as to keep the string stretched.
The initial figure is termed the Cradle \ from this we can produce Snuffer-Trays. From Snuffer- Trays we can obtain forms known as a Pound- of- Candles, Cat's-Eye, and Trellis- Bridge. From each of these forms again we can proceed in various ways. I will describe first the figures produced when the string is taken off so as to lead successively from the Cradle to Snuffer-Trays, Cat's-Eye, and Fish-in-a-Dish. This is the normal sequence.
The Cradle — see figure i — is formed by six loops, three on each hand : there are two horizontal strings, one near and the other far, and two pairs of strings which cross one another, each cross being over one of the horizontal strings.
Figure i. The Cradle.
The Cradle is produced thus. First. One of the operators, P, loops the string over the four fingers of each hand, which are held upright, pahn towards pahn, the near or radial string lying between the thumbs and index-fingers, and the far or ulnar string beyond the little fingers. Second. P puts a second loop on the right hand by bending it over outside the radial string and up into the loop. There are now two dorsal strings and one palmar string on the right hand. Third. P puts a similar loop on the left hand by bending it over outside the radial string and up into the space between the hands. Lastly. P with the back of the right middle- finger takes up from the proximal side {i.e. from below) the left palmar string. And then similarly with the back of the left middle- finger takes up from the proximal side that part of the right palmar
352
STRING FIGURES
[CH. XVI
string which lies across the base of the right middle-finger. The hands are now drawn apart so as to make the strings taut.
The figure known as Snuffer -Trays — see figure ii — is formed by six loops, three on each hand. Four of the strings cross diamond-wise in the middle so as to form two side crosses and two end crosses, the other two strings are straight, one beinor near and the other far. All the strings lie in a horizontal plane. This figure is also known as Soldier's Bed, the Church Window, and the Fish-Pond.
Figure ii. Sauffer -Trays.
Snuffer-Trays can be got from the Cradle thus. I suppose that the Cradle is held by one operator, P, and that the other operator, Q, faces P. First. Q inserts the thumb and index-finger of his left hand from his far side in those angles of the cross of the Cradle farthest from him which lie towards P's hands. Similarly Q inserts the thumb and index-finger of his right hand from his near side in those angles of the cross nearest to him which lie towards P's hands, both thumbs being towards P's right hand, and his index-fingers towards P's left hand. Second. Q takes hold of each cross by the tips of the thumb and finger, then pulls each cross outwards {i.e. away from the centre of the figure) over and beyond the corresponding horizontal string, then down, and then round the corresponding horizontal strings. Third. Q turns the thumbs and fingers upwards through a right angle, thus passing the cross up between the two horizontal strings. By this motion the thumb and index-finger of each hand (still holding the crossed strings) are brought against the horizontal strings. Lastly. Q, having pushed his fingers up, releases the crosses by separating his index-fingers from his thumbs, and drawing his hands apart removes the string from P's hands. The diagram represents the figure as seen by P.
Gafs-Eye — see figure iii — also is formed by six loops, three on each hand. There are two near (or radial) thumb strings, two far (or ulnar) index strings, while the radial thumb and ulnar index strings form a diamond-shaped lozenge in the middle of the figure, giving rise to two side crosses and two end crosses. All the strings lie in a horizontal plane.
STRING FIGUKES
353
Figure iii. Cafs-Eye.
Cafs-Eye can be got from Scuffer-Trays thus. I suppose tbat Snuffer- Trays is held by Q. First. P inserts the thumb and index-finger of each hand from below into those angles of the two side crosses of Snuffer-Trays which lie towards Q's hands, both thumbs being towards Q's left hand. Second. P takes hold of each cross with the thumbs and fingers and pulls it downwards, then he separates his hands thus bringing each cross below its corresponding horizontal string, and continuing the motion he passes the cross outside, round, and then above the horizontal string. Third. P turns each thumb and finger inwards {i.e. towards the centre of the figure) between the two horizontal strings through two right angles taking the horizontal strings with them. Lastly. P pushes his fingers down, separates the index-fingers from the thumbs, and then, drawing his hands apart, removes the figure from Q'a hands.
The figure now is in a horizontal plane ; but for clearness I have drawn it as seen by Q, when P lifts his hands up.
Fish-in-a-Dish — see figure iv — is composed of a central lozenge (the dish) on which rest lengthwise two strings (the fish). There are two loops on each hand.
Figure iv. Fish-in- a-Bish.
B. B.
23
354 STRING FIGURES [CH. XVI
Fish-in-a-Dish is produced from Cat's-Eye thus. I suppose that Cat's-Eye is held by P in the norraal position, his fingers pointing down, and the figure lying in a horizontal plane. First. Q puts the thumb and index-finger of each hand from above into those angles of the two side crosses which lie towards P's hands, both thumbs being towards P's right hand. Second. Q turns each hand inwards (i.e. towards the centre of the figure) through two right angles, and as he does so, catches the sides of the central diamond on the thumb and index-fingers. At the end of the motion the thumbs and fingers will be pointing upwards. Lastly. Q draws his hands apart and thus takes the figure off P's hands. The diagram represents the figure as seen by Q.
The same result is produced if Q inserts his thumbs and index-fingers from below into the two side crosses, and turns his hands inwards through two right angles.
There are a few other standard forms which may be mentioned. In the first place instead of proceeding directly from Snuffer- Trays to Cat's-Eye, we can obtain the latter figure through three intermediate forms known as a Pound- of-Gandles, the Hammock, and Lattice-Work. The figure last named is the same as Snuffer-Trays, though it is held some- what differently, and from it we can obtain Cat's-Eye by similar movements to those described above when forming it from Snuffer-Trays, though it will be held somewhat differently.
A Pound-of -Candles is formed by six parallel strings held
in a horizontal plane. It is, in fact, only an extension sideways
of the figure obtained in the course of the formation of the
Cradle before the palmar strings are taken up ; and, if desired,
it can be obtained in that way.
A Pound-of- Candles is produced from Snuffer- Trays (assumed to be held by Q) thus. First. P inserts the thumb and index-finger of each hand from above into those angles of the two side crosses which lie towards Q's hands. Second. P takes hold of each cross, Hfts it, and takes it above, and then round the corresponding horizontal string. Third. P turns each hand up- wards between the horizontal string through two right angles ; this brings each horizontal string on to the thumbs and index-finger of the hand corresponding to it. Lastly, P separates his thumbs and index-fingers, and drawing his hands apart he takes the figure off Q's hands. This corresponds exactly with the process above described by which Cat's-Eye is obtained from Snuffer-Trays, except that the side crosses are taken from above instead of from below.
The Hammock is an inverted Cradle and can be obtained directly from it without any intermediate forms. The Hammock is also known as Bahys-Cot and the Manger.
The Hammock can be obtained from a Pound-of-Candles (assumed to be held by P) thus. First. Q, holding his right-hand palm upwards, hooks with his
CH. XVl] STRING FIGURES 355
right little-finger the ulnar thumb string from above, and then pulls it up and over the three index strings. Second. Q passes his left hand, held palm up- wards, from above through the loop on the right little-finger, and with the little- finger of the left hand he hooks the radial index string, and pulls it up and over the pair of thumb strings. Third. Q places the thumb and index-finger of the right hand from the far side of P below the pair of far index strings, and similarly he places the thumb and index of the left hand from the near side of P below the pair of near thumb strings. Fourth. Q turns his hands inwards and upwards through two right angles ; by this motion the thumbs and indices will take up these two pairs of strings. Lastly. Q separates his index-fingers from his thumbs, and drawing his hands apart removes the figure from P's hands.
Lattice- Work. The form known as Lattice- Work is the same as Snuffer- Trays, except that it is held with the fingers pointing downwards.
Lattice-Work can be produced from the Hammock (assumed to be held ^y Q) ^7 the same process as that described above for the production of Snuffer-Trays from the Cradle, namely by P inserting the thumb and index- finger of each hand from the outside in the crosses ; then pulling each cross outwards, then up and over the corresponding horizontal string ; and finally turning each hand downwards through a right angle. Also, since it is the same as Snuffer-Trays, though held differently, it can be produced from Snuffer-Trays by P putting his thumbs and fingers pointing downwards in the place of those of Q which are pointing upwards.
Other standard forms are Trellis-Bridge, Double-Crowns, Suspension-Bridge, Tridents, and See-Saw. For the formation of these I give only a brief outline of the necessary steps.
Trellis-Bridge can be produced from Snuffer-Trays by the second player booking his little-fingers from above in the two parallel strings, one in one string and one in the other, pulling the loops so formed over and down to opposite sides, and taking up the side crosses from above and turning the hands inwards through two right angles.
Double-Crowns can be got from Cat's-Eye by the second player putting the thumb and index-finger of each hand through the far and near angles of the end crosses, either from above or below, and making the usual turning movement inwards through two right angles.
Suspension-Bridge can be got from Fish-in-a-Dish by the second player hooking his httle-fingers in the two parallel strings that form the dish, one in one string and one in the other, pulling the loops so formed up, then taking up the side crosses from above, and turning the hands inwards towards the centre of the figure throagh two right angles. Suspension-Bridge can be also obtained from Double-Crowns.
Tridents is produced from Suspension-Briuge by the second player releasing the left-hand thumb and index-tiuger, and then drawing his hands ai art.
23—2
356
STRING FIGURES
[CH. XVI
See-Saw is an arrangement of the string which each pla5'er in turn draws out. It is said that in such figures children draw the string backwards and forwards to the chant of a doggerel line See Saio Johnnie Maw, See San Johnnie Man (Jayne, p. xiii). One form of it can be obtained from the Cradle, which I will suppose is held by P, thus. Q takes one of the straight strings with the index-finger of one hand and the other straight string with the index-finger of the other hand ; P then slips his hands out of the loops romid them but retains the middle -fingers in the loops on them. If now P separates his hands the loops held by Q diminish, and vice versa. Another variety is obtained by P taking the ulnar base string from below in his mouth and then withdrawing his hands from the loops while retaining his middle-fingers in their respective loops : in this way we obtain a sawing figure of three loops.
The forms above described may be arranged in sequence in tabular form, as shown below. It will be noticed that parallel strings when taken up may be pulled up or down, and they may be crossed or not. So too in the horizontal figures there are often a pair of side crosses and a pair of end crosses, and either pair may be taken from above or from below, and in many cases may be crossed or not as is desired. Frequently also one player Q can insert two fingers in a pair of crosses and if P leaves go Q may, by drawing his hands apart, produce a new figure. By combining these motions we can obtain various forms, and can secure sequences
SnuSer-Trays
Cat's-Cradle
1
See-Saw
Cat's-Eye
Fish-in-a- Dish
(Numerous Forms)
1
Donble- Crowns
Pound-of- Candles
Manger
Cat's-Eye
1
Trellis-Bridge
of them. The movements and forms described above will how- ever illustrate the process sufiSciently.
CH. XVl] STRING FIGURES 357
Cat*s-Cradles, Oceanic Varieties. I will next enumerate a few forms of the Oceanic Variety. One or two specimens of this type are known in England, but they may be recent importa- tions, perhaps by sailors, and not indigenous. There are so many examples of this kind, that it is difficult to select specimens, but those I have chosen will serve to illustrate the methods. In many cases the figures can be formed in more ways than one.
I again emphasize the fact that the figures are produced much more easily than might be inferred from the lengthy descriptions given. This is so partly because I have tried to mention every detail of the process, and partly because I con- stantly describe similar movements with the two hands as if they were made consecutively, whereas in practice to produce the figures effectively the movements should be simultaneous. I may add further that frequently two or more of the move- ments mentioned can be combined in one, and when practicable this is desirable. Also usually the more rapidly the movements are made the better is the presentation. By rotating the wrists, considerable play is given to the figure, and the move- ments are facilitated. Where two loops are on one finger, it is generally advisable to place one on the tip and the other on the base of the finger so as to keep them distinct.
Once a figure has been constructed or the rule given for making it understood, the brief description of the method (which in many cases I insert after the exposition of the rule) will suffice for the reproduction of the figure.
Openings A and B. The greater number of Oceanic figures begin with the same initial steps known as Opening A or Opening B. These steps I proceed to describe.
Opening A. In Opening A, the operator commences by placing the string on the left hand as follows. The hands are held with the fingers pointing up- wards, and palm facing palm. The tips of the left thumb and little-finger are put together, and a loop of the string put over them. On opening the hand it will be found that the string from the far (or ulnar) side passes round the back of the little-finger, then between the ring and little-finger, then across the palm, then between the index and thumb, and then round the back of the thumb to the near (or radial) side of the hand. The string is then taken up similarly by the right hand. The hands are now drawn apart. This is called the " first position."
358
STRING FIGURES
[CH. XVI
Next with the back of tho index of the right hand take up from the proximal side {i.e. from below) the left palmar string, and return : in these descriptions the word return is used to mean a return to the position occupied at the beginning of the movement by the finger or fingers concerned. Then, similarly, with the back of the index of the left hand take up from the proximal side that part of the right palmar string which lies across the base of the right index, and return. The figure now consists of six loops on the thumb, index, and little-finger of each hand. The resulting figure, in a horizontal plane, is shown in the diagram, looking down at it from above.
Opening A.
Opening B. Opening B is obtained as above, save that, in the second part of the Opening, the right palmar string is taken up by the left index before the left palmar string is taken up by the right index. In most of the figures described below it is immaterial whether we begin with Opening A or Opening B.
Movement T. There is also another movement which is
made in the construction of many of the figures and which
may be described once for all.
This movement is when we have on a finger two loops, one proximal and the other distal, and the proximal loop is puUed up over the distal loop, then over the tip of the finger, and then dropped on the palmar side. I term this the Movement T.
A Door. The first example I will give is a Door — see figure V — which comes from the Apache Red Indians. It affords a good introduction to the Oceanic Varieties, for it is one of the easiest figures to construct, as the movements are simple and involve no skill in manipulation. The rubbing the hands together in the final movement has nothing to do with the formation of the figure, though it adds to its effective presentation. The diagram represents the final figure held in a horizontal plane.
CH. XVl]
STflING FIGURES
359
Figure v. A Door.
The Door is produced thus (Jayne, pp. 12 — 15). First. Take up the string in the form of Opening A. Second. With the right thumb and index lift the left index loop off that finger, put it over the left hand, and drop it on the left wrist. Make a similar movement with the other hand. Third. "With the dorsal tip of the right thumb take up the near right little-finger string, and return. Make a similar movement with the other hand. Fourth. With the dorsal tip of the right little-finger take up the far right thumb string, and return. Make a similar movement with the other hand. Fifth. Keeping all the loops in position on both hands, with the left hand grasp tightly all the strings where they cross in the centre of the figure, and pass this bunch of strings from left to right between the right thumb and index {i.e. from the palmar side to the back of the hand), and let them lie on the back of the hand between the thumb and finger. Next with the left thumb and index take hold of the two loops already on the right thumb, and draw them over the tip of the right thumb. Then, continuing to hold these two loops, let the bunch of strings still lying between the right index and thumb slip over the right thumb to the palmar side, and after this replace these loops on the right thumb. Make a similar set of movements with the other hand. Sixth. With the right thumb and index lift the left wrist loop from the back of the left wrist up over the tips of the left thumb and fingers, and let it fall on the palmar side. Make a similar movement with the other hand. Finally. Eub the palms of the hands together, separate the hands, and the Door will appear.
More briefly thus. Opening A. Index strings over wrists. Each thumb over one and takes up one. Each little-finger takes up one. Thumb loops over groups of strings. Wrist loops over hands. Extend.
Climbing a Tree. I select this as another easy example starting from Opening A. The tree — see figure vi — consists of two straight strings, which slope slightly towards one another: if the figure here delineated is turned through a right angle,
360 STRING FIGURES [CH. XVl
the straight lines representing the tree will be upright, and this is the way in which the figure is normally produced. Up this tree, some loops, which represent a boy, are made to ascend. The production is very simple, but it is interesting because the design, and nothing more, was obtained from the Blacks of Queensland, and this is a conjectural restoration, by Pocock, of the way it was produced.
Figure vi. Boy Climbing a Tree.
The Boy Climbing a Tree may be produced thus. First. Take up tihe string in the form of Opening A. Second. Pass the little-fingers over four strings (namely, all the strings except the near or radial thumh string), then with the backs of the little-fingers take up the near thumb string, and return. Third. Make movement T on the little-finger loops. Fourth. Bend the right index over that part of the right palmar string which lies along the base of the finger, and press the tip of the finger on the palm. Make a similar movement with the left index. Fifth. Holding the strings loosely, release the thumbs and pull the index loops over the knuckles so that they hang on the cross strings. Finally. Put the far (or ulnar) little-finger string under one foot or on any fixed object. Then release the little-fingers, and pull steadily with the index- fingers on the strings they hold. This will cause the loop round the two straight strings to rise. The two strings starting from the foot represent the tree, and the loops, which ascend on them, as the fingers pull, represent the boy climbing up the tree. If in the fourth movement we put the middle-fingers instead of the index-fingers through the index loops, we shall slightly modify the result.
More briefly thus. Opening A. Each little-finger over 4, and take up one. T to little-finger loops. Each index on palm. Release thumbs. Index loops over knuckles. Far little-finger string under foot. Release little-fingers, and pull.
Throwing the Spear is a New Guinea figure. It is peculiar in that the design can be transferred or thrown from one hand to the other as often as is desired. The construction is very
simple.
Throioing the Spear was obtained by Haddon. It is made thus (Jayne, pp. 131 — 132). First. Take up the string in the form of Opening A. Second.
CH. XVl]
STKING FIGURES
361
Take the loop off the left index, put it on the right index, and pass it down the finger over the right index loop to the base of the finger. Third. Take off from the right index the original right index loop, release it, and extend the hands. This is the spear, the handle being held by the left hand.
More briefly thus. Opening A. Left index loop off finger, and then over right index loop to base of right index. Release original right index loop, and pull.
To throw the spear from one hand to the other, proceed thus. Put the left index between the left ulnar thumb string and the left radial little- finger string, then push it up from below into the right index loop. Then opening the right hand, drawing it sharply to the right, and at the same time taking the right index out of its loop, the spear is transferred to the other hand. The process can be indefinitely repeated with one hand or the other.
Diamonds. Numerous lattice-work forms have been col- lected in which diamonds or lozenge-shaped figures are strung in a row, or in two or more rows, between two parallel strings. I describe a few of these.
Triple Diamonds. This is an interesting figure — see fig^ure vii — and lends itself to a catch described hereafter. It comes from the Natik natives in the Caroline Islands, but possibly is of negro origin. It is not symmetrical.
Figure vii. Triple Diamonds.
The formation of Triple Diamonds is described by Mrs Jayne (pp. 142—146), and may be effected as follows. First. Take up the string in the form of Opening A. Second. Take the right hand out of all the loops, and let the string hang straight down from the left hand, which is held upright with the fingers pointing upwards. Third. Put the tips of the right thumb and little- finger together, and insert them from the right side into the left index loop.
362
STRING FIGURES
[CH. XVI
Next, separate the ri.elit thumb and little-finger, take the loop off the left index, and draw the hands apart. Fourth. Put the right index-finger under the left palmar string, and draw the loop out on the back of the finger. Fifth. Bend the right thumb over one string (viz. the near or radial right index string), take up from below on the back of the thumb the far or ulnar right index string, and return. Sixth. Bend the left thumb away from you over one string (viz. the far or ulnar thumb string) and take up from below on its back the near or radial little-finger string, and return. Seventh. With the back of the tip of the right index-finger pick up from below the near right index string, and return. Eighth. With the back of the tip of the left index pick up from below the far left thumb string (not the string passing across the palm), and return. These strings on the index-fingers should be kept well up at the tips by pressing the middle-fingers against them, and the radial left thumb string should now cross between the left thumb and index ; if it be not in this position it should be shifted there. Ninth. Make movement T on the thumb loops of each hand. Lastly. Release the loops from the little-fingers, and extend the figure between the thumbs and the tips of the index-fingers : it is usual but not necessary, at the same time, to rotate the hands to face outwards.
More briefly thus. Opening A. Right hand out. Right little-finger and thumb through index loop. Right index takes up palmar string. Each thumb over one and takes up one. Right index picks up near right index string and left index picks up far left thumb string. T to thumb loops. Release little- fingers and extend.
Quadruple Diamonds. This design — see figure viii — was given me by a friend who was taught it when a boy in Lancashire. It is the same as one described by Mrs Jayne (pp. 24 — 27), which was derived by her from the Osage Red Indians.
Figure viii. Quadruple Diamonds,
Quadruple Diamonds can be produced thus. First. Take up the string in the form of Opening A. Second. Release the thumbs. Third. Pass the right thumb away from you under all the strings, and take up from below with the back of the thumb the far right litfcle-finger string, and return. Make a similar movement with the other hand. Fourth. Pass each thumb away from
CH. XVl] STRING FIGURES 863
you over the near index string, and take up from below with the back of the thumb the corresponding far index string, and return. Fifth. Release the little-fingers. Sixth. Pass each little-finger towards you over one string (viz. the near index string) and take up from below on the back of the little-finger the corresponding far thumb string, and return. Seventh. Release the thumbs. Eighth. Pass each thiimb away from you over the two index strings and take up from below, with the back of the thumb, the corresponding far little-finger string, and return. Ninth. With the right thumb and index pick up the left near index string, close to the left index and above the left palmar string, and put it over the tip of the left thumb. Next make movement T on the left thumb loops. Make a similar movement with the other hand. Finally. Insert each index into the snia,ll triangle near it whose sides are formed by the corresponding palmar string and its immediate continuation. Then, rotate the right hand counter-clockwise and the left hand clockwise. In making this movement the little-finger loops and the proximal index loops will fall off, and for the production of the figure it is essential they should do so. At the end of the movement the palms of the hands should be facing outwards and away from you, the thumbs lowest and pointing away from you, and the index-fingers pointing upwards. On separating the hands the Diarnonds will appear. It is a matter of indifference whether the top string is taken on the middle-fingers or on the index-fingers. If the fourth step be taken before the third we get a form of Double Diamonds.
More briefly thus. Opening A. Let go thumbs. Each thumb under 3 and takes up one. Each thumb over one and picks up one. Release little-fingers. Each Httle-finger over one and picks up one. Release thumbs. Each thumb over 2 and picks up one. Near index strings on tips of thumbs. T to loops on thumbs. Index-fingers in triangle. Release little-fingers, and extend.
Multiple Diamonds. In the figures above described the diamonds are in a row. I give an instance — see figure ix — de- rived from the Natik natives, where the diamonds are in three rows. The reader will be easily able to introduce modifications in the process of the formation of Multiple Diamonds which will lead to other figures which he can thus invent for himself.
Figure ix. Mxtltiple Diamovda. Multiple Diamonds may be formed thus (Jayne, pp. 1.50—156). First. Take up the string in the form of Opening A. Srcond. With the teeth draw the far little-finger string towards you over all the strings. Then, bending the left
864
STRING FIGURES
[CH. XVI
index over the left string of the loop held by the teeth, pick up from below on the back of the index the right string of the loop, and return. Next betid the right index over to the left, and pick up from below on its back the left string of the loop, and return. Release the loop held by the teeth. Third. Release the thumbs. Fourth. Put each thumb away from you, under both index loops, and pick up on its back the near little-finger string, and return. Fifth. Pass each thumb up over the lower near index string, and put its tip from below into the upper index loop. Sixth. Make movement T on the thumb loops. Seventh. Withdraw each index from the loop which passes around both thumb and index. Eighth. Transfer the thumb loops to the index-fingers by putting each index from below into the thumb loop, and withdrawing the thumb. Ninth. Repeat the fourth movement, namely, put each thumb away from you under both index loops, and pick up on its back the near little-finger string, and return. Tenth. Repeat the fifth movement, namely, pass each thumb up over the lower near index string, and put its tip from below into the upper index loop. Eleventh. Make movement T on the thumb loops. Twelfth. Bend each middle-finger over the upper far index string, and take up from below on the back of the finger the lower near index string {i.e. the one passing from index to index), and return. Lastly. Keeping the middle and index-fingers close together, release the loops from the little-fingers, and extend the figure keeping the palms turned away from you.
Many Stars. A somewhat similar figure — see figure x — is made by the Navaho Mexican Indians, and by the Oregon Indians. The Oregon method is much the more artistic, since the movements are carried on by both hands simultaneously
Figure x. Many Stars.
and symmetrically, and the one hand is not used to arrange the strings on the other hand. But I give the Navaho method partly because it is easier to perform and partly because, by slightly varying the movements, it gives other interesting figures.
CH. XVl]
STRING FIGURES
*S(io
Many Stars. The formation of this figure has been described by Haildon {American Anthropologist, vol. v, 1903, p. 222) and Mrs Jayne (pp. 48 — 53). It is produced thus. First. Take up the string in the form of Openiiig A. Second. Pass each thumb away from you over three strings (viz. the far thumb and both index strings) and pick up from below on its back the near little- finger string, and return. Ttiird. Bend each middle-finger down towards you over two strings (viz. both the index strings) and take up from below on its back the far thumb string, and return. Fourth. Release the thumbs. Fifth. Pass each thumb away from you over one string (viz. the near index string), under the remaining five strings, and pick up on its back the far little-finger string, and return. Sixth. Release the little-fingers. Seventh. Take the far string of the right middle-finger loop, pass it under the near string of that loop, and then, taking it over the other strings, put it over the tips of the right thumb and index, so as to be the distal loop on them. Release the right middle- finger. Make a similar movement with the other hand. Eighth. Make movement T on the loops on the thumbs and index-fingers. There is now on each hand a string passing from the thumb to the index, and on each of these strings are two loops, one nearer you than the other. Ninth. Bend each thumb away from you over the upper string of these nearer loops. Lastly. Rotate the hands so that the palms face away from you, the fingers point up, and the thumbs are stretched as far from the hands as possible.
More briefly thus. Opening A. Each thumb over 3 and picks up one. Each middle-finger over 2 and picks up one. Release thumbs. Each thumb over one, under 5, and picks up one. Release little-fingers. Take up near string of each middle-finger loop, turn it over, and transfer it to tips of corresponding thumb and index-finger. T to loops on thumbs and index-fingers. Place thumbs on upper strings of near loops. Rotate, and extend.
Owls. Certain figures, called Owls, can be produced like Many Stars save for the interpolation or the alteration of one movement. Their resemblance to Owls is slight, but they
Figure xi. An Owl,
366
STRING FIGURES
[CH. XVI
ma}^ be talsen without much straining to represent Bats. One instance — see figure xi — will suffice.
The example of an Owl which I select is produced thus (Jayne, pp. 54 — 55). Immediately after taking up the string in the form of Opening A, give a twist to the index loops by bending each index down between the far index string and the near little-finger string and, keeping the loop on it, bringing it towards you np between the near index string and the far thumb string. Continue with the second and subsequent movements described in Many Stars.
In another example (Jayne, pp. 55 — 56) all the movements are the same as in Many Stars save that in the fifth movement the far little-finger string is drawn from above, instead of from below, through the thumb loops.
Single Stars. Other figures, which we may call Single Stars or Diamonds, can be produced like Many Stars save for the alteration or omission of one movement. One instance — see figure xii — will suffice.
Figure xii. North Star.
The example of the Single Stars which I select is termed the North Star^ and is produced thus (Jayne, p. 65). Replace the second, third, and fourth movements in Many Stars by the following. Bend each middle-finger towards you over the index loop, and take up from below on the back of the finger the far thumb string. Release the thumbs, and return the middle-fingers. The effect of this is to transfer the thumb loops to the middle-fingers. This is followed by the fifth and subsequent movements described in Many Stars. This figure may at our option be regarded as a single or double diamond.
W. W. Another elegant design, forming two interlaced W's,
can be produced somewhat similarly.
This figure is made in the same way as North Star, except that after transferring the thumb loops to the middle -fingers, a twist is given to each middle-finger loop by bending each middle-finger down on the far side of the far middle-finger string and (keeping the loop on it) bringing it towards you up between the near middle-finger string and the far index string.
CH. XVl] STIUNG FlGUliES 307
The reader who has followed me in my descriptions of the movements for producing Many Stars will find it easy to make other modifications which lead to other figures.
The Setting Sun is derived from the Torres Straits natives. This figure, if well done, is effective, but the process is some- what long. The method and result illustrate another type of string figure.
The Setting Sun is produced thus (Rivers and Hadlon, p. 150; Jayne, pp. 21—24). First. Take up the string in the form of Opening A. Second. Pass the little-fingers over four strings (viz. the radial or near little-fiuger string, the index loops, and the ulnar or far thumb string), insert them into the thumb- loops from above, take up with the backs of the little-fingers the near thumb string, and return. TJdrd. Release the thumbs. Fourth. Pass the thumbs under the index loops, take up from below the two near strings of the little- finger loops and return, passing under the index loops. Fifth. Release the little-fingers. Sixth. Pass the little-fingers over the index loops, and take up from below the two far strings of the thumb loops and return. This arrange- ment is known as the Lem Opening.
I continue, from the Lem Opening, the movements for the production of the Setting Sun. Seventh. Transfer the loop on the left index to the right index ; and then transfer the loop originally on the right index to the left index, by taking it over the original left index loop. Eighth. Pass the right middle-finger from the distal side {i.e. from above) through the right index loop and take up from the proximal side {i.e. from below) the two far thumb strings. Return the middle-finger through the index loops. Make similar movements with the other hand. Ninth. Release the thumbs and index- fingers. Tenth. Pass the thumbs from below into the middle-finger loops, and then transfer the middle-finger loops to the thumbs. Extend the figure with the thumbs towards the body. There will now be in the middle of the figure a triangle whose apex is towards your body, whose base is formed by the two far little-finger strings, and whose sides are formed by the mid-parts of the two near thumb strings. On either side of this triangle is a small four-sided figure. Eleventh. Insert the index-fingers from above into these quadrilaterals, and with the backs of the index-fingers take up the strings forming the sides of the triangle, and return. Twelfth. Put eacli middle-finger from above through the index loop, and take up from below the two far thumb strings, and return through the index loop. Thirteenth. Release the thumbs and index-fingers, put the index-fingers into the middle-fingor loops to make thum wider ; and with the thumbs manipulate the figure so as to make an approxi- mate semicircle (the sun on the horizon) with four diverging loops (the rays). Finally. Release the loops on the index and middle-fingers, separate the hands, and the semicircle will slowly disappear representing the setting of the sun.
368 STRING FIGURES [CH. XVI
The Head Hunters is another and more difficult example, in which the Lem Opening is used. It too is derived from the Torres Straits, and is interesting because it is a graphical illustration of a story.
The Head Hunters are produced thus (Rivers and Haddon, p. 150; Jayne, pp^ 16 — 20). First. Make the Lem Opening, which involves six movements. Continue thus. Seventh. Insert the index-fingers from below into the central triangle and take up on their backs the near thumb strings. Eighth. Loop the lowest or proximal index string of each hand over the two upper or distal strings and over the tip of the index on to its palmar aspect. Ninth. Release the thumbs. Tenth. Take the index loops oft the right hand, twist them tightly three or four times, and let the twist drop. Similarly form a twist out of the loops on the left index.
This is the figure. If now the little- finger loops are drawn slowly apart, the two index loops will approach each other and become entangled. One represents a Murray man, and the other a Dauar man. They " fight, fight, fight," and, if worked skilfully, one loop, the victor, eventually remains, while a kink in the string represents all that is left of the other loop. The victorious loop can now be drawn to one hand along the two strings, sweeping the kink in front of it: it represents the victor carrying off the head of his opponent. Sometimes, if the two index loops are twisted exactly alike, they both break up, representing a duel fatal to both parties. In the hands of the Murray man who showed the figure to Dr Haddon, the result of the fight always led to the defeat of the Dauar warrior.
It is not easy to make the figure so as to secure a good fight. For the benefit of any who wish to predict the result I may add that if, in the first position, there be a knot in the right palmar string the left loop will be usually victorious over the right loop, and vice versa.
The Parrot Gage. As another instance I give the Parrot Cage. This is a string figure made by Negroes on the Gold Coast in West Africa. The construction and design are not interesting in themselves, but the method used is somewhat different to those employed in the foregoing examples, and for this reason I insert it.
The Parrot Cage is made thus (Yoruba Figures by J. Parkinson, Journal of the Anthropological Institute, London, 1906, vol. xxxvi, p. 136). First. Take up the string in the form of Opening A. Second. Transfer the little-finger loops of each hand to the ring-fingers of that hand, the index loops to the middle- fingers, and the thumb loops to the index-fingers. By an obvious modification of Opening A, the string can be taken up initially in this form. Third. Lace the dorsal loops thus. Turn the back of the right hand upwards, pull the dorsal string of the ring-finger loop a little way out, and through it pass the dorsal string of the middle-finger loop. Similarly pass the dorsal string of the index loop
CH. XVl] STRING FIQUKES 3G9
through the middle-finger loop, and then put the index loop on the thumb. Pull all the strinps taut. Kepeat the same movements with the other hand. Fourth. Lace the palmar loops thus. Holding the right hand with the fingers pointing upwards, take up with the dorsal tip of the right thumb the nearest string wliich passes from hand to hand, pass the string already on the thumb over the string so taken up and then over the tip of the thumb on to the far and palmar side of the thumb. Eepeat the same process successively with the far index string, with the near middle-finger string, with the far proximal middle- finger string, with the remaining far middle-finger string, and with the far ring-finger string. Repeat all these movements with the left hand. Finally. Transfer the thumb loops to the little-fingers, and extend the figure. This is the cage.
See-Saiv. I described above a couple of See-Saw figures
made from the European Opening. Such figures can be also
produced from Opening A.
A See-Saw arrangement can be made by two players, P and Q, thus (Haddon quoted by Jayne, p. xiii). First. The string is taken up by P, with his hands pointing upwards and palm facing palm, in the form of Opening A. Second. Q hooks his right index from above in the straight thumb string and pulls it away from P. Third. Q, passing his hand from P over the other strings, hooks his left index in the stniight little-finger string, and pulls it towards P. Finally. F releases all but the index loops. The sawing movement can then be made.
Ligldning. I proceed next to give two examples of figures which do not start from Opening A : both are easy to produce. The first instance I select, known as Lightning — see figure xiii — is derived from the North American Red Indians. The final movement should be performed sharply, so that the zig-zag lightning may flash out suddenly.
Figure xiii. Zig-zag Lightning.
Lightning is produced thus (Jayne, pp. 216—219). Fir»t. Hold the string in one place between the tips of the thumb and index-finger of the right hand and in another place between the tips of the thumb and index-finger of the left hand, so that a piece passes between the hands and the rest hangs down in a loop. With the piece between the hands make a ring, hanging down, by putting the right-hand string away from you over the left-hand string. Next, insert
B. R. 24
370 STRING FIGURES [CH. XVI
tlie index-fingers towards you in the ring and put the thumbs away from you into the long hanging loop. Separate the hands, and turn the index-fingers upward and outward with the palms of the hands facing away from you. Then, turn the hands so that the palms are almost facing you, and the thumbs and the palms come toward you and point upward. You now have a long crossed loop on each thumb and a single cross in the centre of the figure. This is the Navaho Opening.
I continue from the Navaho Opening the movements for the production of Lightning. Second. Pass each thumb away from you over the radial or near index string and take up from below with the back of the thumb the far index string, and return the thumb to its former position. Third. Pass each middle- finger toward you over the near index string, and take up from below on the back of the finger the far thumb string and return the middle-finger to its original position. Fourth. Bend each ring-finger toward you over the far middle-finger string, take up from below with the back of the finger the near index string, and return the ring-finger to its position. Fifth, Pass each little-finger over the far ring-finger string, take up from below on the back of the finger the far middle-finger string, and return the little- finger to its position. You now have two twisted strings passing between the two little-fingers, two strings laced round the other fingers, and two loose strings (which may represent thunder clouds) passing over the thumbs. Sixth. Holding the hands with the fingers pointing upwards, put the tips of the thumbs from below (or if it is easier, from above) into the small spaces between the little-fingers and the twisted strings on them. Finally. With the thumbs raise (or depress, as the case may be) the near ring-finger string, and separate the hands so as to make the little-finger strings taut, turn the hands outwards so that the palms are away from you, and at the same time throw or jerk the thumb loops off the thumbs so that they hang away from you over the tightly drawn strings between the little-fingers. These movements will cause the strings between the little-fingers to untwist, making the lightning spring into view. The diagram represents the figure when the thumb in the sixth movement is inserted from below in the loop.
More briefly thus. Form Navaho Ring. Each thumb over 2 and takes up one. Each middle-finger over one and takes up one. Each ring-finger over one and takes up one. Each little-finger over one and takes up one. Each thumb released, placed under (or over) the near little-finger string, and pressed up (or down) while hands are rotated.
A Butterfly. As yet another of figures of this kind I will give the formation of that known as a Butterfly — see figure xiv. It is also derived from the North American Red Indians.
The Butterfly is produced as follows (Jayne, pp. 219 — 221). Begin with the Navaho Opening, that is, make the first movements as when forming Lightning. Second. Twist each index loop by rotating each index down toward you and up again. In all make (say) three or four such twists on each index loop. Third. Put the right thumb from below into the right index loop, and, without removing
CH. XVl]
STRING FIGURES
371
the index, eephrate the thumb from the index. Make movement T on the thumb loops. Repeat tlie movement with the other hand. Fourth. Bring the hands close together with the index and thumb of the one hand pointing toward the index and thumb of the other hand; then hang the right index loop /3 on the tip of the left index, and the right thumb loop 5 on the tip of the left thumb. Thus
Figure xiv. A Butterfly.
on the left index there are two loops, a and /3 ; on the left thumb there are two loops, 7 and 5 ; and the right hand is free. Fifth. Put the tips of the right index and thumb against the left thumb knuckle. Take up with the right index from the proximal side the loop 5 and take up with the right thumb from the distal side the loop y. With the right thumb and index grasp the loops a and /S where they lie on the top of the left index. Remove the left hand. Then, holding the right hand up, from the left, put the left index into the loop /3, and the left thumb into the loop a. Finally. Placing the hands with the thumbs up and the fingers pointing away from you, draw the hands slowly apart, and when the strings have partially rolled up in the middle of the figure pull down with the middle, the ring, and the little-fingers of each hand the far index string and the near thumb string. The butterfly will now appear ; its wings being held up by the strings extended between the widely separated thumbs and index-fingers, and its proboscis appearing on the strings held down by the other fingers.
More briefly thus. Form Navaho Ring. Twist index loops. Thumbs into index loops and T to thumb loops. Take up figure afresh with thumbs and index-fingers, and pull.
There are numerous other figures which can be formed from an endless loop of string. For examples I refer the reader to Mrs Jayne's fascinating volume.
String Tricks. Of string tricks there are two classes. One comprises tricks in which the hand of one player is unexpectedly caught by the other player pulling one string or certain strmgs in the figure, whereas it is left free if other strings are pulled.
2i— 2
372 STRING FIGURES [CH. XVI
The other comprises tricks where the string is released from or is made to take some position which prima facie is impossible. Aborigines are usually very proud of their ability to perform such feats, and Mrs Jayne acutely remarks that it is " delightful to witness their pleasure when they are successful, and their gratification at the observer s astonishment, which it will amply pay him to make very evident."
The Lizard Twist. I give a couple of examples of Catch- Tricks. The first I select is one brought by Rivers and Haddon from the Torres Straits. If a loop of string hangs from (say) the left hand and if the right hand is twisted once round one of the strings of the loop, the right hand or wrist will be caught when the string is pulled by the left hand. If the right hand is twisted first round one string of the loop and then round the other string, it will in general be caught more firmly. The Lizard movement is a way of taking the twist on the second string so as to undo the effect of the first twist.
There is no difficulty in taking up the string so that the hand is caught. To take up the string so that the hand is not caught, proceed thus (Rivers and Haddon, Man, 1902, p. 152 ; Jayne, pp. 337—339). First. Hold the string by the left hand, held rather high, the string hanging down on the right and left sides in a loop. Second. Put the right hand away from you through the loop. Turn the right hand round the right pendant string clockwise ; this will be done by pointing the fingers to the right, then towards you, and then upwards. Third. Keeping the fingers pointing upwards, move the right hand to the left between your body and the pendant strings, then clockwise beyond the left pendant string, then away from you, then to the right, and finally towards you through the loop. Lastly. Draw the hand down and to the right, and it will come free from the noose round the wrist.
The Caroline Catch. The other example of a Catch-Trick which I propose to describe is derived from natives in the Caroline Isles. First, form the figure described above (p. 361) as Triple Diamonds. Next a second person puts his hand through the middle-lozenge shaped space in this figure. Then his wrist will be caught in a loop if the strings be dropped from the right hand and the left-hand strings pulled to the left. On the other hand his wrist will not be caught if the strings be dropped from the left hand, and the right-hand strings pulled to the right.
CH. XVl] STRING FIGURES 373
Of the second class of string tricks there are numerous examples familiar to English schoolboys — presumably well- known over large parts of the world, and I conjecture of considerable antiquity. In many old journals and books written for boys these are described, but such descriptions are often vague. Recently W. I. Pocock and Mrs Jayne have described some of them in accurate language. I give as typical examples : Threading the Needle ; the Yam Thief, otherwise known as the Mouse Trick ; the Halter ; the Fly on the Nose ; the Hand- Cuff ; and the Elusive Loop. Of these the first, second, and fifth, are well-known. I owe my knowledge of the others to Mrs Javne's book*.
Threading the Needle. This is a familiar trick. The effect is that a small loop (representing the eye of the needle) held by the left thumb and index is threaded by a string held by the right hand throughout the motion. The trick is best worked with a single piece of string, but a doubled string will answer the purpose.
Threading the Needle is performed thus (Jayne, pp. 354 — 355). First. Take hold of a piece of string, ABC, some three or four feet long, at a point B about 8 inches from one end A. Hold this piece AB in the left palm and hold the left hand so that the thumb points to the right. Second. Holding the other end, C, of the string with the right hand, wind the rest of the string BC, beginning with the B end, round the left thumb, above the thuml) when moving towards the body and under the thumb when moving away from the body. Leave about 6 inches at the end C unwound. Third. Out of this 6 inches, make a small loop by carrying the end of C held by the right hand to the far side of the rest of the loop. With the tips of the left thumb and index-finger hold this loop where the strings cross so that it stands erect. Fourth. Pick up with the right thumb and index-finger the end A of the piece of string AB whicli is in the left palm and open the left palm. Make this piece of string AB taut, and carry the end of it A to the right close under iiud between the left thumb and index. If this is properly done the piece AB will pass near B between the far and near portions of the cross of the loops, and then will be caught by the left thumb and index : thus between the thumb and index there are now three pieces of string. Fifth. Make passes with the end A as if you
* The second is described by Rivers and Haddon in ^^lm, London, October, 1902, pp. 141, 153. All, except the Hand-Cnfif, are described in